List of Works

OPUS 1 Quintette for Piano and Violins (1879). B.J. told the story of its composition. “It was nothing less ambitious than a quintette for piano and violins, and the little composer wanted to have it performed for some charity that appealed to her youthful heart. Consulting her father as to the probability of its financial success, he told her that if she should charge twenty-five cents for going in and five dollars for coming out before the performance ended, the question of finance would be settled, as every quarter would be supplemented.”
OPUS 2 Love Plumes His Wings to Fly Away . SSAA. This work was premiered by the Cecilia on Wednesday, January 25, 1893 at the Boston Music Hall. Francis H. Jenks of the Musical Herald said “very delicate and bright.” The Musical Courier said: “Her music is melodious and effective; her use of the lower tones of the alto voice is skillful and the composition shows not only musical feeling, but dramatic instinct as well.” The Herald said that “the ladies never did better work than in Lang”s tuneful and pleasant” work. The 17th. Annual report of the President of the Cecilia (no Society in their title then) dated May 25, 1893 said “and Miss Lang”s delightful bit of four-part writing for female chorus.” The piece was repeated in the 1894-95 season.
OPUS 3 (?) The Maiden and the Butterfly . TTBB. This work was written for the Apollo Club and sung at their April 1889 concert. Called a “quaint and ingenious part song in waltz form, written for the club.” At the January 11, 1916 concert of the Apollo Club then conducted by Emil Mollenhauer at Jordan Hall (full house) with Dr. Archibald T. Davison at the organ, this piece was sung again. The Musical Courier of January 29, 1916 said: “This composition Miss Lang has written expressly for the Apollo Club. It is well constructed and interesting throughout, and was well sung by the club and remanded.” Hughes “Con. Am Com” says p. 434 “&is as fragile and rich as a butterfly”s wing.” Pub. as “Men” s Voices No. 89″ by Schmidt.
OPUS 4 (?) In a Meadow for mixed chorus. Sung at a January 1889 Cecilia concert-many reviews.
OPUS 5 The Jumblies words by Edward Lear for male chorus, baritone solo, and two pianos published by Schmidt in 1890: “Men”s Voices No. 116.” For the Apollo Club. First performance on Wednesday, December 3, 1890. The review in the Musical Herald for January 1891, page 10 said: “It is impossible to deny Miss Lang”s facility in composition or the grace with which she states her ideas, and while she has constructed a rather formidable work upon Lear”s innocent text, she has shown an original bent in her harmonies, and a sympathetic study of the voices.” (Quoted by Ammer in “Unsung”p. 87) Another performance by the Mendelssohn Glee Club in NYC February 10, 1891 was favorably received. However, Philip Hale in the “Post” of December 4, 1890 said: “Miss Lang treated it far too seriously&The text calls for simple, jolly music; but from the first measure to the last the singers passionately content with the pianofortes for a hearing&The composition lacks clearness, directness, and humor; its frenzy is out of place.” He also found fault with her vocal writing. However, about 10 years later, Hughes” opinion of the work is that “”The Jumblies” is a setting of Edward Lear”s elusive nonsense, as full of the flavor of subtile humor as its original. It is for male chorus, with an accompaniment for two pianos, well individualized and erudite.” (Hughes-Con Am Com p. 433)
OPUS 6 Three Songs. Pub. 1891 by Schmid

1. Chinese Song, E min. (c#-e). Words by J. Gautier
2. A Bedtime Song, E (d-d#). Words by Eugene Fiel
3. Lament, D (d-d). Words by S. Galler, 1535. Hughes-p. 434 “Con Am Com” says:” Her Lament I consider one of the greatest of songs, and proof positive of women”s high capabilities for composition.”

 

OPUS 7 Three Songs of the Night. Pub. 1891 by Schmidt

1. Night, B (d-g#). Words by Louise Chandler Moulton.
2. Slumber Song, G (d#-f). Words by Anon.
3. The Harbor of Dreams, E (d-f#). Words by Frank Dempster Sherman. Receipt dated December 17, 1921 for $4 (100 copies @ .04).
OPUS 8 Three Songs of the East. Pub. By Schmidt

1. Oriental Serenade , E min. (c-f#). No poet indicated. Hughes p. 435 Con Am Com “. is an example of weird and original intervals.” Receipt dated 3/20/36 for $6.50 (260 copies @ .025)
2. Christmas Lullaby , F min. (f-e). Words by John Addington Symonds.
3. A Poet Gazes on the Moon . C min. (c-e flat) Words after Tang-Yo-Su, translated by Stuart Merrill.
OPUS 9 Four Songs. Pub. 1892 by Schmidt

1. Heliotrope, F (e-g), Words by F. D. Sherman.
2. Spinning Song, D (d-f#). Words by F. D. Sherman. Hughes Con Am Com p. 434 “is inexpressibly sad, and such music as women best understand, and therefore ought to make best.”
3. The Sky Ship, A flat (e-a). Words by Frank Demster Sherman.
4. Betrayed, A min. (E-a). Words by Lizette Woodward Reeze. Hughes “fiery passion&highly dramatic until its rather trite ending.”
OPUS 10 Orchestral overture, Witichis.Performed on Saturday July 29, 1893 at the Popular Orchestra Concert #45 at the Festival Hall, conducted by Theodore Thomas with the Exposition Orchestra of 114. Theodore Thomas from Elson, plate one, frontispiece.Also played as the opening work of the American Composers Concert on Friday, August 4 at the Music Hall, and again on Wednesday, August 30 at the noontime Popular Orchestral Concert given by the Exposition Orchestra of 100 conducted by Max Bendix. Bendix had heard that B. J. was in town (to play an organ recital later that day), and he arranged to play the work for the composer to hear. “The general character of the work is passionate, with a warmth that seems wholly genuine and unsought; and now and then with more idyllic moments of much beauty; and the orchestration is brilliant” (unatributed quote from “Ancestry.com”) A Boston Transcript story of October 10, 1896 related that when Margaret had finished this work in 1893, the BSO conductor Nikisch said to her, “Would you not like to hear how it will sound? If so, send me the sheets, and I will have the men look it over, and you shall come and hear it.” This experience obviously led to the BSO premier of Opus 12 on April 7 and 8, 1893.
OPUS 11 Love Plumes His Wings . SATB chorus. First performance January 25, 1893. (Cline thesis)
OPUS 12 Orchestra overture, Dramatic Overture. Maestoso in E minor. Elson in “Amer Music” 1925 says- “it has some strong contrasts, especially between the chief theme and the subordinate. The first is grim and medieval, the second tender and human. To place these two in juxtaposition in itself gives something of dramatic power and the development of both is singularly unconventional.” P. 306The premier of this piece in 1893 was conducted by Arthur Nikisch and opened the Boston Symphony 23rd. Rehearsal (Friday afternoon, April 7 at 2:30 PM) and Concert (Saturday, April 8 at 8PM) of its 12th. Season. Also on the program were a

