CHADWICK
(George Whitfield Chadwick: born in Lowell, Mass., November 13, 1854; now living in Boston)
DRAMATIC OVERTURE, "MELPOMENE"[22]
Chadwick's three principal overtures, "Melpomene," "Adonais," and "Euterpe," belong to that somewhat anomalous class of modern works which occupy a place on the border-line between programme music and "absolute" music—music which, while constructed according to the classic rules of design rather than in conformity with a poetic or dramatic scheme, is yet devoted to the expression of some mood or idea more definite than that which one looks for in music that is admittedly "absolute." In the "Melpomene," "Adonais," and "Euterpe" overtures, the composer has given us no clews as to the particular significance of his music beyond those conveyed by their titles—which are, doubtless, in their case, sufficient to establish a receptive mood in the hearer. The "Melpomene," composed in 1887, was originally intended as a companion piece to his earlier and seldom-played "Thalia" overture. That was subtitled "Overture to an Imaginary Comedy," and the sub-title of the "Melpomene" was intended to be "Overture to an Imaginary Tragedy." In the published score, however, the sub-title was omitted, and only the name of the Tragic Muse[23] was retained as an indication of the emotional purport of the music. The overture, as has been said, bears no explanatory note or preface whatever. Of its emotional outlines an indication is given in this vivid exposition of the music by Mr. Rupert Hughes:
"It opens with the solitary voice of the English horn.... The woful plaint of this voice, breathing above a low, sinister roll of the kettle-drum, establishes at once the atmosphere of melancholy. Other instruments join the wail, which breaks out wildly from the whole orchestra. Over a waving accompaniment of clarinets, the other wood-winds strike up a more lyric and hopeful strain, and a soliloquy from the 'cello ends the slow introduction. The first subject is announced by the first violins against the full orchestra.... After a powerful climax and a beautiful subsidence, ... the second subject appears, ... with honeyed lyricism. Almost before one knows it he is in the midst of the elaboration [the development, or "working-out" section, of a composition in sonata form]. It is hard to say whether the composer's emotion or his counterpoint is given freer rein here, for the work is remarkable both for the display of every technical resource and for the irresistible tempest of its passion.... The cheerful consolation of the second subject provokes a cyclonic outburst of grief; there is a furious climax of thrilling flutes and violins over a mad blare of brass, the while the cymbals shiver beneath the blows of the kettle-drum-sticks. An abrupt silence prepares for a fierce, thunderous clamor from the kettle-drums and the great drum. This subsides to a single thud of a kettle-drum; there is another eloquent silence; the English horn returns to its first plaint; but grief has died of very exercise, and the work ends in a coda [conclusion passage] that ... leaves the hearer with a heart purged white and clean."