,769
CO
CN]
O
<！--
ſººſvºjº
[]{};ſ.
ſºtſi
########
.Ëſºff

| || || ||...} it!!!!" !;!!!,
IIIIIIllllllllllllº || ** : *. ºl!!!...!!ilili,L.L.: Pº
- *::::\ |Sº . . . [SCHENFL ºf . #
* -º- ºr *A*. –
Lipnºgº’or tº: f
ERSITY OF MICHIGuy #
º º #
/ 22.
#
i
N--
*
#Nº||#. ºf 4/º:
NRNAs. *…* - - - " - w w -
Bº | A "* .. * . * Tºº
§Nºgº; #3, ºft
Sº, "A \ . ...*.*.* º *º- - - - -ºr nº E
E} s a º *S* sº 2 㺠* - ?"--" -- #PH:
Fº gºsº # ºr ºf º #
$é t <º YSºº's 2T_*.s.º. 3:ºi.
º Sºğ
UB{}
£
:
i
:
C
£:
4
|
ºw- ºr- ſº Illſ Ill
E.
TH E GIFT OF
Professor Glen McGeoch
H
* - I TTTTTTE
!
, *
***
#
--w#|
w
;
à
.
• Q.
W.D.
... a k,
to CJº . .
lºs ºr
#.,
#:
, 11.1 : *
i-1 :
3i (;
= 1 ti
a clitºll “"
:
i
;
º






















































Music
| 4 || 0 |
B3 T
undersº.
e----------…....-- a--"" ****
MRS. H. H. A. BEACH

MRS. H. H. A. BEACH
šº
&
W.
º-
ARTHUR P. SCHMIDT
Boston LEIPZIG
NEW YORK
12o Boylston St.
136 Fifth Ave.
COPYRIGHT I 906 BY ARTH U R P. SCHMIDT






MRS. H. H. A. BEACH
ANALYTICAL SKETCH
)www.cº.
ſ: - **
6%. ſº c) is 7.2%:4, BY
/3 - / 3 44
P
z’
ercy Goetschius, Muſ. Doc.
I” considering the artistic achievements of a member
of the gentler sex in the domain of musical compo-
sition, one is always strongly tempted to indulge in the
customary reflection upon the relation of sex to the art
of music creation. As interesting as this question may
be to the psychologist, and as unavoidable as it may be
deemed by the accurate historian, it seems to me to
lose all significance, to fade into a mere shadow, in
the strong light that radiates from the music itself which
has been given to the world by Mrs. H. H. A. Beach,
the eminent American-born composer. For Mrs.
Beach writes both like a man and like a woman. Her
music manifests feminine traits of a delicacy and tender-
ness scarcely attainable by a masculine nature ; and
masculine traits as genuine and virile as any man could
exhibit. She commands the strongest artistic virtues of
womankind, and does not wholly escape some of the
weaknesses of her brother artists. How completely
the sex question (in its popular form) vanishes out of
the scrutiny of Mrs. Beach’s music might easily be
demonstrated by a recital of some of her works before
a discriminating audience, under substitution of a ficti-
tious name, without sex clue. Those accustomed to
proclaim the superiority of the male composer would,
possibly without exception, fail to suspect that they,
were listening to the artistic creations of a woman ; just
as a few of my acquaintances believe to this day that
George Eliot, as the name implies, was a male author.
Mrs. H. H. A. Beach (née Amy Marcy Cheney)
was born in Henniker, N. H., in 1867. Though her
early musical education was carefully conducted, espe-
f [6
cially her studies in pianoforte technique by her mother
and later by some of the most distinguished teachers in
New England, the development of her very uncommon
talent for composition has been almost wholly achieved
by her own effort, unaided, save in purely rudimentary
theory, by an instructor ; unaided, but also unbiased.
In consequence of this somewhat unique fact, she
has succeeded in preserving her individuality to a rare
degree. What she gives is peculiarly herself. The
technique of tone-combination and the whole estab-
lished system of formal arrangement, style and orches-
tral color-blending, which, elaborate and scientifically
grounded though it surely is, might be termed the uni-
versal “ conventionality’’ of the art, Mrs. Beach
learned, - as any persistent and observant 'student
may learn them, - not from text-books, but directly
from the living master-works themselves. Such an
educational policy might, perhaps, be too hazardous to
commend to all students ; but in the case of real genius,
7]
— laboring wisely to discover among the whole wide
range of foregone experiments and successes precisely
what is best fitted for the full, effective and accurate
expression of its special message, – it is probably the
only rational course to pursue.
That the subject of our sketch should have given
very early proof of her supreme innate gifts is not sur-
prising ; and it was easy and safe to predict a brilliant
future for the author of her first published song, “With
Violets,” issued when she was seventeen (composed
two years earlier), under her maiden name, – a song
so replete with uncharged sentiment, so melodious and
interesting, so faultless in technique and form, that
many a full-fledged composer might envy her much
that it contains ; particularly the exquisite and strikingly
original modulation with which this op. I, No. 1,
terminates.
Mrs. Beach has, obviously, always taken especial
delight in this class of writing ; the largest contingent
[8
of her numerous published works is her songs, and into
each single one she has instilled a portion of her inner-
most nature. They are all of a thoroughly wholesome
lyric character, full of melodic grace, full also of dra-
matic energy and all effectively accompanied. They
have found their way unchallenged into the repertory
of the world’s great and most fastidious singers on both
continents, and no programme of vocal music now seems
complete without her name. Noteworthy among the
songs are “ Ecstasy,” “June,” “ Shena Văn,” the
three “French Songs,” op. 21, and the three
OP. 44.
The same admirable qualities pervade her duets,
** Browning Songs.”
g 2
part-songs for male, female and mixed voices, and her
larger vocal works.
For so proficient an exponent of virtuoso pianoforte
playing as Mrs. Beach herself is, the list of solo pieces
for that instrument is singularly brief, embracing about
a dozen numbers, mostly of very moderate difficulty,
9]
and all exceedingly ingenious and attractive (op. 4, 6,
I 5, 22, 28 and 54) ; two sets of valuable pieces for
children, a book of six easy duets, “Summer Dreams,”
and a cadenza to Beethoven’s C minor concerto. Besides
these, four duets for piano and violin, and a suite for
violoncello and piano (op. 58, still in manuscript). Of
her piano concerto and violin sonata we shall speak
later. Her most recent pianoforte composition is a set
of Variations on Balkan Themes (op. 60). Those who
have had the rare pleasure of hearing them, as played
by the author, place them unquestioned among the most
impressive and beautiful works of this kind in musical
literature. Mrs. Beach has adopted the novel device of
selecting one Balkan melody of very great pathetic
beauty as main theme, while three other of these popular
melodies are interlined as contrasting elements, here and
there between and among the variations themselves.
But the genius of Mrs. Beach has not confined itself
to the smaller forms of composition. From the outset
ſ [Io
she has turned her attention from time to time to the
larger and broader tasks, with a firmness born of con-
scious power and, in nearly every instance, with sig-
nal success. Her most elaborate achievements in the
field of vocal writing are the Mass in E flat, op. 5,
begun when she was but nineteen years of age, and fin-
ished about three years later, — a work which, though
betraying the extreme youth of its author here and
there, also exhibits numerous passages of extraordinary
power and originality, and distinctly presages a brilliant
career; further, “ The Minstrel and the King,” op. 16,
for male chorus and orchestra; “Festival Jubilate,” op.
17 (written in 1893 for the dedication of the Woman’s
Building, Chicago Exposition), one of her most thought-
ful and scholarly efforts; a Cantata, “ The Rose of t
Avontown,” Op. 30, for women’s voices and orchestra,
of a more graceful bearing than most of her other works;
the exquisite Wedding-Cantata, “Sylvania,” op. 46; a
motet, “Help us, O God,” op. 50, for a cappella chorus,
I 1 | -
•
wherein she demonstrates her consummate mastership
of contrapuntal art, notably in the extremely powerful
and truly beautiful five-voice fugue at the end. There
are enough composers who pride themselves upon their
ability to write fugues, but very few who would ven-
ture, publicly, to construct one for five unaccompanied
vocal parts | Further, an aria for soprano with or-
chestra, “Jephthah’s Daughter,” op. 53, in which
Mrs. Beach rises to heights of dramatic fervor only
less remarkable than the firm grasp with which she
sustains the passionate mood and holds it subject to
the design of the whole; and a setting for chorus'
of women’s voices with solos of Tennyson’s “Sea
2
Fairies,’’ op. 59, - a striking and thoroughly suc-
cessful study in contrasts. The singularly constant
and healthful maturing process of the artist, both in
conception and technical manipulation, may be traced
almost step by step in these more extensive vocal com-
positions.
[12
Besides these, Mrs. Beach has demonstrated the
loftiness of her aims and her complete command of the
broader music forms in her “Gaelic Symphony,” Op. 32,
with its splendid sway of fierce passion, its deep pathos
and the well contrasted grace of its effective Scherzo:
further, in the “Pianoforte Concerto,” op. 45, in which,
as a natural consequence of her intimate knowledge of
the resources of the piano, and her wide experience in
orchestral writing, she has produced a highly interesting
work, —possibly weakened slightly by its length and
technical exactions, but full of brilliant and impressive
details; and, finally, in the “ Sonata for piano and
violin,’’ op. 34, − a composition which challenges the
admiration of every serious-minded musician who has
become familiar with its numberless points of distin-
guished merit. This work reflects so completely and
accurately the distinctive characteristics of Mrs. Beach’s
musical conception and methods of execution that it
may iustly be singled out for more detailed considera-
y Justly 8
I3]
~s.
tion. In this Sonata (written in six weeks) Mrs.
Beach makes open acknowledgment of the ideal,
which she recognizes and pursues. She adopts the
modes of development peculiar to the classic masters,
thus implying that no commonplace models can satisfy
her ; and her perfect success in handling these strictly
logical methods proves that they are a part of her own
individual thought and conviction, and not merely bor-
rowed means. The themes of the Sonata are of that
rugged, almost uninviting melodic type frequently en-
countered in the writings of Brahms; selected with a
just sense of the fundamental principle that the themes
themselves are to supply the elements of pregnancy and
strength, while the real beauty, interest and artistic value
of the composition, as genuine art product, must be the
result and reward of their skilful manipulation. This
applies chiefly to the principal themes of her Sonatas
however; the secondary ones are more melodious and
contrast well with the others. The development of
[14
the structural design is truly masterly, the harmonies
are rich, chords and keys change and merge with ex-
treme flexibility, though with a persistency that seems
restless at times, and betrays the storm and stress of the
still youthful author. The contrapuntal texture is
woven with sovereign skill, worthy of the greatest
masters of tone.
Mrs. Beach early discovered the secrets of effective
technical setting; and while some of her youthful
works, especially choral, bear evidences of natural mis-
calculation now and then, she almost invariably realizes
the intended effect with a sure hand. Her music may
appear somewhat extravagant to those conservative
critics who look with mistrust upon the trend of mod-
ern conception, and it cannot be denied that she stands
in the vanguard of legitimate progress. But impartial
scrutiny of her work, which covers almost every style
of musical writing, reveals no dangerous eccentricities,
no purely experimental originality, deliberately courted
I5]
at the cost of loyalty to tonal law and structural unity.
She possesses an extraordinary degree of musical vitality,
a well-nigh irrepressible emotional vigor. This may be
misinterpreted by the overcautious observer. It surely
does impart an impulse of passion to her musical thought
and action that tells, in some of her less mature crea-
tions, in a certain unevenness and occasional, though
very rare, traces of extravagance. But the self-control
that she has learned to exercise, under this powerful
stress of subjective feeling, furnishes precisely the most
convincing testimony to her greatness. From this point
of view it is easy to define concisely the salient charac-
teristics of Mrs. Beach’s style: strong, passionate con-
ception and powerful emotional impulse, tempered and
controlled by never-failing command of the means of
expression; hand in hand with an exquisite sense of
melodic and rhythmic beauty; and serious, scholarly,
technical treatment which is as effective as it is always
refined.
[16

CRITICAL REVIEWS AND
NOTICES.
In the early recognition of Mrs. Beach’s work are
appreciative references to her Cadenza for Beethoven’s
Third Piano Concerto.
“ The soloist was Mrs. H. H. A. Beach, who
played Beethoven’s Concerto in C minor. It was an
elegant and finished performance, delicate, clear and
charming in technique, intelligent in the reading and
pleasingly graceful in all of its aspects, but lacking
somewhat in force and contrasts in effect. In the more
tender essentials the effort could scarcely have been
bettered in the refinement of taste and of execution
that characterized it. The Cadenza in the first move-
ment was by Mrs. Beach. It was very elaborate, and
the themes of the movement were worked over with
much skill and ingenuity. The enthusiastic applause
[18
that greeted the artist and her three recalls at the end
of the Concerto were worthily earned.” — Boston
Saturday Evening Gazette, April 23, 1888.
“The twenty-third concert last night was a mem-
orable one, wholly instrumental, yet glowing passages,
of the nature that clings to the memory, were many.
The Concerto, the third one of the great five from the
pen of Beethoven, was so finely rendered as to deserve
a lengthy remark from us.
“ Mrs. Beach's stronger traits are a delicately dainty
touch and a latent vigor that ever arouses itself upon
the summonings of the orchestra. The Cadenza
by Mrs. Beach was in every sense a success. Mrs.
Beach has many of those rare elements that conspire
to make the true pianist. We have seldom heard deli-
cacy and force, a poetic interpretation and a prosaic
vigor, so well combined.”— Boston Times, April 22,
r&88.
19]
“The appearance at the piano of Mrs. H. H. A.