Recitative and Aria from Faust Spohr
Symphony in C Minor #9 Haydn
Two Songs Schubert
Suite #1 in F Major, Opus 39 Moszkowski
Scherzo Capriccioso, Opus 66 Dvorak

William F. Apthorp”s program note began with a short biographical note, and then continued: “The dramatic overture, in so far as its form is concerned, shows the same general tendency to adhere to the spirit of the sonata-form, with a very free interpretation of the letter of the law, that we find in many of Schumann”s symphonic movements. It begins, without preliminary introduction, with the gist of the first theme announced in the trumpets and trombones, with syncopated thuds on the kettle-drums. This syncopated accent – the effect of which is purely rhythmical – is characteristic, and comes in again and again, as the development of the theme progresses. The first announcement of the theme is followed by a sinister cadence in the strings, after which a roll on the drums leads to the second phrase of the theme on the wind instruments, followed by another forbidding cadence in the strings, and another roll on the drums. Then the work of developing the theme – which almost has the character of working-out begins in earnest; this is carried out at some length, a new phrase, first appearing in the violins in octaves, seeming at first like a “first subsidiary,” but soon showing itself to be of far greater importance than a subsidiary theme can claim in compositions which hold fast by the classic form. It is really a natural melodic outgrowth of the first theme itself, and, for the development of the work, must be considered as really part and parcel of it. Its passionate character well fits it for a ”dramatic” companion to the stern parent theme. The relationship of these two phrases is somewhat interesting technically. The first one, given out by the brass, has something of the vague tonality of the old modal writing of the fifteenth and sixteenth centuries, -a character which is made all the more prominent by the grim cadences on the strings that come after it. The second phrase belongs wholly to our modern tonality, and has that expression of personal, individual emotion that came into music with the discovery of our modern tonal system. Here is a juxtaposition that is in itself dramatic! These two phrases-the one stern, forbidding, and impersonal, the other full of passionate human feeling-are played off against each other, in coherent musical development, for some time, a more cantabile second theme gradually growing into being (its relationship with the second phrase just mentioned is not to be overlooked), and more and more asserting its supremacy. Exactly where the ”working-out” begins was hard to say: the sheer development of the first and second themes has had much of sonata-form (which is also that of the overture) have been to a great extent obliterated. Still, the spirit of the form is unmistakably there. One finds it in the return of the first theme at what should normally be the beginning of the ”third part.” Indeed, the working-out proper is rather concise, and the return of the first part of the overture singularly regular for a composition so freely planned out. One feels, as has already been said, a sympathy with the sonata-form, without any predetermined intention of following its dictates to the letter. The overture is scored for the classical ”grand orchestra,” with trombones, big drum, and cymbals, but without bass-tuba, bass-clarinet, English horn, or any of the unusual instruments that go to make up the modern ”Wagnerian” orchestra. It is especially noticeable, too, that the stronger brass instruments (trumpets and trombones) have been reserved for special effects, and often do not figure at all in fortissimo passages. In this the composer has followed both Beethoven and Wagner in one of their most characteristic veins in instrumentation.” An April 2, 1893 Apthorp wrote to Margaret: “Dear Maidie: If you find in the programme-books that I Have made a botch of your overture, it is really not my fault. I am a poor score-reader, at best-although I can get at the inwardness of anything you please, if I only have time-and manuscript is just the point where the worm in my brain turns! A MS. score is to me like a MS. Story; I have to read it three times, where I should have to read it once in print. The Expiring Phoenix (Chadwick) always laughed at me for my helplessness in this matter, saying that a good manuscript was just as good as engraving. But his laughing did not help me. There is something in hand-writing that seems to kill all consecutive perception in me; it is just as bad in words as in music. But I must say that I really and thoroughly enjoyed reading your score-in an incoherent sort of way, letting each measure tell for the moment, just as any idiot listens to music at a concert-and look forward to finding my impression strengthened at the hearing. Where did you get the idea of reinforcing the effect of those jumps from C major to E minor, and E major to A minor, by that Scharfrichter”s rhythm? I don”t know when I have heard that ”Meyerbeer” snap of the two short notes and a long one sound so new, and so little as if Meyerbeer had written it. I have also great hopes for the place where the third horn comes in against the twiddle-twiddle in the violins. And how stunning of you to have kept your trombones and trumpets for the preaching, and made your big crashes without them! I hope Nikisch will follow his native bent, and give the final ”pa-pa-pum.PUM!” as it looks in the score. Ever so many thanks, yrs &c., &c. WILLIAM APTHORP: The entry for William Foster Apthorp in Theodore Baker”s “A Biographical Dictionary of Musicians, Second Edition of 1905” lists his birth as Oct. 24, 1848. He graduated from Harvard in 1869 having taken musical classes with J. K. Paine. He then took piano from B.J. Lang for 7 or 8 years longer. He taught musical subjects at various college-level institutions and also wrote musical criticism being with the “Atlantic Monthly” from 1872-7. From 1881 he was the music