The Evolution of Modern OrchestrationCoerne, Louis Adolphe
History
The Evolution of Modern Orchestration
Coerne, Louis Adolphe
Instrumentation and orchestration
BUCK (1839) is conspicuously identified with the evolution
of American church music. As a composer he is at his best in
religious composition in smaller forms. On the other hand, his
important contributions to the branch of larger choral works with
orchestral accompaniment must not be overlooked. His scenes from
Longfellow's "Golden Legend" were deemed worthy of winning one of the
coveted prizes at Cincinnati. The cantata for male chorus "Columbus"
displays masterly command in the deployment of men's voices, whereas
the "Light of Asia" is one of the standard works of America. Buck
has rather neglected the field of purely orchestral music, but the
scoring of his choral compositions reveals the firm hand of a master.
FOOTE (1853). Turning to a younger generation who have
sturdily maintained the high standard set before them, one naturally
recalls the name of one who may perhaps be regarded as the most
satisfactory exponent of the efficiency of two American teachers,
Paine and Lang, the most significant representative of an exceptional
class of musician--the native trained composer, Arthur Foote. It
is generally conceded that Foote is possessed of unusual powers in
writing for men's voices. Widely known is his "Skeleton in Armor"
with its forceful utterance, as well as his poetic setting of "The
Farewell of Hiawatha." Again, in the field of song lyrics he has
endeared himself to the worthy army of singers by virtue of a notable
series of exceptional and widely contrasted productions. His true
strength would, however, appear to reveal itself in the noblest
vehicles of musical thought--the quartet and the orchestra. Foote
does not aim to produce sensational effects, in fact his orchestral
canvas has, on the whole, a grayish hue. The seriousness of his
purpose, the serenity of his ideals, and the unmistakable impress
of a cultured University training are faithfully reproduced in the
nobility, the breadth, and the sober though appropriate coloring of
his artistic conceptions. The present writer is inclined to regard
him as the Brahms of this country.
Public-domain text, read in full here on John Shaqi.
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