The
relentless stride of march too reaches a new height, and one last,
moving plaint. When the fast chasing cries are in closest tangle,
suddenly the hymn pours out its benediction, while the cries have
changed to angelic acclaim. Here is the transfigured song in full
climactic verse that fulfils the promise of the beginning. A touch of
human (or earthly joy) is added in an exultant strain of the sweeping
melody that unites with the hymn at the close.
CHAPTER XXI
SYMPHONIES IN AMERICA
When we come to a view of modern music in symphonic design, written in
America, we are puzzled by a new phase of the element of nationalism.
For here are schools and styles as different as of far corners of
Europe. Yet they can be called nothing else than American, if they must
have a national name. In the northern centre whence a model orchestra
has long shed a beneficent influence far afield, the touch of new French
conceits has colored some of the ablest works. Elsewhere we have cited a
symphony more in line with classical tradition.[A]
[Footnote A: A symphony by Wm. W. Gilchrist. Vol. II, Appendix.]
Perhaps most typical is a symphony of Hadley where one feels, with other
modern tradition, the mantle of the lamented MacDowell, of whom it may
be said that he was first to find in higher reaches of the musical art
an utterance of a purely national temper.
_HENRY HADLEY. SYMPHONY NO. 3, B MINOR._[A]
[Footnote A: Opus 60, Henry Hadley, American, born 1871.
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