critic of the “Evening Transcript” adding the job of drama critic a year later. From 1892 he edited the program books for the BSO. (p. 19) also photo. He died in 1913. (Foote-Auto., p. 139) The entry for William Foster Apthorp in Hubbard”s “History of American Music of ???? states that “William Foster Apthorp is one of the best known of American critics. He was for five years critic of the Atlantic Monthly. In 1876 he became musical critic of the Boston Sunday Courier; in 1878 musical and dramatic editor of the Boston Traveler; and in 1881 he assumed the same position on the Boston Transcript, remaining there until 1903, when he went abroad to live. Mr. Apthorp was for a time program editor of the Boston Symphony Orchestra. He has also lectured at the leading American colleges. He is the author of several books, among which may be mentioned The Life of Hector Berlioz; Musicians and Music Lovers, and numerous translations.” (Hubbard-History Am. Mus., p. 306) The entry for Apthorp in Howe”s “A Hundred Years of Music In America” of 1889 states that age 12 he was taken to Europe where he studied during the next four years at schools in Dresden, Berlin, and Rome. During these years he also studied art with the intention of becoming a painter. he returned to Boston in 1860, and after preparing for, entered Harvard, graduating in 1869. He had given up art on his return to American, and begab piano studies with John K. Paine in 1863 and continued for four years. He then studied with B. J. Lang for six or eight years more. He taught theoretical subjects at the New England Conservatory beginning in 1874 and continuing until 1886. His career as a music critic began in 1872 when he was hired to edit the newly established musical department of the “Atlantic Monthly” which he continued until December of 1877. (See above for the next assignments) “For the last seven years or so (ie. from 1881)he has been engaged upon Scribner”s ”Cyclopedia of Music and Musicians,” in the work of critical editor. During the last seven or eight years of the symphony concerts given in Bosto
n by the Harvard Musical Association, he was a member of the concert and programme committees of that society. The entry for Wuilliam Apthorp in the HISTORY OF AMERICAN MUSIC edited by Hubbard states that “William Foster Apthorp is one of the best known of American critics. He was for five years critic of the Atrlantic Monthly. In 1876 he became musical critic of the Boston Sunday Courier; in 1878 musical and dramtic editor of the Boston Traveler. And in 1881 he aasumed the same position on the Boston Transcript, remaining there until 1903, when he went to live abroad. Mr. Apthory was for atime the program editor for the Boston Symphony Orchestra. He has also lectuired at the leading American colleges. He is the author of several books, among which may be remembered the Life of hector Berlioz, Musicians and Music Lovers, and numerous translations.” (Hubbard, p. 306). Mr. Apthorp is one of the clearest and most satisfactory writers in music that this country has produced. The record above shows, by suggestion at least, how well his work in this capcity has been appreciated by the literary public, for each modification in his way of life has been of the essential nature of a promotion. As he is still comparatively a young man, much may be expected from him in the future.” (Howe-A Hundred Years, p.371) The “National Cyclopedia” article describes Apthorp in the following manner: “Mr. Apthorp”s intelligent appreciation of music and years of study under various masters and in different schools made him a singularly scholarly and vivacious oracle on musical matters. His articles were always interesting. He not only had the power to be serious, but could be witty and whimsical, and even fantastic, and he also had the faculty of fitting the mood to the occasion. He was a delightful master of the art of music criticism, refined but not fastidious, catholic and tolerant but discriminating. ..He died at la Tour-de-Peil, Vevey, near Geneva, Switzerland, Feb. 19, 1913.” (Nat. Cyc., pp. 130-131) From G. L. Howe A HUNDRED YEARS OF MUSIC IN AMERICA, 1889. The Courier review of April 9, 1893 said: “The overture while evidently the work of a skillful and refined musician is nevertheless a very characteristic sample of ”kapelmeistermusik.” There is a certain benign composure and nobility of intent in the writing of it, that is all too conspicuous, but the work appears to contain but a single well defined theme which is very reminiscent of the oriental music in Verdi”s Aida. The theme is so tautologically treated and so frequently repeated that the prevailing impression created by it is one on monotony and lanquor. Perhaps the most praiseworthy feature of the overture is in the orchestral coloring of its harmonic development which is altogether excellent.” Philip Hale in the April 12, 1893 Musical Courier wrote: “Miss Lang”s overture is perhaps a creditable work for a young student. Whether it deserved a place in a Symphony concert is another question. Although Miss Lang in certain songs has shown in the past a pretty melody, the themes of the overture are not of marked originality or striking effect. There are ingenious passages in the detail, but there is a general lack of definite purpose in the conception and in the carrying out. The composer seems to be pricked by the desire of extracting ideas from the orchestral instruments in turn. As a result there is occasional piquancy, and there are pleasing measures, but this dramatic overture is a promise rather than a fulfillment. It is as though the composer deliberately set about to see what she could do in this line, there was nothing musical within that forces its was irresistibly and assumed orchestral shape and color.” THE AMERICAN BIOGRAPHICAL LIBRARY entry quotes an unnamed critic as saying: “The general character of the work is passionate, with a warmth that seems wholly genuine and unsought; and now and then with more idyllic moments of much beauty; and the orchestration is brilliant.”

