List of Works

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.”

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)