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The Rawlins Piano Trio
The Rawlins Piano Trio has established a reputation as a preeminent interpreter of American music. In 1994 the Trio released its first CD entitled “Three American Piano Trios.” In addition to concerts given throughout the United States, the Trio has performed at conventions of the Sonneck Society for American Music. The members of the Trio, who hold teaching positions at the University of South Dakota, are Susan Keith Gray, John Thomson and Richard Rognstad.
The Trio was named in honor of Marjorie Rawlins and the late Robert Rawlins, its principal benefactors. Graduates of the University of South Dakota in the 1940's, the Rawlins have been significant supporters of the University and of the arts in South Dakota, especially America's Shrine to Music Museum. Other generous supporters include the College of Fine Arts, the USD Music Department, America's Shrine to Music Museum, and the Office of the President of the University of South Dakota.
The Trio received a grant from the University of South Dakota Office of Research as partial funding for this recording.
Susan Keith Gray
PIANO
Susan Keith Gray joined the Rawlins Piano Trio in the summer of 1995. Acclaimed as a specialist in collaborative playing, she has performed in recital with a number of artists throughout the United States. She has served on the Instrumental Accompanying Faculty of the Music Academy of the West and on the staff of national competitions including the American Horn Competition and the Seventeen Magazine/General Motors National Concerto Competition. As a member of the Kobayashi/Gray Duo with violinist Laura Kobayashi, she toured South America and the West Indies as a United States Artistic Ambassador. Since 1993, the Duo has actively performed, premiered, edited, and lectured about the music of 19th and 20th century women composers. Awards include the Accompanist Prize at the Matinee Musicale Richardson Voice Competition, and solo appearances with the Spartanburg and Savannah Symphony Orchestras. She holds degrees in Piano Performance from Converse College and the University of Illinois at Champaign-Urbana and a Doctor of Musical Arts in Chamber Music and Accompanying from the University of Michigan. Her teachers include piano study with George Lucktenberg, Ian Hobson, Theordore Lettvin, and Louis Nagel, collaborative piano with Martin Katz and Eckart Sellheim, fortepiano with Penelope Crawford and harpsichord with Edward Parmentier.
John Thomson
VIOLIN
Born in England, John Thomson moved to New Zealand where he studied violin with David Nalden. He came to the United States in 1985 as a Fulbright Scholar and with a Queen Elizabeth II scholarship to study with Robert Davidovici at the University of North Texas. He earned his masters and doctoral degrees in violin performance there. Thomson has performed as a soloist with orchestras throughout the United States and New Zealand, made appearances in chamber music before Queen Elizabeth II and former President Bush, and served as Concertmaster for the symphony orchestras of East Texas and Wichita Falls. Before joining the Rawlins Piano Trio in 1994, he served as violinist in Trio Southwest while at Cameron University. Violinists and critics have been complimentary about his playing. Italian violinist Franco Gulli wrote to Thomson, “I have admired your remarkable facility in performing the music of Paganini” and critics have praised his “brilliant technique and appealing cantabile” calling his playing “a rare treat.” In 1996 Thomson published his arrangement of music by the Romantic Norwegian violinist, Ole Bull.
Richard Rognstad
CELLO
Richard Rognstad has been at the University of South Dakota since 1986. Both his masters and doctoral degrees in cello performance are from the University of Colorado, where his principal teacher was Jurgen de Lemos. He has also studied with Fritz Magg and Peter Rejto. He has been a member of many ensembles including the Boulder Philharmonic Orchestra, the Denver Chamber Orchestra, the South Dakota Symphony, the Casper Symphony, the Arvada Chamber Orchestra, the Animas Chamber Players, the Colorado Music Festival, and the Bach Aria Festival. A specialist in American music, Rognstad has received grants to present lectures and recitals in South Dakota and Colorado, and his research led to the selection of most of the repertoire for the Rawlins Piano Trio's recordings. He is an active member of the Sonneck Society for American Music, has twice been selected to present solo performances at conventions, and has published reviews in its newsletter.
Four American Composers
The composers of these trios, Henry Hadley, Daniel Gregory Mason, Ernest Bloch, and Charles Wakefield Cadman, all were born within a ten-year span and were of considerable significance in the first third of the 20th century, when American music was finding its voice. They are representative of different currents in the musical stream, and details of their lives and interactions provide insight into the Americas classical music world during a fascinating period.