Beach is something which the Symphony public feels
it has a right to expect, and looks forward to through
the long series of solo numbers for the season. This
year that appearance was assigned for the last concert
but one. Mrs. Beach chose Beethoven’s interesting
Third Concerto, which she illuminated, not only with
her sustained and yet splendid style of playing, but also
by a bold, large and shining Cadenza of her own
composition. There is good reason for congratulating
the musical public that Mrs. Beach continues to culti-
vate her rare talent, and that she is willing to share
the fruits of her work with others than her own circle
of family and friendly admirers.”—The Boston Bea-
con, April 22, 1888. *
“Mrs. H. H. A. Beach, the pianist, gave the audi-
ence a delightful exposition of Beethoven’s Concerto
in C minor, played with a delicacy of touch and a
[2O
clearness of expression that developed the beauty of
the composer’s work.”—The Boston journal, April
23, 1888.
“ The Overture had at least the negative merit of
throwing into bolder relief Mrs. Beach's artistic perform-
ance of Beethoven’s Third Concerto. It is the first
time that we have heard this lady in so important a work
of Beethoven, and one making such great demands in
musical conception and in maturity of style; her inter-
pretation of this Concerto shows that she has reached
that highest goal of a pianist’s ambition, namely, an
intelligent and musicianly rendering of Beethoven's
larger works. Every theme, every passage revealed
the most conscientious and self-forgetful prepara-
tion and rendering, aided in no small measure by a
demure modesty of demeanor which makes us forget
the personality of the artist in the work itself. Mrs.
Beach's intelligent conception of the Concerto was
21]
supplemented by absolutely faultless, evenly rounded
technique and careful phrasing. This was particularly
to be noticed in the original Cadenza, which contained
about every variety of difficulty that the pianist is called
upon to contend with; the unusual length of this
Cadenza may be easily pardoned in view of its great
musical beauties ; almost every important theme was
taken up in turn and treated in a manner that skilfully
combined it with just sufficient of the modern spirit.
Of special beauty was the entrance of the second
theme of the first movement, and its harmonic and
contrapuntal treatment. Mrs. Beach’s playing was
thoroughly appreciated by the audience, who insisted
on recalling her three times.”— Boston Post, April
24, 1888.
“It is pleasant to find that Mrs. Beach is, as of yore,
a player of charming gifts of intelligence and receptiv-
ity. She seemed to play as if every phrase was care-
r [22
fully welded with another in a structure it had been
her delight to build. Technically her part in the
Concerto was fluently read, and though the playing
was more gentle than robust, it had artistic balance.
The Cadenza is an excellent piece of writing, in keep-
ing with the movement of which it forms a part, using
the material the two leading themes provided with the
ease of a practised hand, in short, a musician’s effort.
Probably it was not quite so stormy an effort as the one
which Ries, Beethoven’s pupil, made at the first per-
formance of this Concerto, wherein he frightened
Beethoven lest he should fail; but it was none the less
creditable and excellent. Mrs. Beach’s playing fully
earned the two recalls which the audience gave.” *
Boston Traveler, April 23, 1888.
“ The most notable moments of the concert were
with the Third Concerto in C minor of Beethoven
as interpreted by Mrs. H. H. A. Beach. Throughout
23] .
her interpretation the artist seemed wholly absorbed in
a determination to be loyal to the composer’s intent.
Mrs. Beach's Cadenza to the work proved wholly accept-
able. It had all the effect of an analytical essay in its
treatment of Beethoven’s themes, while the modulations
employed were as impressive of their originality as they
were thoroughly admirable and in the best sense effect-
ive. While Mrs. Beach’s pianoforte playing has
often suggested her possession of such creative talent as
only the most gifted and artistic pianists possess, her
Cadenza fully made clear her ability as a composer,
and it is in itself a masterpiece that is entitled to rank
with some of the most important productions of its
class.” – Boston Home journal, April 29, 1888.
“From Arthur P. Schmidt we have just received
• Cadenza to Beethoven’s piano Concerto in C minor
by Mrs. H. H. A. Beach.” This is the Cadenza
which Mrs. Beach played at the Symphony concert
[24
last season, and an examination of the music fully COIl-
firms the good opinion called forth by the performance.
The principal themes are treated not alone freely and
effectively but also with excellent taste. There is a
skilful blending of the modern romantic and classic
spirit and many passages reveal a delicate poetical in-
sight into Beethoven’s music.”—- Boston Post, 1889.
The Valse Caprice introduced by her at a number
of recitals was pronounced by the critics “ to be a
charming bit of musical embroidery, bright in thought,
musicianly in spirit, abundant in difficulties used with
artistic taste and wholly pleasing and interesting in the
hearing. It was given with fascinating refinement and
crispness.” — Boston Saturday Evening Gazette,
March 27, 1889.
“It has been deeply and at the same time grace-
fully thought out, and while it teems with difficulties
25]
that are well worth the mastery of any pianist, it is no
less replete with piquancy and charm.” — Boſton
Home journal, March 26, 1889.
‘‘ Grace, intelligence and sympathy were, as always,
chief characteristics of Mrs. Beach's playing, and her
own waltz, written evidently to display brilliancy and
ease of execution, was elegant in its shaping and in its
delivery.” – Boston Beacon, March 26, 1889.
“The Valse Caprice is a charming and dainty bit of
writing, noteworthy for the fine effect of climax.”
–– Boſton Times, March 27, 1889.
“Her Ballade for the piano received the following
public commendation: It stood all the test of com-
parison, being melodious and rhythmical, full of pleas-
ing color, and has not a little of the genuine fire which
ought to illumine all new creations.’” — Boston Trav-
eler, February 27, 1891.
* [26
“It is a delightful composition, full of artistic charm
that is so prominent a characteristic of her playing. It
has a quiet, melodious opening theme, which is well
developed, a strong middle part in which a broad, fiery
climax occurs and a return to the first mood for an
ending.”— Boston Sunday Courier, March 7, 1897.
“Into the same flowery wreath Mrs. Beach wove
gracefully a Ballade of her own, a composition of larger
form than most of the preceding, and developed out of
interesting subjects. Naturally a ballad tells a story
and is more or less dramatic. This one in the latter
portion waxed to an emphatic and excited climax, hold-
ing attention to the end.” – Boston Transcript (john
S. Dwight), February 28, 1891.
“The Ballade is a thoughtful work, well written,
ingenious in its contrasts, strong in its harmonies, and
marked from beginning to end by keen musical feeling.”
— Boston Saturday Evening Gazette, March 1, 1897.
27]
A volume of songs published in 1891 contained a
number that had already received favorable recognition.
** As a composer of songs she won even a greater
triumph. There were four of them upon the pro-
gramme, one of which is in manuscript. Verses by
Henley, Burns and Shelley were chosen by her, and
the musical setting was in each instance of conspicuous
merit, though the fourth, ‘Dark is the night,’ might be
considered perhaps a ‘mood-picture' rather than a
song. The third, an ariette, is fascinating both in
melody and accompaniment. They were greatly en-
joyed and the singer and the composer were applauded
again and again.” – Boston Post (Philip Hale), March
24, 1897. -
“Mrs. Beach’s songs aroused genuine enthusiasm.
The verses in each case had the true lyric quality . . .
and this has been turned to excellent account by the
composer.”— Transcript, March 24, 1891.
[28
“The most remarkable three songs which have
come to this table for a long time are three Browning
songs by Mrs. H. H. A. Beach.
“In these the words are treated with great insight and
rare cleverness and originality of musical setting. All
are very modern, but all three are singable as well as
playable ; and hearable, too, it may be added. Modu-
lation is very rarely employed so discreetly and at the
same time with such poetic effect as in many places in
these songs. For instance, in the third song, ‘ I send
my heart up to thee,’ at the beginning of the second
page, where upon the word ‘sea the D flat changes
enharmonically to C sharp and the next two syllables
bring a cadence into the tonic a half-step higher. This
modulation is by no means new (Chopin used it and so
have others), but it is done here so nicely and with
such delicacy of insight ! The first, from ‘Pippa
Passes,’ ‘The Years at the Spring,” is a very effective
29]
song for singing.”— Music (W. S. B. Mathews),
February, 1900.
Of “ The Year’s at the Spring,” Madame Emma
Eames has written most cordially, expressing much and
deep appreciation. She has sung it many times with
brilliant effect upon her audiences, never failing to
arouse their enthusiasm. This she modestly accords
the song, forgetting her own prestige and great art,
which have combined to give the composition the high-
est and most poetic rendition. She has kindly sent
the following reference to its effect upon the son of the
poet Browning, a devoted student and lover of music:
“He was intensely moved by the song and said that
the music and words formed one thing, so that one
could hardly call it a setting, nor imagine anything more
perfectly married than his father’s words to the music.”
“Song of Welcome.” Music written to the
[30
ode composed for the opening of the Trans-Mississippi
Exposition in Omaha, Nebraska, “ a notable feature of
the opening ceremonies.” “The spirited words are
well fitted by the stirring, impressive, musical setting,
and this is evidently of those things composed for special
occasions that for artistic worth long outlive the occa-
sion.”— Boston Home journal, June 4, 1898.
An eminent critic and reviewer, H. M. Ticknor,
writes: “Mrs. Beach’s writing has now completely
crossed the line which separates dilettanteism from mas-
tery. First, there stands a full Mass in E flat, and
then there come three ‘Songs of the Sea,” each for
two voices. The texts are, Moore’s “Canadian Boat
Song,” Harriet Prescott Spofford’s ‘The Night Sea,’
and William Ellery Channing’s “Sea Song,” the first
being set for soprano and baritone and the others for
two sopranos. All three—and the same may be said
of a song for one high voice, “Empress of Night’ —
31]
are beautifully and easily melodious, and adorned with
accompaniments full of expressive poetry, elaborate and
yet not so much as to be unjust to the singers or too
taxing for the player. A.
“The ranges are reasonable, the intervals never awk-
ward, and the phrasing flows facilely with the words.”
— Boston Beacon, May 2, 1891.
“ . The Secret.” Sweetheart, Sigh no More.”
* Hymn of Trust.’ The ample musicianship and
technical skill with which the name of this composer is
associated are displayed in these three songs ; but the
artistic purpose and thought are present as well, which
animate the form and make it, as it should be, the
vehicle of the mood to be expressed.
‘‘ ‘The Secret is cast in waltz form, - graceful,
fluent, the vocal writing easy and effective. This
charming song, useful alike for recital or for teaching,
has both French and English text.
[32
“The second in the group is s sensitive and express-
ive setting for the tempting poem by Thomas Bailey
Aldrich, “Sweetheart, Sigh no More.’ The song
is durcheomponirt and keeps pace with the ever-increas-
ing ecstasy of the verses as an interpretive medium.
Interesting alike to singer and pianist.
“In the ‘Hymn of Trust’ the composer has given
deeply religious and emotional music to words by Oliver
Wendell Holmes. This song should be known to
church-singers who care for the dignity and purpose
of their profession. The violin part is entirely ad lib.,
although it is a real obligato, - an independent voice
which enriches the effect. We quote the beginning of
the poem :
“O Love divine, that stooped to share
Our sharpest pang, our bitterest tear,
On Thee we cast each earth-born care.
We smile at pain while Thou art near ! ”’’
Muſica / Record and Reziezw,
Boston, January, 1902.
33]
& & & Come, Ah Come.’ ‘Good Morning.’ * Good
Night.” ‘’Canzonetta.” The finished workmanship of
this new group of songs compels the admiration of the
musician ; their melodic charm and vocal fluency will
attract both singers and teachers. No. 1 is written to
composer’s own words; the mood is one of fine restraint
and poise, though there is a touch of passion as well.
The vocal part is largely diatonic, the figuration in the
piano part both interesting and beautiful. A song
which may fairly be called worthy of the composer’s
reputation. The second song, ‘Good Morning,”
breathes the freshness of the new day ; exhilaration
and life are well expressed in the flowing melody and
the rhythmic pulse of the accompaniment. Words by
Agnes Helen Lockhart. The companion song,
* Good Night’ (words by the same author), is
broadly reposeful in character ; over a deep drone bass
rises a melodic figure, and the voice part added to
these makes a sonorous and beautiful effect. The in-
[34
strumental color at the beginning of the second stanza
is also worthy of special note. This song demands
ability to sustain the phrase, insight and appreciation
of its musical thought for a successful interpretation.
The last song of the group is written to French text,
by Armand Silvestre, for which a good English trans-
lation is provided. This song has grace of form and
melody, and a certain lightness of touch well suited to the
Gallic charm of the verses. The harmonies are happily
chosen, and the accompaniment is ingeniously varied.”
—Musical Record and Review, Boston, june, 1902.
“Mrs. Beach's two new songs, ‘Night’ and
* Alone,’ which were given a first public hearing last
night, are indeed well worth the hearing.” They
are as genuinely musical as are her other compositions,
to a marked degree ; no striving for effects, but a spon-
taneous outpouring of a poet-musician’s heart, mind
and soul — the very art of nature. Her song, called
35]
haſ
~
A4, re...,’ & 24, a 4.6 ° A /2.6, ºr



* Night,” is a poetic, melodic expression of a fine
sentimentality permeated with the Teutonic dream-
thoughts touched by a suspicion of Heimweh.” —
Boſton Transcript, January 27, 1897.
“Of the many new American songs sung by Miss
Carllsmith, Mrs. Beach’s “ Ecstasy struck us as
particularly excellent ; the song is not only beautiful,
but it has a marked character of its own ; it reflects
neither the general physiognomy of the current Eng-
lish song nor that of the songs of the great German
writers; it is also quite free from French traits. We
hardly know which to like best in it, its expressive
beauty or the perfect naturalness with which the
melody unfolds itself, never falling into the common-
place or trivial, yet never taking those unexpected and
forced turns of phrase by which composers at a loss for
an inspiration too often seek to avoid triviality.” —
Boston Transcript, 1893.