OPUS 13 Boatman”s Hymn for Male Chorus and Piano. Cop. 1892 by Margaret. Text is anon. As translated from the Irish by Sir Samuel Ferguson. Was written for the Apollo Club, and they gave its first performance on Wednesday, January 18, 1893 with Mr. T. E. Clifford as baritone soloist. It was sung just before intermission to end the first half.
OPUS 14 Not Used
OPUS 15 Five Songs for Soprano or Tenor

  1. King Olaf”s Lilies. Words by L/ W. Reese.
  2. The Dead Ship. Words by L. W. Reese.
  3. April Weather. Words by L. W. Reese.
  4. The Garden of Roses. Words from “Paul Patoff” by F. M. Crawford.
  5. Spinning Song. Words from “Whether we love or hate&” by H. P. Kimball.
  Lib. Of Congress: receipt Dec. 17, 1921 for 148 copies at royalty rate of .075 cents per, totaled $11.10.
OPUS 16 Dear Land of Mine (Mein Theures Land) tr. A. M. K. E (b-f)
OPUS 17 Not used.
NO OPUS Starlight.
NO OPUS Twilight. In (see above), p. 473-477.
 
OPUS 18 Petit Roman en six chapitres (for piano) 1894, pub. Schmidt. B. J. played this at a “Concert for Young People” given by Miss Orvis (five per season) on Saturday, December 1, 1894 at 11AM. It was followed by six of the Nonsense Songs.No. 3 Bal chez Mme. La Princesse. From “The Great in Music”: “This piece is the third number in a little pianoforte romance, called Petit Roman pour le Piano, en Six Chapitres. Opus 18 . The romance has to do with the adventures of the Chevalier and the Prince, the affair terminated by a duel and a neat funeral march and epitaph upon the defunct. The duel, no doubt, grew out of the little waltz with which we are just hear dealing. It seems to have been a pleasant ball, that of the Princess, and when the couple has at last gotten their places and the dance begins, they appear to have a charming time. It is a light, airy and agreeable waltz. After the first figures are finished there is a moment of repose, and here the Chevalier begins to ”exalt himself,” as the French explanations gracefully have it. Miss Lang expresses this exaltation by means of the syncopations and the long running arpeggios in the bass. It is a pity that the English language could not have been used for the explanations, for while French may be understood in Boston, and therefore to have been preferred, there are school children even in Boston who know nothing of this language, and outside Boston the United States contains some millions of folk who understand English better than any kind of foreign tongue whatever. The music, however, is cosmopolitan.”
OPUS 19 Five Norman Songs.All five songs have completion dates of between July 3rd. and 6th. 1894.

  1. My Turtle Dove, E flat (c-d). Words by J. A. Symonds. Hughes pp. 434-5 in Con Am Com says, “&In fearlessness and harmonic exploration shows two of the strongest of Miss Lang”s traits.”
  2. In the Greenwood. Words by J. A. Symonds. D flat (d flat-e flat)
  3. The Grief of Love, F (a-a). Words by J. A. Symonds. Hughes p. 434 Con Am Com says “But womanliness equally marks ”The Grief of Love” which is in every sense big in quality.”
  4. Before My Lady”s Window, E flat (b flat-e flat). Words by J. A. Symonds.
  5. Desire, A flat (b flat-e flat). Words by J. A. Symonds
OPUS 20 Six Scotch Songs

  1. Bonnie Bessie Lee, E flat (e flat-g). Words by R. Nicoll.
  2. My ain dear Somebody, F (f-f). Words by R. Tanahill. Price per copy: 30 cents.
  3. Maggie Away, E flat (d flat-g). Words by J. Hogg.
  4. Love”s Fear, G (e-f#). Words by R. Tanahill.
  5. Menie, D (d-f#). Words by R. Nicoll.
  6. Jock o”Hazeldean, G (d-f#). Words by Scott.
OPUS 21 Rhapsody in E Minor for piano. Pub. 1895 by Schmidt. Receipt dated Nov. 21, 1932 for $6.69 (103 copies @ .065 cents). “In spite of its good details, it is curiously unsatisfying,-it seems all prelude, interlude, and postlude, with the actual rhapsody accidentally overlooked.” (Hughes-Amer. Com., p. 433)
OPUS 22 Irish Love Song. Words unknown. Two keys. F major and D major. Pub. 1895 by Schmidt. Price per copy: 40 cents each. Arr. For Women”s Trio (SSA), #516. Orchestration available from Luck”s for Strings, Flute, and Clarinet. The Musical America review of October 30, 1909 said that at the Schumann-Heink Chicago recital “The enormous hit of the day was Marvourneen.” The “Sousa Archives for Band” at the University of Illinois at Urbana-Champaign has band parts that Sousa made for this song. The Library of Congress Recorded Sound Division listed two recordings from the Dragonette Collection: (1) a broadcast on May 31, 1935 sung by Jessica Dragonette, soprano with the Cities Service Orchestra conducted by Rosario Bourdon, and (2) a Victor test pressing # 05690813 also sung by Jessica Dragonette with piano accompaniment, pianist not identified. Included in the 2000 collection The First Solos: Songs By Women Composers-Vol. I: High Voice edited by Randi Marrazzo. He states that the word “Mavorneen” means “My darling.”
OPUS 23 Orchestra Overture Totila.
OPUS 24 Three Arias for Voice and orchestra.
 
1. Sappho”s Prayer to Aphrodite for contralto. New York 1896 (or 95).
2. Armida for soprano and orchestra. Premier at the BSO Friday afternoon and Saturday night January 11. 1896. Conducted by Emil Paur, soloist Miss Gertrude Franklin. Orchestration: 2222 4200 timp. strings. Notes by William F. Apthorp. Also on the program were:
 
a. Tschaikovsky-Symphony #6
b. Bruch-Fantasia for Violin, Opus 46
c. Berlioz-Corsair Overture, Opus 21 (to end the concert)
  The order of the concert was: Tsch, Bruch, Lang, and Berlioz. Was the first time for Lang and Berlioz. Listed as Opus 24 and called a Concert Aria. Miss Franklin had an ad in the program book as soprano soloist and vocal instructor at 149A Tremont St.The text of this dramatic aria was from Lasso”s “Gerusalemme liberata” Canto IV, Stanzas 70-73. Lang used “Whiffen”s rhymed and exceedingly free” (p. 390 BSO program book) English translation, expunging passages here and there, and substituting her own prose for others in which Whiffen”s diction becomes too anti-musical. Elson (Amer Music-1925) “& is made from a version that deals rather too freely with Tasso. The setting is by no means as dramatic as its poetic subject, and the composer seems to have missed the majestic power of the great death-scene.” (p. 306) A New York performance by the Manuscript Society at Chickering Hall on October 24, 1895 with Miss Zora G. Horlocker as soloist and Adolph Neuendorff as conductor received the following notice from the Herald; “The orchestra overpowered the singer. The composition was uninteresting.” A review by Reginald de Koven said ” It was a pity that Miss Lang wrote her song ”Sappho” for a contralto voice and scored it for a soprano, for on this account it was ineffective.” The review continued that the soloist was “submerged in the orchestra wave. And yet the song is written in a musicianly way, and has color and both poetic and dramatic feelings.” The New York Times review of October 25, 1895 commended her, and suggested that she fell short as she used Sir Edwin Arnold”s translation rather than John Addington Symonds, “and even that falls far short of the original, which is simply majestic.” The review ended by saying that the piece was badly sung!
3. Phoebus” Denunciation of the Furies at His Delphian Shrine for baritone.
OPUS 25 The Hawthorn Tree. A Capella partsong for SATB and S and T solos. Words by Nathan Haskell Dole. Pub. 1896 by Lang, printed by Miles and Thompson, Boston. Harvard Musical Association has a copy with her signed dedication to the poet. Reprinted in 1996 by Walton Music as part of their “Library of Congress Series WLC-1008”-their edition is a photo reprint of the 1896 edition.Bonnie Ran the Burnie Down . Partsong for SATB. 7 pp. Lib. Of Congress has autograph. Pub. Schmidt 1897: “Mixed Voices No. 66.”
OPUS 26 Meditation for piano, 1899. 5 pp. Lib. Of Congress has autograph. Pub by Schmidt. “A Meditation is bleak, with a strong, free use of dissonance.” (Huges-Amer. Com., p. 433)
OPUS 27 The King is Dead. D (a-d or e). Lib. Of Congress autograph.
OPUS 28 Three Songs.

