Contemporary American Composers: Being a Study of the Music of This Country, Its Present; Conditions and Its Future, with Critical Estimates and; Biographies of the Principal Living Composers; and an; Abundance of Portraits, Fac-simile Musical Autographs, and; CompositionsHughes, Rupert
History
Contemporary American Composers: Being a Study of the Music of This Country, Its Present; Conditions and Its Future, with Critical Estimates and; Biographies of the Principal Living Composers; and an; Abundance of Portraits, Fac-simile Musical Autographs, and; Compositions
Hughes, Rupert
Composers -- United States -- Biography; Music -- United States -- History and criticism
It is perhaps quibbling to rule out some of these names from
Americanism, and include certain of those whom I have counted American
because they were born here, in spite of the fact that their whole
tuition and tendency is alien. But the line must be drawn somewhere.
The problem is still more trying in the case of certain composers who,
having been born here, have expatriated themselves, and joined that
small colony of notables whom America has given to Europe as a first
instalment in payment of the numerous loans we have borrowed from the
old country.
For the sake of formally acknowledging this debt, I will not endeavor
to discuss here the careers of George Templeton Strong, Arthur Bird,
or O.B. Boise, all three of whom were born in this country, but have
elected to live in Berlin. Their distinction in that city at least
palely reflects some credit upon the country that gave them birth.
POSTLUDE.
In the ninth century Iceland was the musical center of the world;
students went there from all Europe as to an artistic Mecca. Iceland
has long lost her musical crown. And Welsh music in its turn has
ceased to be the chief on earth. Russia is sending up a strong and
growing harmony marred with much discord. Some visionaries look to her
for the new song. But I do not hesitate to match against the serfs of
the steppes the high-hearted, electric-minded free people of our
prairies; and to prophesy that in the coming century the musical
supremacy and inspiration of the world will rest here overseas, in
America.
THE END.
INDEX.
[Transcriber's Note: Misspellings in the original Index have been
corrected, and the entries have been placed in the proper order.]
Abt Society, 198.
Academy of Dramatic Arts, 79.
AEschylean Chorus, 53.
Agramonte, Emilio, 41.
Aldrich, Anna Reeve, 313.
Aldrich, T.B., 89, 108, 204.
Allen, C.N., 244.
Allen, N.H., 273.
Allen, P.C., 272.
Allison, XIII.
Ambrosius, Johanna, 349.
Americanism in Music, 12, 33, 58.
Apollo Club, 168, 236, 331.
Apthorp, W.F., 370.
Arion Society, 190.
Arnold, Maurice, 135, 139.
Arnold, Sir Edwin, 171.
Aus der Ohe, Adele, 293.
Bach, J.S., 15, 225, 227, 248, 399, 400.
Baltzell, Willard J., 275.
Bartlett, H.N., 317, 327.
Bassett, F., 415.
Bates, Arlo, 187, 368.
Baumgras, Irene, 439.
Beach, Mrs. H.H.A., 426, 432, 433.
Beck, Johann H., 406, 411.
Beethoven, 12, 52, 56, 100, 116, 148, 163, 178, 208, 306.
Bendel, 237.
"Ben Hur," 72.
Benkert, G.F., 119.
Bennett, Sterndale, 257.
Berlioz, 144, 219, 243, 307, 426.
Bernard of Cluny's, 183.
Best, W.T., 361.
Bird, Arthur, 446.
Black, Jennie Prince, 441.
"Blind Tom," 59.
Boccherini, 407.
Bodenstedt, 364.
Boise, O.B., 292, 299, 388, 446.
Boston Colony, 269, 350, 371.
Boston Symphony Orchestra, 18, 219, 233, 269, 281, 282, 286, 292, 432.
Bourdillon's, 109, 312.
Brahms, 56, 97, 114, 255, 284.
Breton, XIII.
Brewer, J.H., 331, 334.
Bristow, George F., 246.
Brockway, Howard, 298, 304.
Brounoff, Platon, 445.
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