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  2. List of compositions by Moritz Moszkowski - Wikipedia

I listen his full opus and it has not the magic spell….. Hi, thenameisgarci, I'm always glad to get to know more of Arensky's music.

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Is there a program list of the pieces? Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. That first piece sure grabbed my attention, thank you once again for this amazing discovery! Leave a Reply Cancel reply Your email address will not be published. The music of the American Indian, often strangely beautiful and impressive, would be 23 as reasonably chosen as that of these imported Africs.

He asserts that the Indian music is preferable to the Ethiopian, because its sturdiness and force are more congenial with the national mood. But the true hope for a national spirit in American music surely lies, not in the arbitrary seizure of some musical dialect, but in the development of just such a quality as gives us an individuality among the nations of the world in respect to our character as a people; and that is a Cosmopolitanism made up of elements from all the world, and yet, in its unified qualities, unlike any one element.

Thus our music should, and undoubtedly will, be the gathering into the spirit of the voices of all the nations, and the use of all their expressions in an assimilated, a personal, a spontaneous manner. This need not, by any 24 means, be a dry, academic eclecticism. The Yankee, a composite of all peoples, yet differs from them all, and owns a sturdy individuality. His music must follow the same fate. As our governmental theories are the outgrowth of the experiments and experiences of all previous history, why should not our music, voicing as it must the passions of a cosmopolitan people, use cosmopolitan expressions?

The main thing is the individuality of each artist. To be a citizen of the world, provided one is yet spontaneous and sincere and original, is the best thing.

List of compositions by Moritz Moszkowski - Wikipedia

The whole is greater than any of its parts. Along just these lines of individualized cosmopolitanism the American school is working out its identity. Some of our composers have shown themselves the heirs of European lore by work of true excellence in the larger classic and romantic forms. The complaint might be made, indeed, that the empty, incorrect period of previous Ameri 25 can music has given place to too much correctness and too close formation on the old models. This is undoubtedly the result of the long and faithful discipleship under German methods, and need not be made much of in view of the tendency among a few masters toward original expression.

For, after all, even in the heyday of the greatest art periods, only a handful of artists have ever stood out as strongly individual; the rest have done good work as faithful imitators and past masters in technic. It is, then, fortunate that there is any tendency at all among any of our composers to forsake academic content with classical forms and text-book development of ideas. Two things, however, are matters for very serious disappointment: the surprising paucity of musical composition displaying the national sense of humor, and the surprising abundance of purest namby-pamby.

The presence of the latter class might be ex 26 plained by the absence of the former, for namby-pamby cannot exist along with a healthy sense of the ludicrous.


There has been a persistent craze among native song-writers for little flower-dramas and bird-tragedies, which, aiming at exquisiteness, fall far short of that dangerous goal and land in flagrant silliness. This weakness, however, will surely disappear in time, or at least diminish, until it holds no more prominent place than it does in all the foreign schools, where it exists to a certain extent.

The scherzo, however, must grow in favor. It is impossible that the most jocose of races, a nation that has given the world an original school of humor, should not carry this spirit over into its music. And yet almost none of the comparatively few scherzos that have been written here have had any sense of the hilarious jollity that makes Beethoven's wit side-shaking.

They have been rather of the Chopinesque sort, mere fantasy.

To the 27 composers deserving this generalization I recall only two important exceptions, Edgar S. Kelley and Harvey Worthington Loomis. The opportunities before the American composer are enormous, and only half appreciated. Whereas, in other arts, the text-book claims only to be a chronicle of what has been done before, in music the text-book is set up as the very gospel and decalogue of the art. Certain dissonances are permitted, and certain others, no more dissonant, forbidden, quite arbitrarily, or on hair-splitting theories. It is as if one should write down in a book a number of 28 charts, giving every scheme of color and every juxtaposition of values permissible to a painter.

