FREDERICK GRANT GLEASON

MR. FREDERICK GRANT GLEASON.

(1848-1904.)

The name of Frederick Grant Gleason stands high
among those of Americans who have devoted themselves
to the composition of serious music in large forms with-
out regard to the question whether it was or was not
likely to prove available by the public or even to get it-
self fairly heard. The force of this introduction will
appear more plainly from the story of his career. Mr.
Gleason was born in Middletown, Conn., December 17,
1848. After studying some time with Dudley Buck at
Hartford, he was sent to Leipsic, where he remained only
one year; from there he went to Berlin, where he en-
tered at the Hofschule and became pupil of Loesch-
horn, Weitzmann and Haupt. He made about equally
serious studies in the three departments of piano, organ
and composition. Returning to Connecticut he became
organist at a Congregational church in Hartford. In
1877 he came to Chicago, where he joined Mr. Clarence
Eddy in the Hershey school of music. For awhile the
school published a small musical periodical, The Musi-
cal Bulletin, of which Mr. Gleason was editor. Aside
from this he was musical critic for some years upon dif-
ferent Chicago newspapers, his work in this line closing
in 1886 with his withdrawal from the Tribune, which he
had served three years.

His compositions have been in many forms, songs,
church motettes, a few organ pieces, including an or-
gan sonata, one or two piano pieces, a pianoforte con-
certo, etc. His main work, however, has been devoted
to grand operas, of which he has written the text and
music himself. The first of these was "Otho Visconti,"
founded upon a medieval Italian story; the second,
"Montezuma," a grand romantic opera in three acts.
Of this a few excerpts have been published. He has also
written two symphonic poems called "Edris" and "The
Song of Life." The former has been played several
times by the Chicago orchestra and the second is prom-
ised for the season of 1900-1901.

Mr. Gleason's compositions are elegant in style, mod-
ern in harmony, and well scored for orchestra. He has
always been a devoted advocate of the Wagnerian theor-
ies of composition and of the music-drama, and as he
has devoted his life to producing works in this line it
would be interesting to be able to hear them and find
out how nearly he has realized his ideals. In response to
questions concerning his compositions he has given
the following important and clear explanation. He
writes :

Chicago, June 7, 1900.

My ideals in composing have varied considerably with
the different works undertaken. For example, in writ-
ing "Otho Visconti" in 1876-7, it was my aim to com-
bine the melodic element of Italian opera with the rich-
ness of harmonization characteristic of the modern Ger-
man school and the "leit-motive" idea of Richard Wag-
ner combining the lyric and dramatic elements in due
proportion.

In "Montezuma" I sought to employ the "leit-motive"
plan of construction still more freely and extensively.
In planning the story and writing the libretto, certain
points were provided in advance for the introduction of
the essentially melodic element, where I considered that such treatment would be particularly desirable from
both musical and dramatic standpoints.

The melodic element in this opera is treated more
broadly than in "Otho" and is further removed from the
merely rhythmic tunefulness of the Italian opera. The
predominating idea of the text, which I regard as equally
ideal with the music, is that of womanly love and sacri-
fice, as exemplified in the character of the high priestess
Yeteva. To the music I endeavored to give a distinct
individuality of its own and to subordinate it to the ex-
pression of the text. The "leading-motive" plan of con-
struction is here carried out to the fullest extent.

In my cantata, the "Culprit Fay," the leading-mo-
tive plan is also employed. In this work ideal musical
beauty, fairy-like coloring and characteristic expression
of the poem were the objects sought.

In my symphonic poems, "Edris" and "The Song of
Life," I have endeavored to present the poetic emo-
tional contents of my subjects not to portray so much
as to suggest, and to heighten the impressions which
would naturally arise from the contemplation of the sub-
jects themselves.

In the "Song of Life," which is to have its initial pro-
duction under direction of Mr. Theodore Thomas next
season, the tragic side of human existence is chiefly
presented, though modified by religion, love, sorrow
over the departed, etc. The motto is from Swinburne:

"They have the night, who had like us the day,
We whom the day binds, shall have the night as they,
We from the fetters of the light unbound,
Healed of our wound of living, shall sleep sound."

The works named are among those in which I have
most fully succeeded in realizing my ideals."



190 THE GREAT IN MUSIC: FIRST YEAR.

ALLEGRO. OP. 8, NO. 4.
(4th Grade.)

The fourth of four little piano pieces is here taken as
an example of Mr. Gleason's writing for the piano. The
first part is in minor tonality, in a sprightly rhythm, with
many modulations in passing. The middle piece be-
gins m. 22 and is partly in A flat and partly in C minor.
When this is completed the first subject returns.

GAVOTTE FROM "OTHO VISCONTI."
(Transcribed for Piano by William H. Sherwood. 6th Grade.)

The gavotte from "Otho Visconti" is considered one
of the more fortunate instrumental numbers, and it is
here transcribed for piano by the distinguished pianist,
Mr. William H. Sherwood. It is in the usual gavotte
form in the key of F major, the middle part being in the
key of C. To be played lightly flowingly and in clear
rhythm.

''O SANCTISSIMA." PRAYER FROM "OTHO VIS
CONTI."

(For Soprano.)

A fluent and well sustained melody, much in the Ital-
ian style, effective for soprano use.