The art of music, Vol. 04 (of 14) : $b Music in America
History
The art of music, Vol. 04 (of 14) : $b Music in America
Music -- History and criticism; Musicians
One of the most brilliant of the younger American group is Arthur
Bergh (b. 1882), the spread of whose fame as the composer of
melodramatic music to Poe's 'Raven' has been almost as rapid as was
that of the erratic poet-genius himself through his achievement of that
immemorially haunting poem. It was first produced by David Bispham,
to whom it is dedicated, in 1909, and has become a universal favorite
with his audiences everywhere. This music offers no startling problems
for the modern theorist, scarcely for the lay musician, in fact, so
simple and clear is it in construction; but it has an inner quality
not easy to describe, a quality of verity, of directness, of immediacy
of expression, seldom attained by composers of the time. Here are no
blotches or wastes of mere color, such as Poe might easily invite; the
work is everywhere thematic. Three themes, of electrical directness
and poignant eloquence (two for the raven and one for the 'lost
Lenore'), suffice the composer for the entire work, with a subsidiary
theme or two, but there is not a spot of tedious or laborious thematic
development in the composition; it is everywhere fresh, crystalline
and crisp. It is music that lives and speaks at every point. A little
tempered programmatic suggestion is employed, at the rapping on the
door, but always with the musical aim above the realistic. The 'Lenore'
theme is of haunting loveliness, and the theme of the 'stately raven'
is a stroke of genius in the simple expression of mystery and dignity.
Everywhere is poetic and idealistic atmosphere, gained always with the
simplest of means. It is to the composer's credit that, with a true
intuition for the relative values in the content of the poem, he has
made, not the gloom of the shadow-haunted chamber, but the dream of the
'lost Lenore,' the dominant note of the work. The composer has made
an admirable orchestral score of the composition, which was produced,
with Bispham as reader, the composer conducting, at a concert of the
'American Music Society' in New York, on April 18, 1909.
Public-domain text, read in full here on John Shaqi.
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