In 1933 the Musical Courier referred to Henry Kimball Hadley (1871-1937) as “probably the most important composer is the contemporary American musical scene.” Born in Somerville, Massachusetts, he studied with Chadwick at the New England Conservatory. After graduating in 1894 he traveled to Vienna for a year of composition lessons. He returned to Europe in 1904 for five years, initially for composition study with Ludwig Thuille, and then found work as a conductor. He returned to the U.S. in 1909 to conduct the Seattle Symphony and two years later was hired to conduct the San Francisco Symphony. He was an associate conductor of the New York Philharmonic from 1920 to 1927 and organized the Manhattan Symphony Orchestra in 1929. He also conducted in Japan and South America, and founded both the National Association for American Composers and Conductors and the Berkshire Music Festival. Hadley was awarded an honorary doctorate from Tufts University, the French Order of Merit, and membership in the National Institute of Arts and Letters. The Henry Hadley Memorial Library is housed in the New York Public Library.
Frederick Jacobi, in his 1926 article “Milestones in the Development of Musical Composition in America,” described Hadley as “our Richard Strauss,” and his music shows Strauss' influence. The Piano Trio, written in 1932, is in four movement symphonic form. Virtuosic string writing is evident throughout, as is Hadley's flair for lyrical melody couched in fluid chromatic harmony. The first movement is in sonata form and contrasts a noble first theme with an expansive second. The second movement scherzo pairs the strings in rapid octave passagework under the piano's sweeping dotted melody. A relaxed, lyrical trio provides contrast. The slow third movement is built on variations of the cantabile opening melody introduced by the cello. The finale features a bouncy, virtuosic rondo theme that frames contrasting sections. The two complete manuscript copies of this work are in the Henry Hadley Collection in the New York Public Library. Though never published, the piece was evidently performed frequently, as one piano part shows the wear and tear of frequent page turns.
Daniel Gregory Mason (1873-1953) was born in Brookline, Massachusetts, into one of our most important musical families. He was the son of Henry Mason, one of the founders of the Mason and Hamlin piano manufacturing firm, and the grandson of Lowell Mason, our most influential 19th century composer and educator. His uncle, William Mason, a piano virtuoso student of Liszt, played a major role in the development of classical music in this country. Mason studied with John Knowles Paine at Harvard and with Vincent d'Indy in 1913. After receiving his degree in 1895, Mason tried unsuccessfully to live the life of a pianist/composer in New York. Back in Boston he found employment as a literature teacher, specializing in Emerson and Thoreau. Attempting to return to music in some way, Mason began writing articles on music, and in 1902 assembled a number of them into a book From Grieg to Brahms. Both a popular and critical success it was the first of sixteen hooks published over the next forty years. In 1905 he began a 37-year association with Columbia University, eventually becoming music department head. He was a musical conservative who revered Brahms and became a central figure both as composer and critic in the search for a distinctive American style.
Mason was not a prolific composer. Earning a living through lecturing and teaching took time that would otherwise have been devoted to composing. He also tended to revise earlier compositions as his style evolved. His mature works are reserved though romantic, his ample technique allowing the music to flow seamlessly from simple, folk-like material. The Sentimental Sketches, Op. 34 were completed in 1935, though the theme of the first, “Rosina,” was written 30 years earlier as a song, the first line of which is “When first I kissed Susannah.” The other movements also bear titles: “Nancibel,” “Swan on the Lake,” and “Citronella Sue,” to whom the work itself is dedicated. Mason gives no hint as to whom these nicknames refer, though he does write of Gertrude Watson's dog as “Rosina's hound.” The movements are short character pieces, built on varied repetition of simple, folk-like themes carried principally by the strings. Each is saved from becoming overly sweet by clouded, dissonant sections at formally significant points that resolve into further thematic repetition.
Ernest Bloch (1880-1959) was born in Geneva, Switzerland, and studied composition there, in Germany (including some lessons with Ludwig Thuille, who worked with Hadley just a few years later), and in Brussels. In 1904 he returned to Geneva to marry and join his father's clock-making firm, though he continued to compose, writing the works that would establish him as a composer. He first came to this country in 1916 as conductor for the Maud Allen dance company, became a teacher at the Mannes School, and accepted the Directorship of the Cleveland Institute in 1920. He took the same position at the San Francisco Conservatory in 1925 and remained there until moving to Switzerland in 1930. Bloch returned to the U.S. in 1940 to teach at the University of California, Berkeley, where he remained until his retirement in 1952. Bloch became an American citizen in 1924 and wrote a large-scale tribute to his chosen homeland, America, which won the $3,000 Musical America prize in 1927. The judges, Frederick Stock, Walter Damrosch, Leopold Stokowski, Serge Koussevitsky, and Alfred Hertz, the conductors of Chicago, New York, Philadelphia, Boston, and San Francisco symphonies respectively, chose it unanimously from the 92 scores submitted. America was originally conceived during Bloch's arrival in the New York harbor in 1916, after a harrowing passage through submarine infested waters. It employs folk material and jazz, and the final movement directs the audience to join the chorus in singing an anthem, thereby becoming part of the performance.