37]
“The Milan correspondent of the Musica/ Courier
sends this pleasant news in an account of an important
concert there: ‘Signorina Cratti, an American so-
prano, well known in Boston as Marcia Craft, created
a very favorable impression in two songs of American
composition, but sung in Italian, “ Canzone d’Amore ”
(“A Song of Love”) and “My Sweetheart and I,”
both by Mrs. H. H. A. Beach of Boston. It was a
great satisfaction to the writer to note with what gen-
uine pleasure these songs were received by the Mi-
lanese public. They were beautifully sung by Miss
Cratti, with an air of freedom and authority that was
’’ a broad,
very taking -— giving to the “Love Song
dramatic expression, while the “ Sweetheart and I’’
received a treatment of light and airy touch.’”—Boston
Herald, May 17, 1903.
“Experience has proved again and again that a
concert made up solely of one composer’s music is apt
[38
to be monotonous, tiresome and almost dreary, espe-
cially if a large latitude be not taken in the arrange-
ment of the programme. But nothing like that could
be said of the effect of the evening passed with Mrs.
H. H. A. Beach’s compositions performed in Associa-
tion Hall for the benefit of that worthy object, the
Elizabeth Peabody Home. The music was all light,
and principally vocal. There was a variety as grace-
ful as ample in these settings, and although some of
them were elaborately developed, there was no want
of appropriate and persuasive melody.
“ Mrs. Beach has a sympathetic aptitude in writ-
ing for the female voice, and her quartets were
delicious in their play of parts, their just spirit, their free
fancy and their touch of gayety.” — Boſton Courier,
April 3, 1898.
“An evening with Mrs. Beach as a composer in-
sures us admission into a poetic, musicianly atmosphere
both absorbing and restful.
39]
“Although Mrs. Beach could not do her talent an
injustice in any case, our own preference, where her
creative power is concerned, is for what she produces
for instrumental and especially orchestral effects. Her
strength lies in that direction, but last night we were
almost persuaded to deny ourselves and our own opin-
ions while listening to the bold strokes and poetic
depth of the three songs set to German text.
“Mrs. Beach grasps and flings out with a supreme
touch of nature the very essence of nationality in her vocal
themes. The German songs were unmistakably Teu-
tonic, and one little French bit, Elle et Moi,” echoed
ideally the spirit of the café chantant in its best frame of
mind. The grace and charm of her muse in its flight
was never more delightfully suggested than in this pro-
gramme.”—Boston Evening Transcript, April 7, 1898.
“The Italian Minuet, the Ballad and the ‘Tran-
scription of the Richard Strauss song, ending in a
[40
perfect shower of little runs, were beautiful. The
“Danse des Fleurs,” the Fireflies,” with its sparkling
flashes, so appropriate to the subject, the ‘Scottish
Legend,” which seemed very popular with the audi-
ence, and the Gavotte, which Mrs. Beach was fairly
obliged to repeat, were all most enthusiastically re-
ceived.” – Haverhill Gazette, May 14, 1903.
“Mrs. Beach’s piano compositions were all exceed-
ingly graceful and fascinating and the two grouped to-
gether and which she called ‘ Phantoms ’ and “Fire-
flies very poetical in their conception and effective in
their situation. She has a lovely touch and is mistress
of a fine technic, which enables her to do full justice to
her most delicate fancies. From the effect produced
by her work in this concert it is pleasant to feel assured
that fortunate in youth and in the possession of genius
almost any position in creative musical literature is open
to her.” — Andover Townsman, May 3, 1895.
41] tº -
f
“Covering, as these pieces do, a period of years, it
was interesting to mark the progress toward liberty
which they indicate. The earlier are elegant, well
studied, nicely balanced between voice and instrument ;
fine developments from the poetic thought of the tear ;
but they are reserved, almost to caution. But the later
ones, while losing nothing of thoughtful studiousness,
yet have the spring, the warmth and the independence
which one describes in the common phrase, “letting
go.” They have a ring of their own, and they en-
courage enthusiasm in their singer, as the manuscript
songs made particularly plain.” – Boſton Herald,
March 19, 1903.
“When the true facts of the case are made known,
the argument that women are not possessed of the divine
spark of creative inspiration falls to the ground. The
songs of Mrs. Beach are overflowing with originality
and richness of thought-material. Her music is to the
[42
bulk of vocal literature in Europe and America as the
flowering tree in the full glory of its foliage and blossom
is to the pine rail of a sheep fence.
“She is not a poet dreamer, nor are her instincts
those of the morbid or fastidious impressionist. Her
artistic personality is entirely distinct from the schools
of the day. She is neither a disciple of Richard Strauss,
nor an exponent of the peculiar theories of d'Indy,
Debussy and the other Frenchmen. Nor are her
ideas affiliated with the decadence which programmatic
music and the mixture of arts is bringing upon the
music of the century.
“Her best-known song, perhaps, is “ Ecstasy,’
which has been sung for many years, but which never
grows stale. What could be more graceful and charm-
ing than “ The Blackbird As long as the blackbird
sings may this exhilarating song still pulsate. ‘The
Secret carries with it musical fascination, and “Just
for This ' is none the less delightful. Naive, dainty in
43]
touch, and full of lightness and vivacity, it bespeaks the
wonderful versatility of the composer, for has she not
also portrayed in masterly colors the sombre tints of
nature? ‘Dark is the Night,” poem by Ernest Hen-
ley, is awesome. “ The Western Wind ' is musicianly
from every view-point, and unusually effective for the
voice. Then there is her delicate and dainty • Fairy
Lullaby,’ with rapid high notes for soprano, and her
song ‘Night,” majestic and sublime. Two of her sets
of four songs published last year, “Silent Love’ and
• For My Love,’ are the very epitome of tenderness.
‘‘ ‘Sleep, Little Darling’ is a caressing lullaby, and
the aria for soprano and orchestra, “Jephtha’s Daugh-
ter,’ just published, is dramatic in intention, with a
difficult and imposing accompaniment. Her published
songs number between sixty and seventy.
“It is gratifying to discover that Mrs. Beach has
preserved her entire artistic independence in an age
given over to programme music. Never for an instant
[44
does she desert the musical idea to lend comfort or
consolation to the other arts. Her music is emanci-
pated from allegiance to any dominating influence of
either literature or painting. It does not depend for
its success on a previous knowledge of legend or art
work by the hearers, but is governed by musical prin-
ciples only.
“ Mrs. Beach possesses that fine mental equilibrium
which is the embodiment of present day ideals. This
is apparent in her music, which exhales an atmosphere
of keen, healthy mental activity, with not a trace of
the sensational, the commonplace or the immoral.
“Despite the apparent impossibility of the task for
a woman, Mrs. Beach has composed a successful
symphony in E minor, called ‘ Gaelic,’ which has
been performed four times by the Boston Symphony
Orchestra and once each by the symphony orchestras
of Buffalo, Kansas City and Pittsburg. The San
Francisco Symphony Orchestra and the Municipal Or-
45]
chestra of Boston performed each the second movement
only, and the entire work was presented in 1898 by
the Chicago Orchestra under Theodore Thomas.
“Another of her important works is her violin
sonata in A minor. Some one has called attention to
the fact that Mrs. Beach has used in this sonata the
methods of development peculiar to Brahms. One
thing is certain: it is intellectual music, and every whit
as difficult and scholarly in its working out as the music
of Brahms. She might be called the American Brown-
ing of music, so deeply into the philosophy of thought
does the music penetrate. All of the first movement of
this sonata, the trio of the scherzo, the largo, and the
fugal imitation in the last part have been cited as
excellent.
“The pianoforte concerto in C sharp minor has had
several notable performances. One of the favorable
features of this work is the richness and variety in the
treatment of its principal theme. Every time this
[46
theme appears it has an entirely different harmonic set-
ting from that in any of its previous announcements.
‘‘ Of Mrs. Beach's other works, her Mass in E
flat, begun at the early age of nineteen, is surprisingly
mature. It opens majestically with a Kyrie of re-
markable force and power, followed by a Gloria of
Handelian beauty. The remainder of the work
abounds with good things too numerous to mention
in the compass of this short article. -
“Her smaller piano pieces are in lighter vein. Of
the ‘Four Sketches,’ ‘Fireflies' and Phantoms ’ are
the most infectious. In Autumn is peculiar on ac-
count of the insistent F sharp which hovers in the bass.
Two new piano morceaux have just been published,
and are perhaps even better than the earlier works.
They are ‘Scottish Legend,” an artistic bit which
ranks with MacDowell’s Scotch Poem,” and the
‘ Gavotte Fantastique,” dashing in style, and popular
enough, in a refined sense, to captivate an audience at
47] .
once. A transcription of Richard Strauss’ “Serenade,’
and a Cadenza to Beethoven’s C minor Concerto are
among the most notable of her piano achievements. -
“Of short cantatas she has written a considerable
number. The latest one, “Sylvania — A Wedding
Cantata,’ with piano or orchestral accompaniment,
contains a soprano colorature solo representing the song
of the nightingale and recalling in mood the “Jewel
Song” from Faust.”
“ . The Minstrel and the King’ is a ballad for male
chorus and orchestra, with soli for tenor and baritone
voices, and is dedicated to Theodore Thomas. Then
there is her Festival Jubilate,’ composed for the dedi-
cation of the Woman’s Building at the Chicago
World’s Fair; “ The Rose of Avontown,” for women’s
voices ; a motet, ‘Help us, O God,” and several
pianoforte duets, children’s pieces and selections for
violin and piano.” — Berenice Thompson in Wash-
ington Post, January 10, 17 and 24, 1904.
[48
“The Mass is set in the appropriate key of E flat,
which has dignity and sonority and yet is not too
severe for gentle and gracious correspondences, its
flexible mood lying midway between the brilliancy and
pomp of the natural and sharp keys and the sombre-
ness of those which are signified by a larger group of
flats. There is no introduction, one sustained chord
setting the key for the voices, which begin the Kyrie
in an unaccompanied unison, soon breaking into har-
mony and passing into the full chorus, with short leads
for the solo voices. A fine effect is herein produced by
the entrance, pianissimo, of the choir upon the union
of the quartet and the gradual rise toward a short full
burst in unison, after which the movement ends as it
began, softly and mysteriously, without accompaniment.
The Gloria is supported richly by the full orchestra,
including four horns, three trombones, three trumpets
and kettledrum. The first theme is given out boldly
and in rapid time by the solo tenor, and a development
, 49]
follows at length in which unisons are often effectively
introduced. The key of this theme is B flat, and the
second theme, in a broader rhythm, is cast in D minor
at first, moving through various progressions to a bold
and brilliant working out in which both themes are
strikingly used, the second theme, as being the more
stately, having the more prominence, while the first
supplies the ornate responses and adornments. The
high fervor of the movement is properly found only in
the central climax and at the conclusion, which recurs
to the first theme and ends with the full volume of the
voices. The Laudamus is a sweetly flowing adagio,
instrumented for strings, wood, a pair of horns and
harp. An unaccompanied trio (with orchestral
responses) for soprano, tenor and alto begins it, and
at the words ‘ Gratia'ſ agimus' the time relaxes a
little and the alto enters upon a long and beautiful
solo, fully accompanied, which continues to the end
of the movement. The Qui Tollis requires the strings,
[5o .
the wood, two horns and the English horn, and its
first theme is announced by the chorus altos in G flat
and repeated by the sopranos in D, the whole choir
replying in grave, unaccompanied chords with their
• Miserere nobis.’ At Suscipe deprecationem mostram’
a new and large theme enters, given out by the solo
tenor and wrought out for the chorus, after which the
voices return to the first theme and deliver it in unison
and almost always for to voce to the end. The Quoniam
is a vigorous allegro, written for the full orchestra,
together with the organ, which has not been heard
since the opening movement. It is in E flat, and its
decided theme, emphasized by several double-dotted
quarters and sixteenths, is presented by the basses,
which add a counter theme when the tenors relieve
them of it. The same figures and rhythms, trans-
ferred to different keys, suffice for the thematic material
of the movement, which is entirely for chorus and has
for its conclusion a long and sustained fortifyiºlo pas-
5I]
sage, naturally indicative of the strong faith which the
text professes.
The key remains the same, but the rate is accelerated
in the Credo, which joins on immediately and has the
same full orchestral scoring. There is a dramatic and
fluent soprano obligato for this movement, which
requires a soaring, dominant voice, clear and decisive
also in execution. The scoring marks indicate brilliant
obligati to enhance the vocal effect, and the chorus
is held to such close harmonies as not to interfere with
the freedom of the solo. At the Incarnatus there is
a change to a lento religioſo and to a new rhythm,
but the soprano solo continues — a few of the bars
being infelicitous for such a voice because of their
assigning unfavorable and almost impossible vowels to
their highest notes — until the words Et resurrexit,”
when an energetic allegro begins with a rushing unison
for the choir and an emphatic accompaniment without
the organ, continuing thus to the close. The Sanctuſ,
[52
which is a largo having only the strings, the wood,
one horn and English horn, begins, after quite a little
introduction, with an unaccompanied solo quartet, in-
stantly upon which the chorus take up—in G major—
the Hosanna, which is short but strong. The Bene-
dictus now comes in a long, suave bass solo in the
fresh key of C, only a half dozen bars of chorus,
pianisimo, being set at the close. The Agnus Dei, in
E flat, intended for the full band, organ and harp,
begins with a charming duet for the female solo voices,
followed by a restatement for the tenor, with a counter-
theme for the bass, both contrasting with the soft
Miſereres of the chorus. The end of all comes
calmly in the Doma nobiſ pacem, still keeping the funda-
mental key, and containing a simple but firm bit of a
fugue, at the conclusion of which the voices die softly
away in a repetition of the prayer breathed over soft,
close chords of the strings, the wood and the organ.
It is impossible not to recognize the beautiful human
53]
spirit, the true ecclesiastical feeling and the sincere
sympathy which pervade the whole work, and to ob-
serve further with what care Mrs. Beach has governed
her composition according to their influence, making
form the servant and not the master of ideality and
obeying the old masters as guides and not as dictators.”
