New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-06

medium OF introducing new compost
tions 20 the public. It is the plan ~
the Litchfeld County Choral Union
which IN this particular. az in many
other respects, rs d euphemlsm for Mr..
and Mrs. Stocked 10 gl"e first pub
lie performance 20 one composition or
more every year, TO recompense the
composer for his work. invite MIN 20
conduct II. and then 10 leave him IN
possession Of all property rights IN H..
H. the selection of composers Mr.
Stoeckel is guided by free-minded
and liberal policy. With al ardent
desire to encourage American art, he
avoids narrow nativIsm. and i'm the i'm
vitations 10 foreigners he IS equally
generous TO all peoples. a violin con
certO by Max Bruch was Germanys
contribution few years ago. Last
year SIbolius came with new orchcs-
tral niece. 10 represent not Russia 20
rUch a. himself and his utterancc
vas as Finnish "a anything could be
coming out Of country whose mus
cal culture is Swedish and whose pOllti-
cal destiny has been IN Russian hands
for generations At two festivals
Coleridge- Taylor was Great Britain's
representative, but more especially he
was recognized as the mouthpiece Of
the unsteady cultured negro. This
year the invitation had gone out to an
other English citizen, Sir Charles Vii
licrs Stanford, who. like his two i'm
mediate predecessors, presented MN
self in a dual capacity one political
and the other racial, Sir Charles beng
h foremost champion OF Irish music.
The crime committed against clviliza-
ton in The destruction OF the Lusltanla
made il ineXpedient FOR him to make
the journey. on which Lady Stanford
was TO accompany him, but the new
composition, which he was direct,
was performed, so there was no dis
trrbance of the educational policy OF
the festival management Mr.. Fred
erick A. Stock was also in this year
list. and as he is a German by birth
and training and an American OF
twenty years standing. he may be &C
ccptcd as another illustration OF the
cosmopolitanism Of Mr.. StoeckeIs en-
tcrpriso
The list Of native American compos-
ers is trife longer than the foreign.
II begins with Professor Ioratio Par
kcr. Of Yale University; very properly
and naturally. since Mrs. StoeckeIs
father founded the Battell chair OF
music at Yale and Mr.. StocckeIs father /
was its first incumbent. This was IN
1908: then in order came George W.
Chadwick, Henry Hadley, DR.. Parker F
and Mr. Chadwick again, Edgar Still
man Kelley, Henry +. Gilbert, Mr.
Hadley again and now. again Mr.. Chad
wick. The sources from which these
Americans derived inspiration for their
works have been widespread. Profes
sor Parkcr's first contribution was
King CORN the Grim which had
Scandinavian subject. Mr.. Gilbert, who
is devoting himself assiduouSly TO ex
ploiting the idioms of Afro-American
folksongs. brought forward Negro
Rhapsody" and Mr.. Chadwlck's work
this wear is a musical gloss on Burns's
Tam o. Shanter" Compositions with
confessedly native subjects have been
Hadley's symphony, North, last,
South. West; Parkcr's Collegiate
Overture" for orchestra and male
chorus. introducing Yale songs, and
Kellev's symphony, New England"
am not inclined TO attach much
importance TO this differentiation OF
the compositions in respect OF Their
real or alleged poetical contents
What is Of greater significance Is their
musical value and their illustration Of
the artistic tendencies Of their Gre
aiors. In general way the older men,
so far as have heard their works al
Norfolk and elsewhere. cXemplify
soundcr scholarship and a truer con
ception Of beauty than the younger,
who have fallen under the sway Of the
spirit which affects TO look upon every
thing not utra-modern as academic"
and reactionary. lnasmuch as the put
ting forth Of such an opinion is likely
90 be looked upon by some OF the
younger men who are clamoring for