December 4, 1915 M US I CAL AM ~R.I CA 37 --------------------------~~==~~--------------- lary which, to be sure, has been made in canon and a host of other ways familiar by the efforts of Debussy, makes one confident that its composer A NEW NOTE IN OUR PIANO MUSIC Ravel and Florent Schmitt, but which knows well what he is about. Percy in reality belongs to all the musical Grainger finds this music very Ameri­ world. can. There is considerable discussion as Charles T. Griffes a Composer of Individuality Whose Writings I have gotten the keenest pleasure in to what is American in music and what Are Strong, Vital and Modern-A Discussion of His 0 Three studying these pieces from the view­ is not. I am sure I do not know. But point of their intrinsic musical values. there is a quality in t his Barcarolle-! Tone-Pictures" and " Fantasy P ieces" Mr. Griffes is himself perhaps too close should like to call it "punch"-that sug­ to them to realize what a tremendous gests the live character of our country freedom of expression he has gained and it must be that that has made Mr. N its inquiry a month or so ago among aided the composer in bringing them to since his songs, published, as I have Grainger find it typical of this land, I a large group of prominent profes­ the attention of one of this country's noted before, nearly a decade ago. Only which he has studied carefully in the large music publishers, with the r esult one shock have I experienced and that time he has been here. sional singers, MUSICAL AMERICA was that they are now to be had through the was in learning that he was a pupil in The piece is inscribed to Gottfried able to find out what America.n concert house of G. Schirmer, New York. composition of the genial composer of Galston, the German pianist, with whom songs had found favor, and could arrive Idle indeed were it to attempt here to "Ha nsel and Gretel" and "Konigskin­ Mr. Griffes studied when he was in at some statistical conc1usion as to the describe the pieces individually and in der," Engelbert Humperdinck. It was Berlin. detail. Such a procedure would neither akin to being informed, a s I have been, Frankly the Notturno interests me composers whose vocal works were being aid the interested lover of new music that John A. Carpenter who no longer less, though it is very beautiful im­ most widely sung. Perhaps the casual nor assist the composer in what must of recognizes the existence of diatonics, pressionism, based on Verlaine's ex­ observer of matters musical has not necessity be an uphill road to recogni­ had worked in composition under Sir quisite "L'etang reflete." But the realized that only in the case of songs tion. The pieces are not obvious; they Edward Elgar. Griffes and Herr Hum­ Scherzo! Here is music of muscle and sinew; it is a veritable bacchanal. Mr. could this be done. I doubt whether a perdinck, like Carpenter and Sir Ed­ ward, are at opposite poles in musical Griffes scores in this from the rhythmic symposium on the ten favorite Ameri­ thought. It is refreshing to observe the side as in none of the .other pieces. The can piano compositions would bring re­ freedom which an American, still in his whole plan seems to build up to t he plies from mo re than a half dozen prom­ younger years, can command in his tremendous clashing of empty chords. inent pianists. For our piano literature creative work. Thematically very strong, it is a tri­ Barcarolle, Notturno and Scherzo are umphant achievement. One sees all is not large. the titles of the "Fantasy Pieces." I kinds of fantastic things dancing and Moreover, there has been a Jess ready should say that their scope is somewhat whirling before one. Never once does response on the part of concert pianists larger than t hat of the "Tone-Pictures." the impression vary; it is tense from the to an appeal to play American composi­ Mr. Griffes need never fear being opening measure to the end. tions and this has doubtless had some­ charged with writing a barcarolle that Lest my words have failed to convey thing to do with the rather limited pro­ so unds like somebody's else essay in this it, I wish to make clear that these six duction of piano music by the composers form. His is the only one I know that Griffes compositions are for the concert­ of the country. Ther e is no reason for is not related by blood to some other pianist, and for him only. They are despair in the statement of this fact, composer 's! When Leslie Hodgson difficult, technically