— H. M. Tickmor in Boston Beacon.
“ Mrs. H. H. A. Beach, whose high attainments
as a pianist are too well known to connoisseurs to
make further reference to them at all necessary, and
who has lately displayed her inventive faculties in pub-
lic by the presentation at concerts, in which she has
taken part, of piano pieces and songs, has undertaken al-
most the highest flight on which a composer can venture,
— a Mass for solo voices, chorus, orchestra and organ.
Indeed, beyond this there are but two steps, - the
oratorio and the opera. E flat major is the initial and
closing key of the Mass. The beginning, Kyrie, is
[54
simple enough, being mostly in unison or plain harmony
and without accompaniment, except an interjected
chord here and there. Soon a movement in fugal
style appears, but soon gives way to another unison
passage, and so on, until, after a somewhat complicated
movement, the word eleison is sung on a simple
cadence and with simple harmony, unaccompanied,
followed by instrumental phrases, and the prayer for
mercy is ended. So far the ear is not struck by any-
thing distinctive, but it is led naturally by this prelude
to the Gloria, in which the hearer will find much to
command close attention. The sentence of praise to
the Most High is first sounded by the tenor solo.
Then comes a spirited chorus with fugue passages con-
structed on several themes. In this movement one is,
in fact, impressed by the abundance of material and the
lavishness of treatment, especially in the matter of
harmony and counterpoint.
“ Laudamuſ te begins with a trio, soprano, alto,
55]
tenor, and at the words Gratias agimus becomes an
alto solo, a fine but not particularly expressive theme.
There is expression, however, in Qui tollis, the sen-
tences of which are uttered by one-voiced choral
bodies, while a quartet breathes the prayer, Miserere
nobir, without accompaniment. 9 uomiam is an ani-
mated fugue which is carried through the movement.
Credo begins with the assertion, Credo, forte, and
continues with a brilliant theme for soprano solo and
chorus accompaniment. The movement is long and
complicated. Preceding the sentence, Et incarnatus
eſt — a tender melody for soprano — is a movement
in broad chords for organ, reposeful, solemn and
dignified in character. As the voice approaches
the words Et ſepa/tus, the theme moves more quietly
and simply, and the words, Et sepultus est (and was
buried), are utterd very softly, as though the singer
stood before the tomb at the moment of sepulture.
The theme is carried along in the accompaniment, and
[56
dies away. Then sounds with joyous shout, a chorus,
Et resurrexit (and rose again), and the succeeding
sentences of the creed follow, all with animated
themes attending, until Et expectio resurrectionem
(and I look for the resurrection) is reached, when a
quiet, devout style is employed. Amen is uttered,
accompanied by the spirited theme which is used for the
chorus, Et reſurrexit. The themes for Sanctus are
the same as those for the Kyrie, but with modifications,
and are sung without accompaniment by a quartet.
Hosanna is a short and becomingly joyful chorus. For
Benedicta; a pleasing but dignified theme is given to
bass solo. Its last words are a chant, and the chorus
answers, very softly, Hosanna in exce/sis. Agnus
Dei, portions of which are for solo voices, others for
chorus in answering phrases, is a complicated move-
ment and not always seems to be a prayer. Fugue
passages appear in Dona nobis, but the movement ends
with the prayer for peace, softly breathed by the chorus.
57]
The chord of E flat major, gently moving upwards, is
played, and the Mass is said.
“The study of this work has been an interesting
task, and it is cordially recommended to all who care
to know what has been accomplished among us in the
way of high class composition.”— Boston Transcript,
May 23, 1897.
“Mrs. Beach’s Mass, which promised much when
examined by the printed page, has won not only the
applause of a pleased audience, but the general subse-
quent approbation of critics as well. Its strong and
hopeful qualities are many, its defects and errors few
and such as experience and sound advice will correct,
so that the future of some years hence already shines
most auspiciously upon Mrs. Beach, if she shall con-
tinue composition as assiduously as she has begun it.
Chief among its merits is its absolute individuality.
Imbued with the spirit of the best masters, the author
[58
has not copied or imitated any. Her melodic forms
are her own, they are shapely and move naturally.
She has a kindly, sympathetic feeling for the human
voice ; she apprehends passing shrewdly the char-
acteristics of the various instruments, and she selects
them well in correspondence to the sentiments which
they are to support ; she holds her themes securely, and
she shows both intelligence and facility in development,
building up the structure of a movement to a gradually
attained and proper climax. There is, to our think-
ing, also an ecclesiastical feeling in the work, and
we believe that some of file movements would be
more effective and impressive in a cathedral than
in a music hall. Surely this work is to be para-
goned with the great standard masses of the time
which Germany, Italy and France produce, and we
are sure that it would maintain itself well with the
average of these.”— Boston Beacon, February 13,
1892.
59]
“ The performance of this fine composition by the
Handel and Haydn Society, on Sunday evening, gave
great pleasure to the lovers of good music in this city.
It did this, and much more. It made evident the
capacity of a woman’s brain to plan and execute a
work combining great seriousness with unquestionable
beauty. Women have done noble work in pictorial and
plastic art, and have often attained the highest merit in
the interpretation of music. Mrs. Beach is, so far as
we know, the first of her sex who has given to the
world a musical composition of the first order as to
scope and conception. One of the leading characteris-
tics of this was an unmistakable fervor and feeling,
which brought out, instead of concealing, the grandeur
of the words which the music was intended to illus-
trate. Some of its passages were actually luminous
with a brightness akin to that of faith and true senti-
ment. . When, after the close of the performance, a
slight, girlish figure glided into the hall and up the
[60
steps leading to the platform, the audience saw that
this queen of melody still wore the crown of youth,
and preserved its simplicity. Mrs. Beach rather passed
through than accepted the ovation which the public
glady offered her, and seated herself at the piano, to
take her part in the performance of Beethoven’s ‘Choral
Fantasia.’ The occasion was altogether a memorable
one, and the eternal womanly,” cited by Goethe,
received a new and most happy illustration.” —
julia Ward Howe, in Women’s journal.
“Boston, February 7. — The Handel and Haydn
Society to-night gave the initial presentation of a Mass
in E flat, composed by Mrs. H. H. A. Beach of this
city. Mrs. Beach is the first woman in America to
compose a work of so much power and beauty. Mu-
sic Hall was packed, and the piece scored a grand
success. Mrs. Beach appeared as soloist in one of
Beethoven’s works and had an ovation.” – New
York Sun, February 18, 1892.
61]
“The Mass is to be praised first of all for its direct-
ness and clearness, for the deep religious feeling
pervading it, and for the consistency and cohesiveness
with which the composer’s obvious ideas have been
elaborated. It is as a whole strikingly original, and its
themes will be sure to win more and more praise as
they become familiar.” – Musical Record, March,
1892.
“The performance of the Beach Mass by the Han-
del and Haydn Society in Music Hall Sunday evening
awakened no inconsiderable interest in this vicinity.
The work is a masterly production ; it is replete with
classic thought, and contains an abundance of just such
counterpoint as musicians most admire. It is an in-
spired work, and written throughout in a spirit of de-
votion that was sufficient of itself to incite a great work.
In brief, the composer has at once placed herself in the
foremost rank of American composers, and has amply
[62
demonstrated that she is possessed of just such elements
of greatness as now in women seem phenomenal, ow-
ing to certain artistic conditions and repressions which
are rapidly disappearing with advancing civilization.’’
— Boſton Times, February 14, 1892. -
“Of course, it is not fair to judge such a work from
one hearing, but the acutest critics remarked its origi-
nality and remarkable freeness from reminiscences. The
chorus itself, after practising upon it for several months,
found, so I am told, that it grew steadily upon them,
and they became very enthusiastic about its beauties.
It is certainly a proud feather in Boston’s cap that a
woman, a young woman, too, -–for Mrs. Beach wrote
it before she was out of her teens,” — has succeeded
in conquering such difficulties of composition as a poly-
phonic work of that magnitude involves, and pro-
ducing a masterpiece of beauty and originality.”—
Book News, Philadelphia, March, 1892.
63] .
“A full-fledged Mass, for solos, chorus, orchestra
and organ, by a young woman not many years out of
her teens, is something of a rarity ; the public perform-
ance of such a work by the largest and principal
choral organization of a musical capital, assisted by
solo talent of the very first water, is certainly no less
uncommon. That the work shows talent, even re-
markable talent, seems unquestionable, even after a
single hearing. A few short compositions, songs or
fugitive pianoforte pieces give no sure evidence of
talent ; a chance inspiration may come to almost any
one ; there are examples enough of this in the by-
ways of musical history. But a whole Mass is not
written by accident, as a song may be. To write a
series of ten largely developed numbers for solos,
chorus and orchestra implies of itself a certain staying
power. And when we think of the ambitious style in
which this Mass is written, of its variety in modulation,
its frequently contrapuntal structure, our respect for the
[64
young composer grows apace. There are abundant
places where the musical intent is backed up by musical
knowledge and skill. Another item in the work is the
absence of melodic reminiscences ; we do not remember
being struck by a phrase in it that we seemed to have
heard before. There is an abundance of naïve poetic
sentiment in the music — not always of a purely devo-
tional quality, it is true — and not a little that is
strongly effective.” — Boston Transcript, February 8,
1892. |
“It is a work of great breadth. It shows knowledge,
skill and, above all, application, patience and industry.
She has not followed closely an illustrious predecessor ;
she has fixed ideas of her own, and she has not hesi-
tated to carry them out. Her treatment of the text is
modern. She has treated it subjectively and objec-
tively; hence we find mysticism that is intended to
suggest to the hearer a mood, and we also find direct
J
65]
dramatic appeals. It is a pleasure to praise the sin-
cerity of the composer’s purpose, to admit gladly the
many excellences of the work, and to welcome it as an
interesting contribution to the musical literature of the
United States, presented by a woman of this town.”
Boston journal, February 8, 1892.
“The resposeful dignity of form, and the solemnity
and fervor which characterized the work, gave convinc-
ing evidence of the healthy vigor of the composer’s
mind, and of her originality in construction and expres-
sion. It was gratifying to find so much that was clean,
concise and well developed in thought, without affec-
tation of sentiment or redundancy of musical ideas.” –
The Sunday Advertiser, New York, February 27, 1892.
“Sunday evening, February 7, should be marked
with a white stone in the musical history of Boston.
A Mass written for solos, chorus, orchestra and organ,
[66
by a woman not out of her teens’ was performed by
the Handel and Haydn Society to the acceptance of
an immense audience.” — Bostom Musica/ Herald,
March, Z892.
“The Beach Mass is a composition that is well
worth the study of those who decry the ability of
women in the field of music, and the evidences it gives
of thorough musical training, genius in the line of com-
position, melodious idea, skill in the development and
elaboration of themes and command of the modern
orchestra demand generous praise for its composer.
“The several movements of the Mass are very
effectively assigned, and the use made of the quartet and
chorus shows a rare degree of skill and good taste. .
The orchestral scoring commands high praise, for the
modern instrumentation of the work has been made
with much originality in the combinations, and with
admirable judgment.
67]
“The chorus of the society had the assistance of a
most capable quartet of soloists in last evening’s pro-
duction of this work, the singers being Mrs. Jennie
Patrick Walker, soprano ; Mrs. Carl Alves, contralto ;
Mr. Italo Campanini, tenor, and Mr. Emil Fischer,
bass ; the organ part being played as usual by Mr.
B. J. Lang.
“The solo voices proved finely suited to the num-
bers assigned them, and all the singers were in fine
form.
“It was clearly evident that the chorus had given
careful and extended study in their preparation for the
performance, and, under the watchful guidance of
their veteran leader, Carl Zerrahn, they sang the
chorus numbers with splendid effect.
“When Mrs. Beach entered the hall, leaning upon
the arm of Secretary Stone, she was greeted with rising
honors, in which the chorus and audience generally
joined, the ladies of the society waving their hand-
[68
kerchiefs, while the sterner sex made a more noisy
demonstration of their recognization of the triumph of
the young composer. Mrs. Beach bowed her ac-
knowledgments in her own gracious fashion, and was
subsequently well-nigh hidden from view by the offer-
ings to her genius in the form of elaborate floral
tributes.” – Boston Herald, February 8, 1892.
“Fireflies.” “A graceful and brilliant composi-
tion.” – Boſton Home journal, May 14, 1892.
“Is fascination itself.”—Boſton Transcript, May
Z3, V892.
“It is a dainty and fascinating little gem in etude
form abounding in legato thirds. It was applauded to
the echo.”—Boston Times, May 15, 1892.
“ In Autumn '' and “Dreaming.’’ ‘‘Dainty and
charming.”—Boſton Saturday Evening Gazette, De-
cember 3, 1892.
69]
“ Ecstasy.” “Taking rank as the gem of all the .
novelties.” – Boston Herald, November 30, 1892.
“ In Autumn,” “Phantoms,” “Dreaming” and
“Fireflies.” “They are permeated with a tender
melancholy, and the second is especially bold in mod-
ulations and attractive in melody. The last forms an
excellent etude in passages of thirds.” – Boston Mu-
gical Herald, 1893.
• * * Ballade’ for pianoforte, a seriously made composi-
tion with a beautiful principal melody, cleverly de-
veloped and a good deal of dramatic power in the
working out of the middle part. A composition of
considerable difficulty for the player and also capable
of very excellent effect when well done.
“For Sketches – “In Autumn,’ ‘ Phantoms,”
* Dreaming,’ ‘ Fireflies.' . In Autumn,” a very
sprightly composition in F sharp minor, is a good 4–8
rhythm capable of very charming effect.
[70
‘‘ ‘Dreaming,” a meditative, sustained melody, in
the key of G flat, resting upon a triplet motion in the
middle part, with harmonies sensitively changing at
unexpected places, capable of most beautiful effect ; also
an excellent study in cantabile. &
“‘Phantoms,” a scherzo or quasi-mazurka, very
sprightly and pleasing.