Written in 1924, the Three Nocturnes belong to Bloch's second compositional period and contrast greatly from his earlier expansive, Biblically-inspired works such as Schelomo (Solomon) for Cello and Orchestra, which identified him as a Jewish composer, and whose success established his international reputation. In contrast to their striking gestures, large scope, and emphasis on colorist orchestration, these brief pieces are neoclassical in conception, tightly knit in compositional approach, and characterized by restraint in both expression and style. The first movement is least direct, with themes continually trying to evolve not of the misty texture. The beautiful theme of the second is developed canonically. The rhythmic and spiky third movement features the return of the theme and tempo of the second, only to dissolve into the tempestosso movement of its beginning.
Charles Wakefield Cadman (1881-1946), born in Johnstown, Pennsylvania, wrote the earliest work. He studied theory with Leo Oehmler and organ with W. K Skinner. At sixteen his family moved to Pittsburgh, where he wrote for piano The Carnegie Library March. It sold well enough to pay for two years of music study with Luigi von Kunits, concertmaster of the Pittsburgh Orchestra, who had studied composition with Bruckner. He became interested in American Indian music in 1906 through the ethnomusicology works of Alice Fletcher and Francis La Flesche, with whom he spent the summer of 1904 on the Omaha and Winnebago reservations. In 1909 he published Four American Indian Songs, Op. 45. “From the Land of Sky Blue Water” was featured on the recital programs of American opera diva Lillian Nordica that year, and this exposure resulted in sales of two million copies and gave Cadman some degree of financial independence. In 1916, after years of travel lecturing on American Indian music, Cadman moved to Los Angeles, where he composed operas, film scores, and orchestral works. He was a founder of the Hollywood Bowl and was awarded an honorary doctorate by the University of Southern California in 1926. Like Hadley and Mason, he became a member of the National Institute of Arts and Letters.
The Trio in D Major, composed in 1914, was Cadman's first venture into Chamber music and demonstrates his love of melody. The themes, not derived from American Indian music, are well constructed with balanced phrasing, accompanied by typical late 19th century harmony. Rather than extensively developed, the themes are treated simply, with alternation of material and setting providing variation and structure. The first movement is in three-part form, with a lyrical middle section providing contrast between the march-like beginning and ending. The second movement also follows this formal pattern, with a tender simple-meter middle section between flowing 6/8 melodies. The finale features cyclical returns of themes from the previous movements, and is brought to a rousing resolution by a sparkling double-time coda.
It is possible that all four composers were in New York in 1918 and could have attended the premiere of Cadman's opera Shanewis. They are also tied together by writings of Daniel Gregory Mason.
Musical nationalism increased in importance as the 19th century waned. Confronted with the overwhelming dominance of the German-Austrian tradition, French composers sought ways to sound French, Russians Russian, Czech Czech, etc. Many incorporated aspects of their folk music and culture into their works. Couched in mainstream harmonic language, the melodies, progressions, and rhythms of this folk material lent a fresh and distinctive tone to their music.
One of the most successful composers to follow this path was Antonin Dvorák who came to this country for a three-year stay in 1892. While here he heard African-American spirituals sung by Harry T. Burleigh and American Indian music during a summer in Spillville, Iowa. He used elements of both in his compositions written in this country, principally the New World Symphony and American String Quartet. Dvorák recommended that American composers try a similar approach in the attempt to develop a style based on something “quintessentially American.”
The earliest composer on this CD, Hadley, was least concerned with finding a distinctively “American” voice. He achieved early success composing as his European training dictated, much like the generation before him.
The next of the four to achieve national fame was Cadman. He most explicitly followed Dvorák advice, utilizing American Indian melodies in his music. Though he persisted in the use of American Indian material through the 1920's, Cadman was criticized by those who asserted that American Indian music was not part of white composers' culture and therefore was not expressive of something unique to them. In his 1926 article “Creation of an American Music” American composer Howard Hanson lists the use of American Indian material as one of three fallacious solutions to the problems of American music and comments, “I sincerely hope that I will never write an Indian opera.” He never did.
Mason, who achieved national recognition first with his books, was deeply involved in developing a distinctively American style. His first attempts involved African-American music, including the spiritual “Deep River” used in his Quartet on Negro Themes. The fallacy of white composers using American Indian or African-American sources was revealed to Mason in his friend and mentor Arthur Whiting's sardonic quip upon first hearing the work: “Is there any Negro blood in your family?” Dvorák had used his own culture as a source; Mason realized he must do the same. This became his primary focus as a composer and served as the topic for many of his writings. It also inevitably led him into conflict with Ernest Bloch (see below).