1. A Song for Candelmas. A flat (e-f). Words by Lizette Woodworth Reese. “The Great in Music”-“A pleasant hearty song. & At the end of this song the long holding tones, of which Miss Lang speaks, while the accompaniment continues to recall the main motives of the music. A pleasant idyllic sort of song.”
2. Arcadie, G (d-e). Words by L. W. Reese.
3. My Garden, A flat (e-g). Words by P. B. Marston.
OPUS 29 Evening Chimes for violin, and piano. Performed in 1898. (As listed in Lang article by Adrienne Fried Block in “The Norton/Grove Dictionary of Woman Composers, p. 266) Also OPUS 29 was used for the song Oh, Love, he went a-straying,” text by Lizette Woodworth Reese, published by Breitkopf and Hartel in 1898.
OPUS 30 Springtime for piano. In “The World”s Best Composers,” ed. By Victor Herbert (1899) New York University Society, IV, 967-970.
OPUS 31 Revery for piano (1899). Pub. John Church Co. in “The World”s Best Composers.” Hughes “Con Am Com” p. 438 “&of which the exquisiteness of sleep is the theme. The music is delicious, and the ending is a rare proof of the beautiful possibilities of dissonance.” “The Great In Music”- “More like a study than an improvisation. In the right hand a persistent figure in double notes, while the melody comes in the left. Slightly after the manner of Rubinstein”s ”Kamennoi Ostrow,” Opus 22. The main idea is relieved by a pleasing passage of wide chords, in the manner of a harp. Capable of producing a good effect when well played.”
OPUS 32 Two Songs

  1. A Song in May. Pub John Church, Cincinnati, 1899. Poem by Lizette Woodworth Reese. Hughes “Con Am Com” p. 435 “full of fire and originality.”
  2. Lydia. Pub. John Church, 1899. Poem by above.
OPUS 33 Spring Idyll for piano (1899). Pub. by John Church Co. Hughes in Con Am Com says, “captivating.” In The Great In Music, “A pleasant half meditative piece, in a measure not unlike that of a mazurka. The vague impression which the music produces was probably intended as a fit form for voicing the many undefinable emotions which spring awakens in the susceptible breast.”
OPUS 34 An Irish Mother”s Lullaby. Words by M. E. Blake. Two keys: High in A flat and Low in E flat. Pub. 1900 by Schmidt. Price per copy: 40 cents each. Arr. For Women”s Trio (SSA) #517. Lib. of Congress has autograph of the solo with a new violin obbligato written above it.
OPUS 35 (Cline lists Te Deumas Opus 35).”There is ample reason to say that no modern writer has given us a Te Deum which so thoroughly holds to the churchly situation as does the Te Deum by Miss Lang. It never once relaxes from the mood of the church, never a moment of lassitude, of a lapsing from being the voice of the church into the customary inserts of saccharine beauty. It is one of the greatest church Te Deums in existence.” (Syford-article, p. 23)
OPUS 36 Ballade in D Minor for orchestra. “Won much success in Baltimore in 1901.” (Women”s Work-p. 202). Opened a “Women in Music-Grand Concert” at the Music Hall, Baltimore on Thursday, March 14, 1901 played by the Baltimore Symphony conducted by Ross Jungnickel.
OPUS 37 Six Songs.Pub. 1902 by Schmidt.

1. A Thought. D flat (d-f) Words by John Vance Cheney.
2. Out of the Past. D flat (d-f).
3. The Hills o” Skye. D (b-f) Words by William McLennan.
4. Summer Noon. A flat (e-e) Words by John Vance Cheney. Receipt for 5/24/38 for $10.50 (210 @ .05) and another dated 1/20/49 for $7.50 (150 of the medium version @ .05). Hughes described this song as “a quiet but effective picture.” (Hughes-Contem. Am. Com., p.520)
5. Tryste Noel. F (f-f) and E flat (e-e) and C (c-c). Words by Louise Imogen Guiney.
6. Northward. F (b-f) Words by Henry Copley Greene. Described by Hughes as “strong.” (Hughes-Con. Am. Com., p. 520)
OPUS 38 Four Songs.Pub. 1902 by Schmidt

1. Orpheus. E flat (e-g) Words from Orpheus by Mrs. Fields.
2. Sleepy-Man. G (d-f). Words by Charles George Douglas Roberts.
4. Summer Noon. A flat (e-e) Words by John Vance Cheney. Receipt for 5/24/38 for $10.50 (210 @ .05) and another dated 1/20/49 for $7.50 (150 of the medium version @ .05). Hughes described this song as “a quiet but effective picture.” (Hughes-Contem. Am. Com., p.520)
3. The Span o” Life. E flat (e-g) Words by William McLennan.
4. Song in the Songless. F (e-g) Words by George Meridith. “One of the most beautiful and poetic songs which we have.” (Syford-article, p. 23). Hughes wrote that “Of the four in Op. 38, the effective Orpheus and the unusual Song in the Songless seem the most striking.” (Hughes-Con. Am. Com ., pp. 520-521)
OPUS 39 Songs for Lovers of Children. Merry Christmas . E flat 3pp. Just Because , E flat 4pp. In the Night . E major 4pp. Morning . C major 2pp. Evening . A flat major 2pp. The Sandman . A major 4pp. To-Morrow . D major 4pp. Three Ships . F major 5pp. Lib. Of Congress has autographs.
OPUS 40 Four Songs