“ . Fireflies,” a very delightful study in thirds for
the right hand, with novel and modern fingering, there-
fore extremely well adapted for study. This, when
well done, must be very beautiful, but it is necessary
that the thirds be played with the utmost lightness and
equality. More difficult and also more extended than
either of the preceding, but extremely well worthy
attention. . -
“There are also three interesting pieces not so difficult
in their working out. First, there is a Barcarolle’
in G minor, op. 28, No. 1, a very attractive rhythm
and an extremely attractive harmonic treatment. This
71]
is a piece to be played with pleasure by any amateur
of taste. It is only of moderate difficulty. The
‘Menuet Italian,” No. 2 of the same opus as the
preceding. Remarkably well worked out. The third
piece in the same opus is a waltz, “Dance of the
Flowers,’ bright, sparkling, evanescent, clever for the
piano, and attractive if well done.
“Best of all, perhaps, is the “Romance for Violin and
Piano.” This is a very delightful piece, and would
make an admirable conclusion to a programme.
“With reference to these compositions by Mrs.
Beach, it deserves to be said that they are not women’s
compositions. They are simply just ordinary music of a
very superior kind, if the contradiction of terms may
be permitted. The musical spirit is unquestionable,
the technic of developing ideas that of a well-trained
artist, and the writing for the instrument that of an
accomplished pianist. At the same time, Mrs. Beach
makes no effort to be boisterous and to prove that she is
[72
a man by the brute force necessary to play her works.”
— W. S. B. Mathews, 1897.
“The Romance for Violin and Piano' is worthy
of the author of the “Festival Jubilate.” The audi-
ence cheered to the echo when the number had been
completed and compelled its repetition.” – Chicago
Times, july 7, 1893.
“ This Romance for Violin and Piano,” dedicated to
Miss Maud Powell, was performed by the gifted violinist,
accompanied by the author, during the late Fair.
Those who heard it entertained pleasing recollections of
the beauty and grace of the composition and the fault-
less interpretation by the brilliant composer and artist.
We are led to say that proof convinces us, more than
ever, that there is no sex in music. More of kindred
compositions will be cordially welcombd. This Ro-
mance' ranks with much of the best thought bestowed
73]
on that line of composition. One of its chief merits is
its originality. Artists will be rewarded by studying it.
It is not in an artistic sense difficult, but its beauty and
power lie in its happy phrasing.” — The Music Re-
view, Chicago, january, 1894.
“Last week, performed for the first time at the
concerts of the New York Symphony Orchestra,
Walter Damrosch, conductor, was a Scena and Aria,
• Mary Stuart.” It proved to be a very talented
work. As regards style, musical expression of the
purport of the text, and particularly the treatment of
the orchestra, the composition reminds one emphat-
ically of the so-called “new German method,” which
is rooted in the soil of Berlioz, but whose trunk and
boughs are filled with Lisztian and Wagnerian juices.
Among the great qualities of the composition are per-
fect musical characteristics of situation, temperament
and word. The sentimental expression of feeling of
[74
the unfortunate Scottish queen (“Oh, thanks, thanks
to these pleasant green trees”), the longing sigh which
the imprisoned one sends after the scurrying clouds,
form in fact an enticing poetic example for production
in musical form, and it cannot be denied that Mrs.
Beach’s music embodies perfectly the expression of that
moving scene. In the incomparably poetic reading by
Mrs. Carl Alves, an artist from tip to toe, the compo-
sition made a deep and lasting impression.”—The
New York Staats-Zeitung, December, 1892.
“Part second opened with a Scena and Aria,
• Mary Stuart,” by Mrs. H. H. A. Beach, composed
especially for Mrs. Carl Alves, by whom it was sung
upon this occasion. It was the first time that the
Symphony Society had presented the work of a woman
upon its programmes. There was no lack of ability
shown in the development of the Aria, and the accom-
panying instrumentation. In fact, it is an admirably
75]
written work of decided dramatic feeling and expres-
sion, and one that would do credit to any composer.
The text is from Schiller’s poem, and commences at
the lines, * Oh, thanks, thanks to these trees so green
and friendly.’ There is a thread of a Scotch air that
runs through the accompaniment, that lends piquancy
to the Aria. It is skilfully handled.”— American
Art journal, New York, December ro, 1892.
“The Scena and Aria, Wandering Clouds,” by
Mrs. H. H. A. Beach. The American lady com-
poser has set to music the well known monologue from
Schiller’s Mary Stuart,” which begins with the words,
* Oh, thanks, thanks to these trees so green and
friendly,’ with great fitness and peculiarly deep grasp
of the style of the poem, especially at the point,
‘ Grüsset mir freundlich mein Jugendland,’ with a deep
sense of expressiveness.” — Translated from the
Chicago Staats-Zeitung, Decmeber 7, 1893.
[76
Violin Romance, Piano Pieces and Recita-
tive and Aria for Contralto and
Orchestra.
“This work, now presented for review, shows in
every respect remarkable progress. In the ‘Romance,’
graceful though difficult of performance, a warm, mel-
odic feeling is revealed; if there is here and there a
breath of sentimentality, the composition as a whole is
pervaded by a predominating idea. The leading mo-
tive is interesting in its development.
“In her harmonic structure the lady has pronounced
versatility in which may be distinguished a sincere as-
piration toward vigor and purity of style. This is
especially evident in number one of the sketches for
piano, called “ In Autumn,” in the four passages of
which may be found beautiful effects, resting upon a
rich chord foundation. (See page 2, lower part.)
“The concert composition for contralto, with words
77]
from Schiller’s “Mary Stuart,” at present published
only in vocal and piano score, is dramatic in effect.
The principal theme of the aria, Eilende Wolken,” is
well constructed and exquisitely worked out. Con-
cert singers who are so frequently in search of arias —
not without justice — might well turn their attention
to this composition by their feminine colleague in art.
The aria demands for an adequate rendering the ripest
knowledge and a wide vocal compass.”— Translated
from Hamburger Fremden-Blatt, September 23, 1 899.
“The novelty of the programme was Mrs. Beach’s
variations, heard for the first time. These Balkan
themes, four in number, are of the folk-song type.
There are seven variations, in which a funeral march,
valse lento, a bit of canon, and other devices are used
most effectively. The set of variations shows Mrs.
Beach at her best as a creative musician.” – Boston
journal, February 9, 1905.
- - [78
“ These themes, from folk songs of that long-har-
assed borderland between Christian and Moslem Eu-
rope, are in general of a melancholy character, and
fiom them Mrs. Beach has developed a series of com-
positions marked by deep feeling and great variety
and richness.” — Boston Tranſcript, February 9,
1905.
“ Mrs. Beach played a manuscript composition,
• Variations on Balkan Themes.’ This work bears the
true traits of a splendid composition. She is scholarly,
effective and intensely interesting from beginning to
end.’” — Musical Courier, New York.
“ Mrs. Beach’s contribution from her own compo-
sitions was a Ballade in D flat, starting with a pretty
theme, and worked out in intricate chords and brilliant
runs into a series of climaxes, the original air being re-
called after each climax. It was warmly applauded
79]
and Mrs. Beach was compelled to respond repeatedly
to continued hand clapping.”— Brooklyn Daily Eagle,
March 19, 1902.
“ Nothing in these characteristic pieces, op. 28,
by Mrs. H. H. A. Beach, worthy compositions,
would imply a woman’s hand, unless it be the exqui-
site neatness. Everything is polished and pointed with
the greatest attention. A brooding spirit sounds in
them ; tender, pale themes are well worked out, though
overladen with dissonances. It is ungallant, but one is
astonished that a woman can do so much.”— From
Neue Musikaliche Presse, Vienna, April 3, 1898.
“Mrs. Beach may well be congratulated upon the
cordial reception of her work, the Festival Jubilate, and
its fine performance under the auspices of the Manuscript
Society at the recent concert in Carnegie Hall, New
York.
[80
“It will be remembered that its first performance took
place in 1893, at the Columbian Exposition in Chi-
cago, under the direction of Mr. Theodore Thomas,
the Apollo Club of Chicago and the Exposition Orches-
tra assisting. The following extracts are among the
notices received by the Jubilate:
“‘ Mrs. Beach’s “Jubilate ’’ was most interesting
and satisfactory. It is laid out on broad lines and is
worked out in a thoroughly musicianly way with much
contrapuntal skill. The best portions of the work are
the opening movement, with its broad, sustained effect,
the choral fugue which follows, and the “ Gloria.”
In these the music is simple and direct, and really
noble and inspiring. No part of the work is uninter-
esting, and portions, particularly those which are
scored for full chorus, organ and brass choir, are ex-
ceedingly effective.”
‘‘ ‘It made a deep and satisfying impression, and
gave an official seal to woman’s capabilities in music.
81]
The main idea in the work is an austere theme of the
nature of an antique tone of the church. The whole
work breathes the spirit of the early classic, enhanced
by a modern intensity of coloring that lends to the
otherwise unadorned austerity and asceticism of the
thoughts a weighty human sympathy. The “Jubilate ’’
reflects infinite credit upon Boston’s fair lady muse.”
“‘The new work giving the impression of being
dignified and devoted in style, cleverly conceived and
skilfully constructed.’
“ . There is a certain strength which is far beyond
the majority of the works of its class written by Mrs.
Beach’s masculine compatriots, and therefore places the
work high up among the list of serviceable church
music.’” — The Boston Beacon, April 23, 1898.
“The wide popularity of Mrs. Beach’s compositions
is easily accounted for by the invariable success assured
to performers who give them adequate rendering. It
[82
began with the warm reception accorded her first work
of large dimensions (the Mass in E flat) when pro-
duced under the auspices of the Handel and Haydn
Society, and has been emphasized by the performance
of her “Festival Jubilate' at the Chicago Exposition
and the more recent presentations of her Mary
Stuart ’ aria, the sonata for pianoforte and violin and
the Gaelic Symphony.”
“If it is remembered that Mrs. Beach composed
the Mass when nineteen years old, and in the succeed-
ing ten years has written more than seventy composi-
tions expressive of rare musicianship, it is not surprising
to know that the eminent Halir, upon studying her
Sonata, commended it as a work in the grand style,
deserving the highest praise, and said that her country-
men should be proud of her.” — New York Commer-
cial Advertiser, july zo, 1897.
“Mrs. Beach's ballad, “ The Rose of Avontown,”
83]
for woman’s chorus and soprano solo, has in abundance
such charms as grace, delicacy, naturalness, purity of
expression and fervor. It seems needless to add, con-
sidering the composer’s reputation, how technically
well made the work is. Praise of the ballad on this
score can easily degenerate to patronage of the com-
poser. It should be said, however, that Mrs. Beach
is one of the few of the now rapidly increasing list of
composers who are placing melody in the foreground
as the most important factor of music. Such com-
posers can best appreciate and utilize science as the
gracious and always obliging handmaid of music. One
of the very worthiest exemplars of what melody is and
what its hindmaid not only is but should be is Mrs.
Beach. That is why her art work will endure.” –
Boston Home journal, February 6, 1897.
“ The closing number was Mrs. H. H. A. Beach’s
delightful ballad, “ The Rose of Avontown,’ sung for
[84
the first time in Los Angeles. This latest choral com-
position of Mrs. Beach’s, whose musical and intellectual
work has placed her high among the first composers of
the day, is not only poetic and singable, but is in the
very best and highest sense artistic and scholarly. Not
only this, but the sentiment running through Caroline
Mischka’s quaint little poem has been most admirably
and effectively preserved by Mrs. Beach in her musical
setting. The ballad opens with an allegro movement
full of brightness and originality, and although the har-
mony is sometimes close and intricate, it is never ob-
scure or indefinite. The second movement is a most
charming bit of monologue with choral background,
exquisitely melodious and altogether characteristic of the
subject treated. In the third movement, the purely
dreamy and poetic coloring gives place to strength,
more vigorous motive, emblematical of middle life, with
the visions of girlhood and fancies of youth dispelled,
leaving in their stead the sobered thought and restrained
85]
impulses as well as strength of womanhood. To the
final movement of this altogether fascinating little ballad,
expressive of ripe old age, beautified and adorned by
love and affection, Mrs. Beach has devoted some of
her best thought and most effective work. This choral
number is full of beauty and richness of color, compar-
able only to a gorgeous sunset; and how typical it is of
the picture so touchingly drawn in the closing lines of
the poem :
“But happy was she — though bent and gray,
For love stayed, her life adorning.’”
Los Angeles Capital, june 19, 1897.
“The interest of the evening in the ensemble sing-
ing centred upon Mrs. Beach’s ballad for female voices,
with soprano solo and pianoforte accompaniment.
Mrs Beach accompanied her own composition, and the
solo was sung by Miss Helen B. Wright, whose fresh,
almost naïve voice fitted well “A bride there was in
Avontown. The bride of a bright June morning.’
[86
Mrs. Beach's concerted ballad is rhythmical, poetic and
singable; she weaves her tender, pitiful little motives
in and out of the accompaniment and voice parts with
skill and delightful effects, producing a picturesque
finale by means of a solo echo of the bride motive in-
troduced into a melodic narrative of how “ The bride
waxed old in Avontown.’” — Boston Transcript,
February 5, 1897.
• ‘ Of Mrs. H. H. A. Beach's ballad for female
voices, the Rose of Avontown,” nothing but praise
can be said regarding the composition or its perform-
ance, — both interesting and artistic.”— Boston Ad-
vertiser, February 5, 1897.
‘‘ ‘The Rose of Avontown’ was sung last evening
by the Cecilia chorus for the first time. Mrs. Beach
accompanied the singers. The ballad is a decidedly
charming bit of writing. The author likens a fresh
87]
rose to the bride on a June morning; in the dropping
petals there is the fading of the rosy dreams of the wife,
and finally the stout stem remains, typical of the love
which lightens and adorns the old age of the happy
wife.