as well as musically, for as Arthur Farwell has repeatedly played this composition in New York and must be' understood thoroughly be­ tated in the columns of this journal, last year I found it engaging from a fore they are attempted for perform­ this is not an age of piano composition. single hearing. Now that I have made ance. They are a notable addition to In Germany, we have a Richard Strauss, myself familiar with it, I must add that our piano literature, for in them Mr. a Max Reger, a Sigmund von Hauseg­ it is one of the most inspiring pieces Griffes has combined the gift of having ger, giving us orchestral works and I know. The climax lifts one up, while somethirrg to say with the ability to songs aplenty. Where are the com­ the careful development of the theme, write it splendidly for the piano. posers of piano music in Germany to­ its subtle harmonization, its treatment A. WALTER KRAMER. day? To be sure Strauss as a youth did an admirable set of pieces, Op. 9, and an early Sonata, Op. 5 ; Reger has MERLE ALCOCK PLEASES the circulating library va1·iety. If I written several albums, "Aus meinem wanted a bird's-eye view of the condi­ Tagebuch," "Bunte Blatter" and some SAN ANTONIO AUDIENCE tion of music in these United States in big Variations, which Max Pauer played the month of October, 1915, it is to this here a few years ago. But there is no Contralto's Vocal Charm and Interpre­ number of MUSICAL AMERICA that I first-rate genius devoting himself to the tative Ability Disclosed in Di­ should turn. From Maine to California, Charles T. Grilles, a New V oice in from New York to Florida, the whole piano in that most musical of countries. versity of Selections On ly among the contemporary French American Piano Music country is covered. And the hopeful and Russian schools do we get new piano SAN ANTONIO, TEx., Nov. 21.-The feature of t he publication is that it music t hat is of intrinsic merit. The are subtle and there will always be many music-lovers w ho were looking for­ breathes from cover to cover a spirit of trouble is, of course, that the composer plenty of opposition to the utterance of ward to the coming of Merle Alcock, self-reliant Americanism. of to-day hears things orchestrally, and a man who 1·efuses to follow beaten the New York contralto, were rewarded nine out of ten times, writes them for paths. I shall content myself therefore with an evening of rare pleasure. The the orchestra which gives him the with suggesting what seem to me some prog ram seemed altogether too short, FINE PLAYING BY MALKIN greatest possible freedom for his imagi­ of the general characteristics of Mr. although in number of songs it was not, nation. Griffes's two sets of piano pieces, " Three but the beauty of Mrs. Alcock's voice 'Cellist the Soloist with Boston Orches­ We, in America, need not bemoan our Tone-Pictures," Op. 5, and "Fantasy cha rms one so that the minutes fly by all tra in Cambridge fate. We have had an Edward Mac­ Pieces," Op. 6.* too fast. Nor is it the sweetness and BosTON, Nov. 16.-The Boston Sym­ Dowell, who has left us the important First Jet me warn those persons for power of her voice alone, which attracts, whom music ended with Beethoven that phony Orchestra, Dr. Karl Muck, con­ legacy of four noble sonatas, the but her interpretations, which set forth ductor, gave the second of the annual "Tragic," "Eroica," "Norse" a nd " Kelt­ this composer is a modern-a full­ the r eal meaning of the song with much fledged one! He has no desire to write series of symphony concerts in Cam­ ic,' and a treasury of individual shorter power of expression. Purity of enuncia­ bridge at Sanders T heater, Nov. 11. Jo­ pieces ; among the older men, still alive, fluent, pretty pieces; he is interested in tion is one of her important assets. vital modern music. And I know few sef Malkin, 'cellist, was soloist, playing we have Homer N. Bartlett, who has The program opened with a group of Lalo's Co ncerto. The orchestral num­ put to his credit a number of worthy nat ive creative musicians who can com­ German songs by Brahms. The second pare with him for proficiency in doing bers were Brahms's E Minor Symphony, piano works, and George Chadwick, with group, in English, consisted of "Peace," Berlioz's "Carnaval Romain" Overture a limited output, including some excel­ so. Whether you take "The Lake at Hawley; "How Many Thousand Years Evening," with its reiterated rhythmic and t he first "L' Arlesienne" Suite of lent pieces.