1. Somewhere. G (f-g).
2. Day Is Gone . A (e-g) Lib. Of Congress autograph in B flat (b-d). Letter dated Oct. 27, 1903 she asks for the title to be changed to “the single word Evening.” Another letter dated Nov. 5, 1903 says she has permission from Birchard to change to “Day is Gone.” Letter dated Nov. 26, 1906 (written from the Hotel Brighton, Atlantic City where she was indefinitely with her ill mother) responding to Schmidt”s suggestion of publishing a low key version in B flat, says “I cannot imagine ”Day is Gone” sung with any effect by a low voice, as its climax is high and light; but I have not the slightest objection to its publication in the two keys. If you desire it.” (As she was nursing her mother, she asked Schmidt to find someone to do the transposition, but to send the proof to her father for checking.) Lib. Of Congress receipts:
 
a. 2/20/34 305-high .05 $15.25
b. 5/24/37 305-mezzo .05 $15.25
c. 2/24/43 301-high .05 $15.05
d. 12/14/51 150-B flat .05 $7.50
3. The Bird . F# (f-g#)
4. Love is Everywhere . F (e-g) Hughes felt that this song “carries one along in its grateful entusiasm.” (Hughes-Contem A. Com., p. 521)
OPUS 41 A Song of the Lilac.
OPUS 42 Nonsense Rhymes and Pictures. Pub. 1905 by Schmidt.

Arr. for Women”s voices: #446-The Old Lady of France #447-The Old Person of Skye #448-The Person of Filey #449-The Old Person of Jodd #450-The Old Man of Dumbree #637-The Old Man In a Tree
Arr. for Men”s voices: #351-The Old Man Who Said “Well” #352-The Old Man In a Tree
Arr. for Mixed Voices: #131-The Old Person of Cassel
OPUS 43 More Nonsense Rhymes and Pictures. Pub. Schmidt 1907.
 
Arr. for Men”s voices: #353-The Young Lady of Parma #354-The Old Person of Ware #355-The Old Man With a Gong
Arr. for Mixed Voices: #130-The Old Man With a Beard
  The critic William F. Apthorp had published a song setting of “The Owl and the Pussy-Cat” in 1878.The Lonely Rose. Pub. Schmidt 1906 for SSAA chorus, 19 pp. Listed as a cantata for women”s voices. Lib. Of Congress autograph. Letter dated Mar. 13, 1904 says was performed in Jordan Hall last week by the Thursday Morning Musical Club.
OPUS 44 Grandma”s Song Book for the Children. Words taken from “The Daisy” and “The Cowslip” printed in 1807. Cautionary stories in verse adapted to the ideas of children from four to eight years old.
OPUS 45 Not used (?)
OPUS 46 Three Songspub. Schmidt in 1909.

1. An Even Psalm. M. R. Hall
2. Sometimes. T. S. Jones
3. Out of the Night. Anon. Lib of Congress autograph.
OPUS 47 Spring. Poet unknown. Pub. Schmidt 1909. 7 pp. Lib. Of Congress autograph.
OPUS 48 (?) Opus not assigned by Cline. Song of the Three Sisters for SSAA chorus. Pub. Schmidt 1909, 12 pp., “Women”s Voices No. 451.” Copy at Harvard M. A. A 6-page holograph score with no date at Washington Sate Un. at Pullman, WA lists this as the opus for The Wild Brier for women”s voices.
OPUS 49 Not used (?)
OPUS 50 Four Songs

1. A Garden is a Lovesome Thing. T. E. Brown. 5 pp.
2. A Song of the Spanish Gypsies (Solea). Tr. A. Strettell. 3 pp. Hughes saw this as “another interesting and original bit.” (Hughes-Contem. Am. Com., p. 521)
3. Snowflakes. J. V. Cheney. 7 pp.
4. There Would I Be. J. V. Cheney. 5 pp. Lib of Congress autograph.
OPUS 51 Grant, We Beseech Thee, Merciful Lord. Anthem for SATB and solo quartet. Pub. 1912 by Schmidt:” Mixed Voices Sacred No. 1063.” Text is the collect for the 21srt. Sunday after Trinity.
OPUS 52 The Night of the Star: A Christmas Cycle. Words by Denis A. McCarthy. Soli, SATB Chorus, and organ
OPUS 53 Wind.SSAASSAA. Done as part of the 72nd. Season of the Philharmonic Society of New York, Josef Stransky, conductor. Performed on Thursday night, February 26, 1914 and Friday afternoon, February 27. The program was:

Schumann Overture, Scherzo and Finale
Chadwick Three A Capella Choruses-Stabat Mater Speciosa
Lang Wind
Pierne Le Marriage de Marion Performed by the St. Cecilia Club conducted by Victor Harris Intermission
Liszt Dante Symphony for Chorus and Orchestra

Wind, for eight-part unaccompanied chorus was composed for the St. Cecilia Club. The poem was by John Galsworthy. “Miss Lang has written for orchestra, as well as in smaller forms, piano pieces and songs, and the present work is quite in an unusual vein. It is not only excessively difficult, but what is more unusual, its effectiveness is in direct proportion to its difficulty. The color effects secured by limited means-the orchestration, so to speak, for eight parts, all women”s voices, is unique.” Notes by W. H. Hermiston, no page numbers. Lib of Congress autograph. Pub. by Schmidt: “Women”s Voices No. 585.”Arthur Foote describes seeing Victor Harris in Paris during the summer of 1897: “Victor Harris was also in Paris for some weeks, and used to appear on his wheel. We had known him in Boston, on his visits as accompanist for singers, and a singularly sympathetic one he was; a handsome, attractive, talented man, a charming companion and good friend, a successful teacher of singing in New York, and later a distinguished conductor of the St. Cecilia Women”s Chorus there. He is the composer of some lovely songs.” (Foote-Autobio., p. 87)