“ There is in the music an effective suggestion of
pastoral life, and the spirit of the ballad is a graceful
interpretation of the sentiment underlying the delicately
turned phrases. This ballad must be reckoned one of
the most facile of Mrs. Beach’s contributions.
• ‘Written for female voices, Mrs. Beach has furnished
the soprano with some most appreciative passages — ap-
preciative both to the singer and the audience.” —
Boston Globe, February 5, 1897.
“It is an entirely charming, compact little compo-
sition, nicely balanced between the idyllic and the
pastoral, and built principally upon themes, which are
ingeniously but not abstrusely developed, and flowing
[88
easily without an awkward check anywhere.” — Boſ-
ton Courier, February 8, 1897.
“The feature of the evening was the performance
of Mrs. Beach's Rose of Avontown,” a ballad for fe-
male voices, with soprano solo. This composition is
indeed a pleasing one, written with skill that is not os-
tentatious. The emotion is gentle and becomingly
womanly, for passion in this sentimental bride who on
her wedding day could moralize genteelly over the fate
of a rose would be incongruous. The performance
was all that could be desired.” — Boston journal,
February 5, 1897.
“The simple fact that Mr. Paur has put at the head
of his third programme a manuscript symphony hitherto
unheard, by Mrs. H. H. A. Beach, was in itself a
guarantee that this new composition, the “Gaelic Sym-
phony,’ had the worth which entitled it to such an honor-
89]
able place in the repertoire of the season. For Mr.
Paur has made very few mistakes in his acceptance of
new works, and, taking account of Mrs. Beach’s assid-
uous, earnest work and steady progress, there was good
reason for expectation to be confident.
“From the single hearing that we could have of this
symphony we derived great pleasure and content, and
we are ready to award to it a great meed of praise.
“ Mrs. Beach has entitled her symphony • Gaelic.’
Just why does not openly appear. Perhaps because
some melody comes to its close with the peculiar drop
which is accepted as significant of Celtic music, al-
though it is found elsewhere. But, probably, as we
guess, rather because its moods are significant of those
which history and poetry have roused in the composer’s
mind and heart, and are intended to hint to the hearer
the windy waste, the gloomy world, the strange sad-
ness, the scarcely less strange gayety and the restless
combative spirit of the land and life of the ideal Gael.
[90
“A marked characteristic of the symphony is its de-
cisiveness; almost every movement begins with measures
or chords which are as a command to listen and obey.
The first sets out with a great chromatic rush as of un-
impeded blasts, across which strikes in a sonority of
trumpets the primary theme, as if Ossianic heroes were
gathering in spite of whirlwind and storm. And so in
many other instances the thought is almost imperative
and spoken without any hesitancy or concession.
What is to be said is said clearly and frankly ; no theme
is of meagre size or vague shape, and each stamps itself
on the mind as well as on the ear. While these themes
blend as they are in duty bound to do, they preserve
their characteristic identity, and none seeks to hide itself
behind some other, — they are fellows and equals.
“The first movement is not all swift and strong, but
holds within itself a more tranquil passage under which,
however, the windy motion still is heard. Secondly
comes a very gracious movement of the lingering “Alla
91 |
Siciliana’ manner, in the midst of which comes an
interruption of the highest, merriest tiptoe fashion.
The third is a lento of deeply emotional character, its
tendency being towards a grave sadness relieved for a
time by an episode of more cheerful nature and pace;
the final allegro is vivid, vehement, voluminous and
alert, with a motion as of eager feet ever anxious to hurry
faster, as indeed toward the conclusion they are per-
mitted to do. Each of these movements is consistent
with itself and sympathetically harmonious with the
others.
“Perhaps the one thing which will chiefly impress in
regard to the symphony is its robustness. By this we do
not mean noise ; although the scoring is constantly full,
large and powerful, but certainty and tension of grasp.
One does not feel that there is any danger of the score
pulling apart, so to speak, or that the orchestra rushing
on in their several ways will escape the controlling
hand only to be brought together at the last in a con-
[92
fused heap, like a team of runaway horses. There is
purpose and plan in all the stress and speed, and when
the exigency of the moment is passed, ease and relief
come, and the convenient episode conducts naturally to
the next trial. The instrumentation is interesting and
notable. It is often dense, but we never found it cloudy.
Also there is fine consideration for individual character.
The wooden wind is most discreetly treated and unusual
prominence is given in obligato to the dignified bass
clarinet, while in the second movement there is quite
a touch of inspiration in having the English horn revive
near the close the theme originally set by the oboe.
Some brilliant bits of introduction and cadenza are
assigned to the solo first violin, and the cello has also
a sweet passage for itself. The drums and bass have
distinction with reserve, and for once the piccolo adds
its keen voice without triviality to make a strange theme
more incisive.
“The symphony was heard with close attention, and
93]
there was long and warm applause after each movement.
Of this the orchestra were entitled to a share, for they
played with great care and an almost affectionate enthu-
siasm.” – Boston Courier, November 1, 1896.
“Brooklyn music lovers must all regret that the last
concert of the season has been given by the Boston
Symphony Orchestra. Mr. Paur knows how to group
attractive programmes ; that on Saturday afternoon was
listened to with great interest and by an audience no
doubt especially desirous of hearing the Gaelic Sym-
phony’ in E minor by Mrs. H. H. A. Beach of Boston.
This woman is not yet thirty years of age, but she is a
composer of whom we may be proud. This sym-
phony is one of her most ambitious works and is truly
able. There is nothing feminine about the writing ;
all her work is strong and brilliant. The first move-
ment, A//egro com fuoco, in E minor, has a beautiful
Gaelic folk song interwoven with the theme, played in
canon form by the oboe, flute and strings, where it dies
[94
away in a pianissimo. There is also a beautiful pizzi-
cato for the strings. The second movement, A//a
Siciliana, in F major, has a charming melody, tranquil
and sweet, alternating with a fascinating scherzo. The
third movement, Lento con mo/to expreſsione, in
E minor, is composed of three themes, each beginning
with a short prelude for the wind instruments, kettle-
drum and basses. All three themes resemble folk songs
and have the strongly marked closing minor cadence of
Gaelic music. The fourth movement, Allegro mo/to
in E minor, is also a development of a folk song theme,
but a song of more brilliant style that goes with the
wild dash of a slogan. All the parts are well scored,
and the orchestra played with a brilliancy and perfec-
tion of attack that almost surpassed their previous work
this winter.” — Brooklyn Standard Union, March 29,
1897.
“The scherzo is thoroughly admirable, a delight
95]
to the amateur and the musician. And in the last
movement there are passages which proclaim loudly a
breadth of conception, a skill in carrying out a grand
design, a mastery of climax, that are not always found
in modern symphonies. Themes that arrest the atten-
tion are treated in heroic spirit. The climax is sure,
irresistible.
“Mrs. Beach is a musician of genuine talent, who by
the imagination, technical skill and sense of orchestra-
tion displayed in this symphony has brought honor to
herself and the city which is her dwelling place.” –
Philip Hale, Boston journal, November 4, 1896.
“Another well rounded success was yesterday added
to the many that have been accredited to the Symphony
Orchestra. The concert was the fifth of this season’s
series, and was given at the Grand Opera House.
“The leading feature was the Gaelic Symphony’
by Mrs. H. H. A. Beach of Boston, a composition
[96
brought out by the Boston Symphony Grchestra, and
thus far heard in only two or three cities. It is credit-
able to Conductor Behr’s enterprise that he secured
this manuscript work for one of his programmes, for it
proved to be one of the most beautiful and interesting
novelties yet offered by the orchestra.
“The symphony is not one of great subjective pur-
pose. It has no epic to transcribe, no romance to
narrate, no tragedy to portray. It does not attempt a
conflict of emotions. It is simply an elaboration of
comparatively simple themes for music’s sake. This
elaboration, based upon a scholarly understanding of
orchestral composition, a keen appreciation of incidental
values and a high degree of poetic imagination, has
been most successfully accomplished in this, the first
symphony by Mrs. Beach. Even the themes from
which the work takes its name are not sufficiently char-
acteristic to give them the unmistakable stamp of na-
tionality ; but they are sufficiently distinct to give the
97]
composition essential vitality from a musical standpoint.
The Siciliana,’ or second movement, is a most exqui-
site gem. It is a delicate fancy, divided between a
plaintively poetic introduction and a zizace movement
that preserves all of the finesse with the change of
spirit. If there is anything distinctively feminine in the
symphony it is this second movement, which combines
grace, poetry and refinement. The lento is broader,
statelier and has movements of positive exaltation, some
of the combinations of instruments being strikingly orig-
inal and effective. The fina/e is a superb elaboration
and recapitulation.” — Kanſaſ City journal, March
5, 1898.
“An admirable work, full of both musical force and
poetry. The themes show true invention, the devel-
opment and working out are carried through with an
unusually firm hand, and show both skill and rare fer-
tility of musical resource, There are some composi-
[98
tions which one wishes to hear again, to see if one
cannot at last make something out of them ; others
which one wishes to hear again because it is pleasant to
hear them. Mrs. Beach’s symphony now belongs
distinctly to the latter class. It has earned a place in
the repertory.” — Boston Transcript, February 14,
1898.
“The new hearing, carefully and kindly directed,
established but more firmly the impression created at
first and added new honors to those which Mrs. Beach
has won so worthily and wears so modestly. The
wild sweep of the introduction and the vital massive-
ness of the allegro, the beautiful contrast between the
plaintively swaying Siciliana and the agile zizace of the
second movement, the sweet solemnity and the stor-
mier grandeur of the lento, and the fervid splendor and
swelling climaxes of the finale, were all superbly
brought out. And the delicate and intricate part-
99]
writing for various 0%/igati instruments was all shown
with the elegance of real solos. There was great ap-
plause, and Mrs. Beach had to rise and bow her
acknowledgments.” – Boston Courier, February 13,
1898. N
“The symphony utilizes the full resources of the
modern orchestra, and the instrumentation is that of a
musician who understands the art of producing melodic
contrasts or combinations with effective results.
“The first movement is of a dainty, tripping char-
acter, in which the string contingent of the orchestra
displayed its wonderful team work” by the preci-
sion of its “buzzing,’ which runs nearly throughout
the part. The Siciliana melody of the second move-
ment is a charming bit of music, beautifully wrought
out, and the Gaelic folk songs of the third part are
cleverly suggested. The songs, although lacking in
rugged characteristics, are well defined. The closing
| Ioo
movement is a noble one, showing a breadth of style
and originality that brings the symphony to a stirring
finale. The work of the orchestra was admirable
throughout, and at the close of the performance Mrs.
Beach was obliged to rise from her seat and bow
acknowledgments before the storm of applause ceased.”
— Boston Globe, February 13, 1898.
“The symphony in E minor, composed by Mrs.
H. H. A. Beach, could but have revealed itself, even at
a single hearing, to any adept as a genuine symphony,
— a real, soulful masterpiece.
“If the object of a symphony, in other words a
grand sonata for orchestra, is, as Köstlin says, “to dis-
play a rich, expressive and subjective feeling, whether
this flows forth in a full stream of emotional images or
whether it shows in the form of a great tone picture,
one of the different phases of the prevailing sentiment
of emotional life,” then indeed our composer has
Io I
triumphed. How clearly her composition dwells on
the beautiful, how complete is it void of false art, how
elegantly it is framed into a construction no less full of
intellect than of vocative power, and how identified
with just such qualities of physical and corporeal beauty
as to Correggio were ideal, with just such spiritual beauty
as Angelico most loved, how it clings to all that is
sincere and truthful in art, as unmistakably indeed as
though it were some great painting by Rubens, were
some of the most irresistible impressions created by its
first public performance.
“As a work of form this symphony by a woman
may also be likened to the proportional lines, outlines,
masses, mouldings, intricate surfaces, or spaces which
hold the light and shade of a fine piece of architecture.
- “Mrs. H. H. A. Beach may quite justly be re-
garded as an epoch maker who has broken through old
boundaries and presented an enrichment and extension
of woman’s sphere in art such as has not been sur-
[Ioz
passed or even equalled by any contemporary of her
sex.” — Boston Home journal, November 7, 1896.
“The fifth public rehearsal and concert of the
Buffalo Symphony Orchestra, in its ninth season, will
be signalized in their descent to posterity as remark-
able for the interest which they excited among the
women of the city. The occasion of this was the pres-
entation of a distinctive work written by a woman
under thirty years of age, and almost unknown in this
part of the world. Through the instrumentality of a
musical club of women, Mrs. H. H. A. Beach’s
‘ Gaelic Symphony’ in E minor was secured for
presentation here. Mr. Lund entered heartily into the
effort to make the music known to Buffalo, and the
orchestra worked with great diligence to give the sym-
phony adequate expression. At the matinée it was
most interesting to see first one club, then another,
come down the aisles and take reserved seats. The
103]
teachers likewise were out in full force, accompanied
by large numbers of pupils, and there were women
everywhere, who listened attentively, intelligently and
critically to the symphony.
“The music of the symphony was received both
afternoon and evening with manifest interest, and from
beginning to end it was listened to with the keenest
and most sympathetic attention. The verdict after
both performances was unanimous, namely, that it was
a beautiful and dignified work.
“The orchestra deserves a cordial word of praise for
the manner in which Mrs. Beach’s symphony was
played. It is by no means an easy composition, and
the players were reading from manuscript, which
always increases the difficulties. In some respects the
symphony showed the orchestra to better advantage
than any previous work given this season, and Mr.
Lund is entitled to the thanks of the community at
large for his share in making the concert a memorable
[I o4
one in local history.’” — Charlotte Mulligan, in the
Buffalo Courier, February 5, 1897.
“Mrs. Beach’s symphony was listened to again
with interest and pleasure, and fully confirmed the
favorable impression it made on its first performance
here as a work of strength, imagination, high aspiring
and genuine musical worth.” — Boston Herald, Feb-
ruary 13, 1898.