The music of certain Oriental nations, in which the religious orders are the art censors, has stuck fast in its rut because of the observance of rules purely arbitrary. Many of the conventions of modern European music are no more scientific or original or consistent; most of them are based upon the principle that the whim of a great dead composer is worthy to be the law of any living composer. These Blue Laws of music are constantly assailed surreptitiously and in detail; and yet they are too little attacked as a whole.

But music should be a democracy and not an aristocracy, or, still less, a hierarchy. There is a great opportunity for America to carry its political principles into this youngest of the arts. It is a gratifying sign that one of the most prominent theorists of the time, an American scholar, A. Good 29 rich, is adopting some such attitude toward music. He carries dogma to the minimum, and accepts success in the individual instance as sufficient authority for overstepping any general principle.

He refers to a contemporary American composer for authority and example of some successful unconventionality with the same respect with which he would quote a European's disregard of convention. His pioneering is watched with interest abroad as well as here. Worthy of mention along with Mr.

F. Chopin : Prelude op. 28 no. 1 in C Major (Kissin)

Goodrich' original work is the effort of Homer A. Norris to instil French ideas of musical theory. As a counterweight to the German monopoly of our attention, his influence is to be cordially welcomed. Now that Americanism is rife in the land, some of the glowing interest in things national might well be turned toward an art that has been too much and too long neglected among us. The time has come to take American music seriously. The day for boasting is not yet here,—if indeed it ever comes; but the day of penitent humility is surely past.

A student of the times, Mr. Martin, shortly before the Spanish War, commented on the radical change that had come over the spirit of American self-regard. We were notorious in the earlier half of the century for boasting, not only of the virtues we indubitably had, but of qualities that existed solely in our own imagination.

Virtual International Authority File

We sounded our barbaric yawp over the roofs of the world. A century of almost unanimous European disapproval, particularly of our artistic estate, finally converted us from this attitude to one of deprecation almost abject. Having learned the habit of modesty, it has clung to us even now, when some of the foremost artists in the world are Americans. Modesty, is, of course, one of the most beautiful of the virtues, but excess is possible 31 and dangerous.

As Shakespeare's Florio's Montaigne has it: "We may so seize on vertue, that if we embrace it with an over-greedy and violent desire, it may become vitious. Meanwhile, the American artist, having long ago ceased to credit himself with all the virtues, has been for years earnestly working out his own salvation in that spirit of solemn determination which makes it proverbial for the American to get anything he sets his heart on. He has submitted himself to a devout study of the Old Masters and the New; he has made pilgrimage after pilgrimage to the ancient temples of art, and has brought home influences that cannot but work for good.

There is, unfortunately, no such place to focus the attention of the world on a musician. Yet, through the success of American musical students among their rivals abroad; through the concerts they are giving more and more frequently in foreign countries; through the fact that a number of European music houses are publishing increasing quantities of American compositions, he is making his way to foreign esteem almost more rapidly than at home.

A prominent German critic, indeed, has recently put himself on record as accepting the founding of an American school of music as a fait accompli. And no student of the times, who will take the trouble to seek the sources of our art, and observe its actual 33 vitality, need be ashamed of looking at the present state of music in America with a substantial pride and a greater hope for the future.

The matter of precedence in creative art is as hopeless of solution as it is unimportant. And yet it seems appropriate to say, in writing of E. MacDowell, that an almost unanimous vote would grant him rank as the greatest of American composers, while not 35 a few ballots would indicate him as the best of living music writers.

But this, to repeat, is not vital, the main thing being that MacDowell has a distinct and impressive individuality, and uses his profound scholarship in the pursuit of novelty that is not cheaply sensational, and is yet novelty. He has, for instance, theories as to the textures of sounds, and his chord-formations and progressions are quite his own. His compositions are superb processions, in which each participant is got up with the utmost personal splendor.

His generalship is great enough to preserve the unity and the progress of the pageant. With him no note in the melody is allowed to go neglected, ill-mounted on common chords in the bass, or cheap-garbed in trite triads. Each tone is made to suggest something of its multitudinous possibilities.

Through any geometrical point, an infinite number of lines can be drawn.

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This is almost the case with any 36 note of a melody.