OPUS 54 No. 1-Into My Heart.A. Meynell. Lib. Of Congress has autograph signed “M.R.L. Sept. 1914” with the note “given by the composer July 28, 1917.” Note on the back loans this manuscript copy to Mrs. Rice for her use only-not to be copied. Signed and dated March 12, 1915.No. 2-Chimes. A. Meynell. Lib. Of Congress has autograph signed and dated as above and given as above. Cline: “Characteristics: Pleasant, successful song utilizing an ostinato figure in the piano in imitation of bells. An unusual chord cluster and deceptive cadence in final measures. The vocal line has a distinctly whole tone quality.” P. 153.
OPUS 55 Cradle Song of the War.Words by N. S. D. Lib. of Congress has autograph “M.R.L. Sept. 1915” and note “Given July 28, 1917 by composer.” Musical America for June 24, 1916 said: “We have seen nothing from Miss Lang”s pen in a long time as worthy as ”A Cradle Song of War.” It is strongly repressed and delivers its message calmly, without show of emotion; yet this may be felt all the more deeply through its seeming reticence. The measures in the piano, over which the voice breathes the word ”Hush,” very softly, are masterly in conception. The song is published in two keys, for medium voice in D Minor and for low voice a third lower.” Pub. by Oliver Ditson. At the Impromptu Club concert of March 1, 1916, it was sung by Mrs. Foote and accompanied by the composer.Cline: “Characteristics: A stunning, dramatic song, worthy of the final statement from Lang in the art song genre. Use of repeated word, “hush,” has a disturbing effect. Interesting harmonic interplay between keys of B minor and D major. Subject of Poem. A mother tries to quiet her baby in a war-torn land, promising that help is coming from over the sea.” P. 154
OPUS 56 In Praesepio (In the Manger) for SATB Choir. R. L. Gates. Pub. by Schmidt for SATB-“Mixed Voices Sacred No. 1196.” Lib. Of Congress autograph originally subtitles “A Christmas Chorale.” Lib. Of Congress has autograph of SSAA arrangement 4 pp. published by Schmidt:” Women”s Voices No. 691.”
OPUS 57 Heavenly Noel for Women”s Choir and instruments by Schmidt: “Women”s Voices No. 692.” NEC has score and eight parts-also an arrangement of the accompaniment for harp and piano. A review in Musical America for Apr. 13, 1918 said: “One of the most important compositions for chorus of women”s voices written by an American in many moons is this work of Miss Lang”s. The dignity of her inspiration, which has won her a place on eminence far above many of her more widely sung sister-composers, permeates this composition, which is a setting of a portion of R. L. Gale”s volume, ”David in Heaven and Other Poems.” It was produced last year in New York by Victor Harris with his St. Cecilia Club and made a profound impression. The four-part women”s chorus hums all through the work, while the solo mezzo-soprano sings the words of the poem, until at the close the chorus has a very impressive ”Sanctus.” The final chord is an ”Ah!” for the chorus. Miss Lang has gone far from traditional lines in this composition and in doing so has achieved one of the most significant compositions of her career. It is a work that will be appreciated by those who admire serious music. It is not for amateur choral societies by any means; they will be able neither to sing it nor understand it.” At the age of 100 Margaret remembered the writing of this piece. “I hadn”t worked over it at all, it just came, it had to be done.” It was about “what the saints do in Heaven on Christmas morning. The chorus makes sounds, they don”t sing words. I had the organ on a single note and it did sound other-worldly. Middle-ages men told me it made them cry. The St. Cecilia Society in New York wanted to do it, and to have me play it for them. I never played the piano in public. And so I went on to New York for that.” (Miller-Globe article)A review in the Boston Transcript of January 11, 1917 about a concert by the Choral Music Society conducted by Stephen S. Townsend (with Lynnwood Farnam as one of the two accompanists). Presented in Jordan Hall January 10th. included many new pieces; “while the least pretentious among them proved the most distinctive and meritorious-to wit a ”Heavenly Noel” set for a choir of women with an occasional solo voice and with accompaniment of harp, string quartet, piano and organ by Miss Margaret Lang. The verses signed R. L. Gales, are a picture of the stir in heaven on the night in which Jesus was born at Nazareth, fancied and worded in the native and homely manner of old German folksong. St Peter lights up his gate-house cabin of oyster-shells; St. Catherine puts on her best gown; the angels sing mechanically-too curious about what is happening on earth to heed their own voices. Miss Lang has clothed these verses in music that follows plastically the flow and beat of the rhymes and that keeps substance and savor with them; while in itself it is freshly imagined, dexterously conducted and abundant in unobtrusively ingenious and prettily fanciful play with the timbres of the women”s voices and the heightening strings. The setting, indeed, does what such music-making should do-heighten the pleasure of the verse and coordinate with it a pleasure from itself.” The Boston Globe review of January 11, 1917 said “Miss Lang”s ”Heavenly Noel” sung recently also by the Impromptu Club, is a composition of true beauty, the text reminding of the quaint frankness without loss of reverence of a French Christmas carol, and the use of solo voice effective against the chorus, particularly in the responses of the latter.” The Boston Herald review of January 11, 1917 by Philip Hale said: “Some of the lines (of the poem) are pleasingly naïve. The music, published last year, is not too deliberately quaint, nor is it affectedly modern. It reflects the spirit of the text. The treatment of the added ”Sanctus” is simple and effective.”
OPUS 58 The Spirit of the Old House: Elegy for piano (1917). Pub. Schmidt. Lib. Of Congress autograph-3 pp.
OPUS 59 One Summer Dayfor piano. Pub. 1919 by Theodore Presser.

1. Hide and Seek in the Barn
2. Morning Lessons
3. Picnic in the Woods
4. Knitting for the Soldiers
5. Driving to the Blacksmith
OPUS 60 Three Pieces for Young Playersfor piano. Pub. 1919 by Theodore Presser.