“ There were two specially interesting features of
the Pittsburg orchestra concerts at Pittsburg Carnegie
Music Hall last evening, the appearance of Mrs.
H. H. A. Beach of Boston as solo pianist, and the
playing of the same distinguished woman’s magnificent
symphony, the Gaelic,’ op. 32, in E minor. Mrs.
Beach was heartily welcomed. Her principal number
was the concerto in G minor, No. 2, for piano and
orchestra, by Saint-Saëns. This work, which is prac-
tically a duo for the solo instrument and the orchestra,
IoS)
gives the performer great latitude. Mrs. Beach’s
work was artistic and full of feeling, while her tech-
nique was perfect. She received a beautiful floral
tribute from some local admirers. The orchestral por-
tion of the concerto was all that could be desired, and
Mrs. Beach complimented Emil Paur on his excellent
handling of his players. For her solo in the second
half of the programme Mrs. Beach chose the rhapsodie
in E flat, op. I 19, by Brahms, and Schutt’s para-
phrase on Der Fledermaus.’
“ Mrs. Beach’s symphony, which was played last
evening for the first time in Pittsburg, is in four move-
ments. It abounds in Sonorous passages for full orches-
tra and there are some effective passages for solo violin
and for violin and cello. The work, which is
dedicated to Mr. Paur, was first given by the Boston
Symphony Orchestra while he was conductor. It is
quite an effective composition, modern in its treatment,
and made a very favorable impression last night, each
[106
of the movements being applauded.” — Pittsburg
Times, December 30, 1905.
“The ninth weekly concert of the Pittsburg orches-
tra at Carnegie Hall last evening was made notable
through the presence as soloist with the orchestra of
Mrs. H. H. A. Beach of Boston, whose excellent
‘ Gaelic Symphony was the chief orchestral number
on the programme.
Mrs. Beach has attained success in many fields of
musical composition, and the masterly symphony
played last evening for the first time before a Pittsburg
audience is in every way indicative of the fact that its
composer is worthy of a place in the fore rank of liv-
ing musicians. It is a work rich in melody, delightful
in orchestration and well rounded in form. The score
is dedicated to Mr. Paur, and under his direction the
symphony was last evening performed in a manner
which called forth unusual enthusiasm,
1 of J
‘‘ Mrs. Beach is a pianist of wide reputation, and her
appearance as soloist last evening was a delightful inci-
dent of the season’s concerts.”— Pittſburg Dispatch,
December 30, 1905.
“The Pittsburg orchestra concert at Carnegie Music
Hall last evening presented Mrs. H. H. A. Beach,
one of America’s foremost composers, in the dual rôle
of composer and pianist, and it is merely justice to the
lady to say that she was immediately popular in each
capacity. As composer she was represented by her
‘ Gaelic Symphony' in E minor, now heard here for
the first time, although it has been produced in several
of the larger American cities during the ten years of
its existence. The freedom with which the composer
handles her material comes almost as a surprise, for
one does not expect a composer who necessarily has a
limited practical orchestral experience to manifest the
fluency and sureness displayed in the orchestration of
[108
77
J-6,
- pe c- &
era, the Gaelic Syraškoye, op.82

this symphony. The color is rich and varied, almost
invariably effective. The themes are decidedly melo-
dious and their development is logical and sensible.
Strange to say, the four movements met with almost
uniform approval, though one would predict a prefer-
ence on first hearing to the second movement, with its
naive Siciliana and dainty ſcherzo.” — Pittsburg Ga-
zette, December 30, 1905.
“It has fallen to the lot of Mrs. Beach, the com-
poser of the ‘Sonata for Piano and Violin,’ to create new
fantasies, and on this ground her work can certainly be
considered an enrichment of the literature of music,
worthy of wider dissemination. Her principal themes
are at times coy, as in the Scherzo mo/to vivace ; con-
templative, as in the first movement; affecting, as in the
Largo con dolore, which is somewhat too long drawn
out, blossoming into gay, sweet-scented luxuriance in
the finale Allegro con fuoco. The Sonata is sonorous
[I Io
and graceful in both violin and piano parts, though the
latter in the last movement somewhat overstepped the
allotted bounds of chamber music. One could see
and hear how warmly Frau Carreno felt toward the
new work, and Herr Halir also gave to it the very
soul of his art as a violinist. So we made the ac-
quaintance of a beautiful work by means of a most
beautiful rendering, and have not delayed the expres-
sion of our acknowledgment in the liveliest manner.”
—Translated from Volkſ-Zeitung, Berlin, October
30, 1899.
“Between these great quartet compositions we
greeted as the third number of the programme the “Sonata
in A minor for Piano and Violin' (already heard here
some time ago) by our highly esteemed Boston composer,
Mrs. H. H. A. Beach. Again we were captivated
by this work, distinguished in many respects, which in
each of the four movements, notably in the two allegros
I I I]
and in parts of both middle movements, is genuinely
musical music. It is music that is freely developed out
of itself, that appeals to the ear and heart of the hearer
by its interesting flowing style and strict form, enclosing
a deeply significant expressiveness. It was performed
with rare sympathy and brilliancy by the composer
(whom we have welcomed for years as a superior
pianist) in association with Mr. Bendix. In this
work the latter showed himself a violinist of great
consequence.” — Translated from The Bostomer
Anzeiger, March 23, 1903.
“Between Beethoven and Mozart came Mrs. Beach,
and she was not crushed between the upper and nether
millstones either. Her ‘Violin Sonata in A minor’ is
a fine work, greatest in its first and last movements.
The first movement, in good sonata allegro form, has
a stern and majestic chief theme and a subordinate theme
of ineffable beauty. There is no repeat of the exposi-
| 112
tion, but the composer proceeds at once to a devel-
opment that is masterly, using both chief and subordinate
subjects for thematic material. The recapitulation is
clearly made, yet with sufficient variation to maintain
the interest, and the coda (in which the violin has
considerable work in low register also skilfully combines
the subject matter aforesaid, a logical and beautiful first
movement. The second movement is in ſcherzo and
trio form, with a tricksy and daintily elusive chief
theme and an impressive organ point on the G string of
the violin in the trio. This movement was heartily ap-
plauded by the audience.” — Boston Daily Advertiſer,
January 5, 1897.
** The last of the series of five matinées of chamber
music announced by the Kneisel Quartet of Boston at
the beginning of the season was given yesterday in
Mendelssohn Hall. The Sonata of Mrs. Beach was
heard for the first time, and the composer played the
I 13]
piano part. Mrs. Beach deserves well of her country-
men, for she has proved that it is possible for a woman
to compose music which is worthy of serious attention.
This cannot be said of many women composers in any
country, and in this country Mrs. Beach stands almost
alone. Her Symphony, which has been played here,
is a dignified and earnest attempt at composition in the
highest form, and the sonata heard yesterday is another
work of serious intent. It is in the classical form with
the ſcherzo preceding the slow movement ; the form
is not always perfectly clear, but it is not so obscure
that it cannot be followed by any person accustomed to
ear analysis. The first movement of the Sonata is
written in a rather free style, with romantic feeling and
with much warmth in the thematic working out which
enters into the movement early. The scherzo is per-
haps the most successful of the four divisions of the
work. It is full of spirit, and it is admirably made in
its treatment of the two parts. The slow movement
[I 14
is the most ambitious, and in so far as its beginning and
end are concerned it is the most beautiful.” — Wezo
York Times, March 29, 1899.
“Pugno, the pianist, was recalling the other day that
Ysaye and he had played in France a Sonata of our Mrs.
Beach for violin and piano without suspecting that the
composer was a woman or knowing that she was an
American. They chanced upon the Sonata in a bundle
of music, scanned it, liked it, and added it to their
repertory. Perhaps this is the way, and not through
incense-burning clubs and patronizing special concerts,
that American composers win recognition — when they
deserve it.” — Boston Evening Transcript, December
22, 1905.
“The Bendix Quartet of New York, which rep-
resents fairly the status of chamber music in that city,
gave a concert at Steinert’s on Wednesday afternoon.
I 15]
Mrs. H. H. A. Beach assisted, playing with Mr.
Bendix her own brilliant and powerful Sonata, which
she has presented in Boston with Mr. Kneisel, and with
which Mme. Teresa Carreno, aided by one or another
eminent violinist, has made great successes abroad.
The work is large in scope, lofty in aspiration, ardent
with passion, rich in the resources of learned composi-
tion and technical advantage, sturdy and brilliant by
turns, and changefully earnest almost to passionateness
or merrily and fancifully light and vivacious.” – Boſ-
ton Courier, March 23, 1897.
“Of the new Sonata by Mrs. Beach it is a pleasure
to write that from beginning to end it fairly teems
with musical ideas, all fine, original and fresh. There
is not a commonplace bar or cadence in it ; neither any-
thing feebly said at second hand. The short first sub-
ject of the opening movement is in the pure minor or
hypo-dorian mode, and has a quaint, incisive rhythm
| 1 || 6
all its own. The second subject offers a fine contrast
and is full of just such comfortable enjoyment as one
derives from an idealized waltz. The second move-
ment, a quick ſcherzo, could but have put everybody
in good humor, while leaving the appetite keen for the
admirably contrasting movements that followed. In
the third movement, a largo con dolore, there is a suc-
cession of distinct, delicately quaint and mystical
changes, which seem to present a series of musical in-
terrogations. With a remarkably spirited allegro con
fuoco the Sonata comes to an end, this final movement
containing an abundance of free, clear and natural
counterpoint, while at the same time being a bright
and animated composition, not without many a dash
of fantasy, almost elfishness. The Sonata, as a whole,
is an eminently sincere, spontaneous and able work and
one that bears the stamp of originality as well as scholar-
ship of surpassing merit. It contributed the most in-
teresting feature of perhaps the most interesting concert
'I 17]
of the Kneisel Quartet season thus far.” — Bostom
journal, january 5, 1897.
“The clever violinist, Mr. Sigmund Beel, gave an
interesting and attractive concert in St. James’s Hall on
Wednesday, when a Sonata of remarkable beauty for
violin and piano by Mrs. H. H. A. Beach, one of
the most considerable of American composers, was ad-
mirably played by Mr. Beel and Mr. Bird. It is a
scholarly and dignified composition, conforming closely
to the classical type, and having many beautiful and
striking passages. Among these may be mentioned
the whole of the first movement in A minor, the im-
pressive trio of the ſcherzo, the deeply felt largo, and
the well constructed fugal passages of the finale.” —
London Times, October 30, 1907.
The following is from the London Graphic of the
same date : “A good, new Sonata for violin and piano
[118
is something of a rarity, and Mr. Sigmund Beel is to be
congratulated most heartily on having produced one at
his concert at St. James’s Hall on Wednesday evening.
It is the work of Mrs. H. H. A. Beach, and it is both
pleasing and original. The first movement is a fine,
broad piece of writing, founded on good melodies, the
second theme being particularly charming. The slow
movement, too, is very beautiful, and full of very real
feeling, forming an admirable contrast to the vivacious
scherzo which precedes it. The work is one which
might very well be added to the repertoires of violinists,
for it is certainly worth playing. The performance
which Mr. Beel and Mr. Henry Bird gave of it was
excellent in every way, and the violinist’s fine tone and
real musicianship have never been displayed to better
advantage.”
“The twenty-first Symphony programme gave
ample opportunity for the listener to exercise his atten-
I 19 |
tion to the full. The lighter of the novelties was a
suite arranged by that skilful master of orchestration
Mottl, from the dainty, graceful and light-stepping
ballet music of Rameau, while the more important was
Mrs. H. H. A. Beach’s new pianoforte concerto in
C sharp minor, op. 45, dedicated to Mme. Teresa
Carreno. This composition displays in dignified, schol-
arly, impressive and gratifying ways that advance upon
herself and that perfecting in art of which Mrs.
Beach’s later writings have given proof. Each new
year sees a fresher, richer and more spontaneous mel-
ody, alike in the simple salon songs and in work for
the chamber, or the orchestral music, while the
variety, surety and strength of the instrumentation de-
velop logically and agreeably.” — Boſton Courier,
April 7, 1900.
“The novelty of the programme was the Concerto
by Mrs. Beach, and it may be said at once that it is
[I2O
fully equal to anything she has written. It is a most
carefully considered and carefully wrought-out work.
It is modern in spirit, it is full of striking passages and
bold and effective modulations, and the technical
knowledge everywhere displayed is of a high and some-
times of a daring character. With the piano Mrs.
Beach attains the coloring and effect she desires. The
most brilliant portion of the work at first hearing is the
last movement. The ſcherzo is bright and spirited.
The piano part is very difficult, but it was played by
Mrs. Beach with grasp, ease, effectiveness and bril-
liancy. Judging from the applause the work won the
approval of the large audience present to hear it.” —
Boston Saturday Evening Gazette, April 8, 1900.
“To follow Brahms’s lead and give four movements
to a Concerto was rather a risky proceeding, but the
scherzo was very brief and presented such pretty fili-
gree work on the solo instrument that one readily con-
121]
doned its interpolation. The largo, although given
on the house programme as combined with the finale was
in reality a movement of itself. The finale seemed to
us the best, most decisive and most original move-
ment of the work. The entire movement was inter-
esting and had many bold and striking contrasts.
The public were in the friendliest mood and recalled
the composer-pianist four times and also added floral
tributes.” — Daily Advertiser, April 9, 1900.
Op. 59, “The Sea Fairies.” A Cantata for women’s
voices, with solos for Soprano and Contralto and ac-
companiment for Pianoforte or Orchestra. Words by
Alfred, Lord Tennyson.
“This is one of the most delightfully melodious and
spontaneous compositions for female voices that it has
been our privilege to review. It does not contain an
uninteresting measure. With the exception of a short
contralto solo at the beginning and near the close, it is
[I22
written entirely for four-part chorus. In the middle a
trio for solo voices furnishes fine contrast, after which
it returns to the first chorus with a soprano obligato
added. The last part is wonderfully beautiful and
strikingly effective. The chorus parts are only moder-
ately difficult.” — Rossetter G. Cole in ‘‘ Good
Music,” Chicago, March, 1905.
