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
Of piano pieces there are a sprightly "Birthday Impromptu" and a fuga
giocosa, which deals wittily with that theme known generally by the
words "Over the Fence Is Out!" The "Nocturne" begins like Schumann,
falls into the style of his second Novellette, thence to the largo of
Beethoven's Sonata (op. 10, No. 3), thence to Chopinism, wherein it
ends, an interesting assemblage withal!
A long "Romance" for the piano is marked by some excellent incidents
and much passion, but it lacks unity. It is the last work in "An Album
of Pianoforte Pieces," which is otherwise full of rare delights. It is
made up of opera 25, 26, and 39. Opus 25 contains four characteristic
pieces,--a "Dance" full of dance-rapture, a most original "Impromptu,"
and a "Rondo Giocoso," which is just the kind of brilliantly witty
scherzo whose infrequency in American music is so lamentable and so
surprising. Opus 26 includes ten sketches, all good, especially
"Woodnotes," a charming tone-poem, the deliciously simple "Wayside
Flowers," "Under the Lindens," which is a masterpiece of beautiful
syncopation, a refreshingly interesting bit in the hackneyed
"Millstream" form, and a "Village Dance," which has much of that
quaint flavor that makes Heller's etudes a perennial delight.
Besides these, there are a number of motets, organ preludes, string
quartettes, concert pieces for violin, 'cello, piano, and the like, all
contributing to the furtherance of an august fame.
_Dudley Buck._
Music follows the laws of supply and demand just as the other
necessities of life do. But before a demand could exist for it in its
more austere and unadulterated forms, the general taste for it must be
improved. For this purpose the offices of skilful compromisers were
required, composers who could at the same time please the popular
taste and teach it discrimination. Among these invaluable workers, a
high place belongs, in point both of priority and achievement, to
Dudley Buck. He has been a powerful agent, or reagent, in converting
the stagnant ferment into a live and wholesome ebullition, or as the
old Greek evolutionists would say, starting the first progress in the
primeval ooze of American Philistinism.
A more thoroughly New England ancestry it would be hard to find. The
founder of the family came over from England soon after the
_Mayflower_ landed. Buck was named after Governor Dudley of the
Plymouth Colony. He was born at Hartford, March 10, 1839. His father
was a prosperous shipping merchant, one of whose boats, during the
Civil War, towed the _Monitor_ from New York to Fortress Monroe on the
momentous voyage that destroyed the _Merrimac's_ usefulness.
Public-domain text, read in full here on John Shaqi.
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