1. Happy Days
2. Day Dreams
3. Rondoletto

    WORKS WITHOUT OPUS NUMBERS SONGS: Eros . G (d-g) Words by Louise Chandler Moulton. Pub. by Schmidt 1889. Lib. Of Congress autograph. Hughes: “Con Am Com” p.434 says, “…is frail, rare, ecstatic.” Oh What Comes Over the Sea? A min. (e-f) Words by Christina Rossetti. Pub. Schmidt 1889. My Lady Jaqueminot . B flat (f-g) See: In a Garden. Hughes: “Con Am Com” p. 434 ” is exquisitely, delicately passionate.” Ojala . F# (f#-f#) Words from the Spanish Gypsy by George Eliot. Pub. 1889 by Schmidt. Nameless Pain . G (e-g). Hughes: “Con Am Com” p. 434 “Superb.” Ghosts . A flat (f-f) Words by Richard Kendall Munkittrick. Pub. 1889 by Schmidt. Hughes: “Con Am Com” p. 434 “is elfin and dainty as snowflakes.” Schmidt published a SSA arr. In 1947 by Hugo Gordon (pseud. For Hugo Norden). Lib. Of Congress letter-her handwritten reply April 12, 1947 to Schmidt letter of April 11, 1947 requesting permission for trio version by “our Mr. Norden” includes as the final line “Why should anybody want to sing this song???” In the Twilight . E (g-g) Words by H. Bowman. Pub. Schmidt 1889. Lib. Of Congress receipt 12/17/21. Receipt 205 @ .03= $6.15. Song of the Rival Maid . D (f#-g) Words by Joseph Victor von Scheffel. Pub. Schmidt 1889. Meg Merriles . G Minor (d-f) In a Garden. F (d-f) Words by Algernon Charles Swinburne. Sung by Gertrude Franklin at Cecilia concert May 14, 1891 together with My Lady Jaqueminot and Night . Repeated at Cecilia concert Tuesday January 26, 1892 by Mrs. Arthur Nikisch, wife of the BSO conductor. Deserted . E (e-f#) Words b y Richard Kendall Munkittrick. Pub. Schmidt 1890 A Spring Song . E Minor (e-f#) Words by Charlotte Pendleton. Pub. 1890 by Schmidt. My True Love Lies Asleep . Words by Lizette Woodworth Reese. Pub. Schmidt 1893.   PART SONGS-MEN   Here”s a Health to One I Lo”e Dear . Text by Robert Burns. Autograph in the Lib. Of Congress has a note: “From a song arranged by ? T. Surence(?) in “The Songs of Scotland” published by Wood and Co. Edinburgh. Pub. by Schmidt: “Men”s Voices No. 279.” Alastair MacAlastair : arranged for male voices by Margaret Ruthven Lang. Pub. Schmidt 1901: “Men”s Voices No. 278.” Lib. of Congress autograph says “Music taken from an arrangement of the original Scottish air by H. E. Dibdin and published by Wood and Co., Edinburgh&Author unknown.”   PART SONGS-WOMEN   The Wild-Brier for SSAA and piano. Words by John Vance Cheney from “The Time of Roses.” Pub. Schmidt 1909: Women”s Voices No. 452.   ANTHEMS-MIXED   Te Deum in E flat. Autograph in Lib. of Congress. Published by Schmidt as Te Deum in “C”: Mixed Voices Sacred No. 80.

Rental Heavenly Noel $2.50

Oct. 20, ????

518“Old Man Tree” @ .015$6.22

Nov. 20, 1934

505“Irish Love-med.” @ .05$25.25

Jan.25, 1935

505“Irish Love (in F)” @ .05$25.25

Sept. 25, 1935

1028“Irish Love (Women)” @ .01$10.28

Mar. 20, 1936

260“Oriental Serenade” @ .025$6.50

May 20, 1937

305“Day Is Done (mezzo)” @ .05$15.25

312“Grant We Beseech” @ .015$3.74

Nov. 22, 1937

502“Irish Love (high)”@ .05$25.10

Mar. 21, 1938

503“Irish Love (D)” @ .05$25.15

Apr. 20, 1938

303“Irish Love (Med.)” @ .05$15.15

(Apr 20, 1938)? Australian Broadcasting “Irish Love”

1 1/2d..28

May 24, 1938

525“Irish Mother Lullaby (A flat)” @ .05$26.25

210“Summer Noon” @ .05$10.50

Aug. 30, 1938 Two “Irish Love” broadcasting fees $1.81

Jan. 3, 1939

Rental of orch. Parts “Heavenly Noel”$3.00

May 20, 1941

Australian broadcast 4 1/4d..07

May 20, 1941

US broadcasting fees$1.05

May 20, 1941

249 “Irish Love (in F)” @ .05$12.45

Aug. 22, 1941 Performiong fees $14.54

Dec. 19, 1941

1000“Heavenly Noel” @ .025$25.00

Jan. 24, 1942

250 “Irish Love (low) @ .05$12.50

Aug. 24, 1942

301 “Day Is Gone (high)” @ .05$15.05

Apr. 15, 1949

250“Irish Love” @ .05$12.50

Oct. 20, 1949

271“Irish Love (high)” @ .05$13.55

June 20, 1050

250 “Irish Love (low)” @ .05$12.50

Dec. 14, 1951

150“Day Is Gone (B flat) @ .05$7.50

Dec. 14, 1951 Broadcasting fees $9.40         From Half Hours with the Best Composers vol 2, publ: JB Millet Co,1894, Boston  

The following is a list of receipts from Schmidt for her royalties.

Dec. 17, 1921

205“In the Twilight” @ .03$6.15

100“The Harbor of Dreams” @ .04$4.00

148“Five Songs” @ .075$11.10

Jan. 24, 1922

Rental orch. Parts “Heavenly Noel”$5.00

Dec. 20, 1924

1777“An Irish Folk Song (med.)” @ .05$88.85

Dec. 21, 1925

1015“An Irish Love Song (med.)” @ .05$50.75

May 21, 1928

1000 “An Irish Love Song (in F)” @ .05$50.00

Apr. 21, 1931

320“Young Lady of Parma” @ .01$3.20

May 20, 1932

505“Irish LoveSong (in F)” @ .05$25.25

Nov. 21, 1932

103“Rhapsody” @ .065$6.69

Dec. 19, 1933

210“Irish Mother Lullaby-low” @ .05$15.50

Feb. 20, 1934

305“Day Is Gone-high” @ .05$15.25

(Feb. 1939)

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