“An appreciative audience attended the private per-
formance of Mrs. H. H. A. Beach’s cantata, Syl-
vania,’ in Chickering Hall last night. The music is
bright, the solos good and the cantata tells a delightful
little story very unlike that of most cantatas.” — Boſ-
ton journal, April 8, 1905.
“The work, which is in text a translation from the
German, is well named Sylvania,” for it is illustrative
of a sylvan wedding, and both the lines and music are
redolent throughout of the whisperings of the forest,
the carolling of birds and songs of elves and fairies.
I 23]
Like a midsummer night’s dream, it carries the
auditor away into an age where all the world is young
and innocent and beautiful. A
“The work was rendered with rarest excellence by
a chorus of about fifty highly trained and youthful
voices, about evenly divided as to sex, and conducted
by E. Cutter, Jr.
“At the close of the concert about half the brilliant
audience crowded about the stage, and Mrs. Beach
was obliged to hold an impromptu reception, at which
she was showered with congratulations.” — Boſton
Globe, April 8, 1905.
“Its numbers are well contrasted, and some of them
show that contrapuntal skill which Mrs. Beach has
displayed in her Mass and her symphony.
“ Before the cantata came a number of Mrs.
Beach’s shorter works. Some of these were exquisite,
especially the ‘Ariette' and Shena Van.”
| 124
“Altogether the concert proved, what needs no
further proof, that Mrs. Beach is the leading woman
composer of America. A large audience was present
and applause was constant.” — Boſton Daily Adver-
tiser, April 8, 1905.

125]
Op.
Op.
Op.
Op.
Op.
Op.
Op.
22.
25.
28.
:
COMPOSITIONS BY
M RS. H. H. A. BEACH
PIANOFORTE SOLOS
Cadenza to Beethoven's C minor Concerto. (6 B)
Valse-Caprice. (5 A) .
Ballad in D flat. (5–6)
Four Sketches.
No. 1. In Autumn. (3 C) .
No. 2. Phantoms. (4 A)
No. 3. Dreaming. (4 B)
No. 4. Fireflies. (4 C)
Bal Masqué. Waltz. (3 C) .
Children’s Carnival.
No. 1. Promenade. (2 B)
No. 2. Columbine. (2 B) .
No. 3. Pantalon. (2 B) ſº
No. 4. Pierrot and Pierrette. (2 A–B).
No. 5. Secrets. (2 C)
No. 6. Harlequin. (2 B–C)
Three Compositions.
No. 1. Barcarolle. (4 B) .
No. 2. Menuet Italien. (4 A) .
No. 3. Danse des Fleurs. (4 B)
75
75
75
4O
4O
4O
65
50
25
25
25
25
25
25
5O
5O
50
[126
Op.
Op.
Op.
Op.
Op.
36.
54.
60.
47.
Pianoforte Solos — (Continued)
Children’s Album.
No. 1. Minuet. (2 A)
No. 2. Gavotte. (2 A) .
No. 3. Waltz. (2 B)
No. 4. March. (2 C) tº º
No. 5. Polka. (2 B) . . . . . . . .
Concerto in C sharp minor for the Pianoforte and
Orchestra
Two Compositions.
No. 1. Scottish Legend. (4 A)
No. 2. Gavotte fantastique. (4 B)
Variations on Balkan Themes .
PIANOFORTE DUETS
Summer-Dreams. Six Duets.
(Edition Schmidt, No. 55) . *
(The Brownies – Robin Redbreast–
Twilight–Katydids–Elfin Tarantelle
— Good Night.)
VIOLIN AND PIANO
Romance *
Sonate in A minor * & &
No. 1. La Captive. (G string) .
No. 2. Berceuse
No. 3. Mazurka * * *
Invocation (also for Violin and Organ)
3O
3O
3O
3O
3O
OO
3O
6o
50
25
Op.
Op.
Op.
Op. 55.
23.
34.
4O.
90
OO
4O
5O
65
6o
127]
Op.
Op.
Op.
Op.
Op.
Op
Op
Op.
4O.
I I.
PIANO AND VIOLON CELLO
No. I. La Captive . . . . . . . . . 4C
No. 2. Berceuse . . . . . . . . . 50
No. 3. Mazurka . . . . . . . . . 65
ORCHESTRA
Gaelic Symphony in E min. Score . . . n. 6 oo
Parts . . . n. Io Oo
SONGS
No. 1. With Violets. G (e–f4) . . . . 4O
The Four Brothers. D (cff—f:) . . 6O
No. 3. Jeune Fille et Jeune Fleur.
C# min. (cff—f) . . . . . . 50
. Ariette. Gb (cº-fº) . . . . . 4O
No. 1. Twilight. Eb min. (bb-eb) . . . 4O
N
O.
2
N
O.
4
No. 2. When far fom Her. G min. (c.—g). 4O
No. 3. Empress of Night. G (fº-g) . . . 4O
No. 1. Dark is the Night. E min. (e–b) . 50
No. 2. The Western Wind. G (f-a) . . 4O
No. 3. The Blackbird. D (e—g) . . . . 4O
No. 3. My Luve is like a red, red Rose. Bb
(b?–f) . . . . . . . . . . 6o
Hymn of Trust. Bb (b–f) . . . . . . 5O
— The same with Violin obligato . . . . 65
No. 2. The Secret. Ab (eb—a) . . . 6o
No. 3. Sweetheart, sigh no more. F (d—g). 4O
[128
Op. 18.
Op. 19.
Op. 20.
Op. 21.
Op. 26.
Op. 29.
Songs — (Continued)
Scena and Aria, “‘Wandering Clouds.” From
Schiller’s “Mary Stuart.” C (gº-g)
[Piano or Orchestra] . * g is
No. 1. For me the Jasmine Buds unfold.
Eb (c—g) tº & e º ſº º
No. 2. Ecstasy. Eb (c.—g), D9 (bb-f) .
— With Violin obligato .
No. 3. Golden Gates. F (c.—d)
Across the World. F (a —e) tº gº tº º
No. 1. Chanson d’Amour. Eb (d—bb) [Piano
or Orchestra] * = g º ºs e º e
No. 2. Extase. F# min. (b?–aſſ) [Piano or
Orchestra] . is e º 'º e º e s
No. 3. Elle et Moi. F (c—c) [Piano or
Orchestra] . . . . . . . .
My Star. A (cº–e), Gb (b–db)
Just for this. Ab (f-f), F (d—d)
Spring. Eb (g—ab), C (e–f)
Wouldn’t that be Queer P G (d—g).
Within thy Heart. F (c.—a), D
(a—f;) . . . . . . . . . .
No. 2. The Wandering Knight. D min.
(e—g), B min. (cº-e) . . . .
No. 3. Sleep, Little Darling. Eb (c.—eb).
No. 4. Haste, O Beloved. BP (bb-eb) .
N
:
i
OO
50
5O
6o
4O
6o
4O
50
6o
4O
4O
6o
4O
4O
4O
5o
129]
Op. 35.
Op. 37.
Op. 4 I.
Op. 43.
Op. 44.
No. I.
No. 2.
No. 3.
No. 4.
Songs — (Continued)
Night. Eb (d—g) . tº tº tº
Alone. G min. (c.—bb) [Piano or
Orchestra] . º e - e. e. e.
With Thee. Ab (eb—ab).
Forget-me-not. F (eb-a).
Three Shakespeare Songs. No. 1. O Mistress
No. 2.
No. 3.
No. I.
No. 2.
No. 3.
Mine. G (fº-f; or a).
Take, O take those lips away.
E min. (e—g) . . . . . . . .
Fairy Lullaby. F (e—for a) . . .
Anita. C min. (c-g), A min. (a—e)
Thy Beauty. D9 (db–gb), Bº
(b5—eb) & º e º 'º º
Forgotten. G min. (d—g), F min.
(c—f) . . . . .
Five Songs to words by Robert Burns.
No. 1.
No. 2.
No. 3.
No. 4.
No. 5.
Dearie. F (a—d) © tº e
Scottish Cradle Song. C min. (g——d)
O were my love yon lilac fair.
F (c—f), Eb (b5—eb)
Far awa’. Bb min. (f-gº)
My Lassie. Ab (eb—ab)
Three Browning Songs.
No. 1.
The Year's at the Spring.
D9 (ap—ab), BP (f-f) . . .
4O
50
SO
50
50
4O
4O
50
40
40
3O
3O
30
3O
4O
4O
[I 30
Op. 44.
Op. 48.
Op. 51.
Op. 53.
Op. 55.
Op. 62.
Graduale.
I 3J l
Songs — (Continued)
Three Browning Songs.
No. 2. Ah, Love, but a Day.
F min. (eb—ab), D min. (c—fº)
No. 3. I send my heart up to Thee.
Db (db–bb), Bb (bb-g) .
Four Songs. º
No. 1. Come, ah come ! D9 (ep—f) . .
No. 2. Good Morning. Ab (bb-fb).
No. 3. Good Night. C (a—c or e)
No. 4. Canzonetta. Ab (fb-ab) .
Four Songs.
No. 1. Silent Love. C (f:--ab), A (dž—f)
No. 2. We Three. Ab (e—ab), F (c-f)
No. 3. June. F (fº-for a), D (d—e or f).
No. 4. For My Love. G9 (db-ab), Eb (bb—f)
Aria. Jephthah's Daughter. For Soprano
(cł–c5) with accompaniment for Or-
chestra or Piano. * e
Four Songs.
No. 1. Autumn Song. Ab (e—a), F (cº–f)
No. 2. Go not too far. Eb (d—f), Bb (a—c)
No. 3. I know not how to find the Spring.
G (dž–g), F (cº–f)
No. 4. Shena Van. G (e—a), Eb (c.—f)
When Soul is joined to Soul. Gb (d—bb)
Thou Glory of Jerusalem. From Mass in E9,
G min. (e–bb) . . .
$
f
5o
56
50
5O
5O
5o
6o
5O
5O
75
SO
5O
5O
5O
6o
65,
Songs — (Continued) .
Song-Album No. 1. 14 Selected Songs. (Edition Schmidt,
No. 23) . . . . . . . . n.
Ariette – Dark is the Night – The West-
ern Wind – The Blackbird– Empress of
Night – The Secret — Sweetheart, sigh
no more–The Summer Wind – Hymn
of Trust – The Thrush – Wilt thou be
my dearie P – Ye banks and braes o' bon-
nie Doon — Just for this – Ecstasy.
Song-Album No. 2. 14 Selected Songs. (Edition Schmidt,
Op. Io.
Op. 61.
No. 107) . . . . . . . . .
O were my Love yon Lilac fair–
Within Thy Heart–Anita – Night—
Haste, O Beloved — Forget-me-not—
For me the Jasmine Buds unfold –
The Wandering Knight – O Mistress
Mine – Take O take those Lips away –
Fairy Lullaby — Far Awa’ – June – Good
Morning.
VOCAL DUETS
No. 1. A Canadian Boat Song. Sop, and Bar.
No. 2. The Night Sea. Ist and 2nd Sop.
No. 3. Sea Song. Ist and 2nd Sop.
Give me not love. Sop. and Tenor .
Op. 5.
Op. 16.
Op. 17.
Op. 30.
Op. 46.
Op. 50.
Op. 59.
Op. 19.
Op. 9.
Op. 31.
Op. 39.
ORATORIOS, CANTATAS, ETC.
Mass in E flat. Mixed Voices. Soli, Chorus.
and Orchestra e e º e º 'º
The Minstrel and the King. Male Chorus and
Orchestra & ſº a tº e º 'º
Festival Jubilate. Mixed Voices. Chorus and
Orchestra
The Rose of Avontown.
Women’s Voices. Piano or Orchestra
Sylvania. A Wedding Cantata. Mixed
Voices, Soli and Chorus with Piano
or Orchestral accomp. tº ſº º º
“Help us, O God!” Motet for Chorus
(a Capella) .
Cantata. The Sea Fairies. Women’s Voices.
Piano or Orchestral accomp.
PART SONGS
Men’s Voices
Ecstasy. (Humming accomp.)
w Women’s Voices
Little Brown Bee
Three Flower Songs . wº
No. 1. Over Hill, Over Dale
No. 2. Come unto these yellow sands
No. 3. Through the house give glimmering
light .
OO
75
6o
35
OO
50
50
I O
O8
2O
O8
O8
I 2
I 33]
Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.
Op.
57.
42.
49.
52.
3.
24.
27.
38.
63.
Part Songs — (Continued)
No. 1. Only a Song
No. 2. One Summer Day .
Mixed Voices — Secular
A Song of Welcome. (Additional accompani-
ment of wind and brass instruments)
A Song of Liberty
Hymn of Freedom
Mixed Voices • Sacred
Praise the Lord, all ye Nations
No. 1. Nunc Dimittis • * * * *e
No. 2. Peace I leave with you
No. 3. With Prayer and Supplication
Bethlehem. (Christmas) • *
Alleluia! Christ is Risen. (Easter).
Peace on Earth. (Christmas) .
Service in A:
Te Deum
Benedictus .
I 5
I 5
I 5
I 5
IO
I 5
O8
O8
O8
I 2
I 6
I 5
| 134
| mºnº
|||||||||||||||||
3 g6i500753 Hä67

º
I

- ， ） –
: •*****-->ſae*** -ae.și： ：、、、、、：¿·ſae→ ·ſae- № Ķīšįķīſiſ，
§§§§§ 3. *: * · · · -º º•~（ ** * * :ſi s …
ſae … ， ！-· ·
{{ſ-ſºſtaeſſae;*: <--…&\，ſſſſſſſſſſſſſſſ！！！&&{\ſ**taeºſºïſſºſºïſſºſºïſſºſ********--ſae!
: - - - - … * * * *, … º
）----
8.3 ， … （ ： · · · ·
::： ： ***