Gaelic Symphony

Gaelic Symphony or Symphony in E-Minor, Op. 32 was written by Amy Marcy Cheney Beach in 1894; it was the first symphony written by a female American composer to premiere in the United States.[1] The piece debuted in Boston on Friday, October 30, 1896 to "public and journalistic acclaim."[2] Beach drew inspiration for the large orchestral work from simple old English, Irish, and Scottish melodies; thus, she subtitled the work 'Gaelic.'

Composer

Beach was a musical intellectual who wrote for journals, newspapers, and other publications. She gave advice to young musicians and composers—especially female composers. From career to piano technique advice, Beach readily provided her opinions in articles such as, "To the Girl who Wants to Compose",[3] and "Emotion Versus Intellect in Music."[4]

History

Beach began composing her symphony in November 1894. Although Beach would later become more accepting of music from North American traditions—such as Eskimo and Native American themes—Beach chose to incorporate songs of the European influence into her early works. One such (Celtic) tune was her song entitled, "Dark Is the Night!" which she set to the words of the English poet William Ernest Henley.

Beach was heavily influenced by her contemporary Antonín Dvořák; naturally, she looked to Dvořák's compositions and publicized philosophies on American music while composing her symphony. Though Dvořák's nationality was Czech, he represented American art music in the late nineteenth century—specifically through his New World Symphony and American String Quartet. Dvorak wove various Native-American and African-American gospel songs with his European romantic style to create works unique to America—the melting pot. These "native" songs were not as readily embraced by Beach. Upon hearing of the derivations of Dvořák's New World Symphony, Beach heartily responded, "[w]e of the North should be far more likely to be influenced by old English, Scotch or Irish songs, inherited with our literature from our ancestors."[5] When her symphony premiered, Beach was barely 30 years old and in the throes of forming her own compositional style; in contrast, her later years brought maturity and an openness to infuse Native-American and African-American songs into her music.[6]

Structure

In keeping with tradition set forth by composers like Joseph Haydn, commonly referred to as the "Father of the Symphony,"[7] a symphony is divided into four contrasting movements. The Gaelic Symphony is typically performed in thirty-five to forty minutes. With a full romantic harmonic structure and a glimpse of the horizons of modern music, Beach's Gaelic Symphony set her apart as a prominent female composer at the turn of the twentieth century.

The four movements of the symphony are as follows:

I. Allegro con fuoco

The symphony begins with a low chromatic rumble in the strings which provides the basis on which the romantic melody is built. Rich orchestration establishes the romantic style of the symphony.

II. Alla siciliana - allegro vivace - andante

The gaelic themes are introduced in variation.

III. Lento con molta espressione

The third movement is melodic and slow in nature.

IV. Allegro di molto

The last movement of the symphony is brisk and thematic.

Reception

The Gaelic Symphony was well received. One report says, "...Philip Hale wrote that she had 'brought honor to herself and the city which is her dwelling place.'" Even Beach's contemporaries noticed the prominence of her symphony; for example, composer George Whitefield Chadwick's response was communicated through a letter to Beach: "Upon hearing the Gaelic Symphony, Chadwick wrote to her: '...I always feel a thrill of pride myself whenever I hear a fine work by any of us, and as such you will have to be counted in, whether you will or not—one of the boys.'"[6] In a predominantly male profession, Amy Beach shone through with the premiere of her Gaelic Symphony.

The symphony has received continued praise from modern critics as well, such as Andrew Achenbach of Gramophone, who in 2003 lauded the work for its "big heart, irresistible charm and confident progress."[8]

References

  1. ↑ Block, Adrienne Fried. "How to Write an American Symphony: Amy Beach and the birth of "Gaelic" Symphony". americancomposers.org. American Composers Orchestra. Retrieved 27 December 2014.
  2. ↑ Horowitz, Joseph (2001). "Reclaiming the Past: Musical Boston Reconsidered". American Music 19 (1): 18–38. doi:10.2307/3052594. JSTOR 3052594. Retrieved 27 December 2014.
  3. ↑ "To the Girl who Wants to Compose," "The Etude", xxxv (1918), 695.
  4. ↑ "Emotion Versus Intellect in Music," "Studies in Musical Education, History, band Aesthetics", xxvii (1933), 45-48.
  5. ↑ Haller, Steven J. "Beach: 'Gaelic Symphony; Piano Concerto'." American Record Guide 66, no. 5 (Sept. 2003): 73-75.
  6. 1 2 Block, Adrienne F.. Amy Beach, Passionate Victorian: The Life and Works of an American Composer, 1867-1944. Cary, NC, USA: Oxford University Press, Incorporated, 1998. Accessed December 14, 2014. ProQuest ebrary.
  7. ↑ Lindsay, Curtis. "Why was Franz Joseph Haydn called the Father of Symphony?".
  8. ↑ Achenbach, Andrew (June 2003). "Beach Piano concerto; Symphony No 2: One of the most valuable releases yet in Naxos's American Classics series". Gramophone. Retrieved January 15, 2016.

Sources

Block, Adrienne Fried (1998). Amy Beach, Passionate Victorian: The Life and Work of an American Composer, Oxford University Press, New York

External links

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