Mason had something to say about most things musical, and none of the other composers on this recording escaped his notice. In a discussion of the (to Mason, misguided) notion of using American Indian material Mason let Cadman have it: “Notice Charles Wakefield Cadman's Indians, whose only arrows are collars from Troy, and who wear derby hats.” Worse yet was his epitaph for Hadley (as Hadley is not named, specifics of Hadley's life and work are listed in brackets):
Only this last year [Mason is writing in 1938; Hadley died in 1937.] died an American composer of a reputation we call “national.” or if we are feeling a little heady, “international". (That was the sort of language this particular composer liked.) He had lived comfortably into his sixties [Hadley died at 68.], perpetrated innumerable symphonies, operas, quartets, and other works, been played all over this country and in Europe. Yet I have never heard a phrase of his not essentially commonplace.
Mason saved his worst diatribe for Bloch. The following four passages are taken from Gilbert Chase's America's Music The second is entirely Chase's quotation of Mason.
...with Daniel Gregory Mason as the most vociferous defender of the Anglo-Celtic domain. He reacted strongly to what he regarded as “the insidiousness of the Jewish menace to our artistic integrity."
"Our whole cotemporary aesthetic attitude toward instrumental music, especially in New York, is dominated by Jewish tastes and standards, with their Oriental extravagance, their sensuousness brilliancy and intellectual facility and superficiality...Our public taste is in danger of being permanently debauched, made lastingly insensitive to qualities most subtly and quintessentially our own, by the intoxication of what is, after all, an alien art."
Mason picked on the Swiss-born, Jewish-American composer Ernest Bloch as being “long the chief minister of that intoxication to our public.” Disclaiming any “anti-Jewish propaganda, “ he avers that he is merely pointing out that our “subservience” to this kind of “alien art” makes us deaf to “the possibilities of another that is more peculiarly our own.”
That some of them [foreign-born composers] made a show of American patriotism was no palliative for Mason, as we judge from his denunciation of Bloch's symphonic-choral tribute to his adopted land, with which he “capped his dealings with us by the grim jest of presenting to us a long, brilliant, megalomaniac, and thoroughly Jewish symphony---entitled America.”
Unfortunately, these comments seem to have become Mason's enduring legacy. Carl Engel, editor of the Musical Quarterly, in 1932 called Mason's Tune In, America, in which the above comments were printed, a “little book of bogeys,” and predicted that in forty years Mason and his opinions would be ludicrous. MacDonald Smith Moore's Yankee Blues, Musical Culture and Musical Identity further tarnishes Mason's reputation. Moore convincingly demonstrates that Mason, along with Ives, saw himself as the defender of the real America, the America of the Pilgrims and Puritans, Emerson, Thoreau, et al, and portrays Mason as defeated, embittered by the rejection of his music and culture.
As unpalatable as Mason's comments seem to us they must be understood in their context. First, Mason was not consistently anti-Semitic in his approach to music. His “insidiousness” comment was first made in an article published in the early 1920's. Later, in The Dilemma of Modern Music, published in 1928, he was more inclusive: “Why should not some of our American music be American-German (from Pennsylvania), or American-French (from New Orleans), or American-Jewish (from New York)...” His Tune in, America of1931, inwhich he revived the “insidiousness” comment with elucidation, was but one in a series of thoughts published as Mason's ideas about American music evolved. It was not his final word.
Mason's attack on Bloch also must be understood in its context. Many did not consider Bloch an “American” composer at the time. Howard Hanson's 1925 article “A Forward Look in American Composition” lists all the American works played during the 1919-1925seasons by our thirteen most important orchestras. The list includes nothing by Bloch, though his music was often performed in this period. A similar assessment was made by both Frederic Jacobi, in his 1926 article, “Milestones in the Development of Musical Composition so America,” and by Charles S. Skilton in his 1930 article, “The American Composer and the New Day.” Others, such as Randall Thompson (a former student of Bloch), in his 1932 “The Contemporary Scene in American Music,” argued for Bloch's inclusion:
An illogical prejudice lies in our reluctance to take into the fold such naturalized American citizens as Bloch, Josten, Loeffler, and Wagenaar. They openly proclaim themselves American and any delay in giving them the accolade serves only to belittle our own Americanism.
Mason's consideration of Bloch as a foreign composer was thus representative of one side of an ongoing debate, eventually decided by Bloch's long-term commitment to this country.
Bloch achieved great success in America, and the inclusion of his works on the programs of our orchestras made obtaining performances, already difficult, even harder for other American composers. John H. Mueller determined that of all the American works played in the period from 1925 to 1930, Bloch's accounted for over twenty percent. The second most popular American composer, trailing far behind with around seven percent, was another foreign-born immigrant, Charles Martin Loeffler. Of the other composers on this recording Mason had somewhat less than two percent and Hadley around one percent. Cadman, principally a songwriter and opera composer, was not a factor.
Bloch's America, which Mason considered a “grim jest,” no doubt accounted for many of these performances. The five nationally (Mason quipped “dare I say 'internationally"') known conductor/judges who awarded it the Musical America prize gave simultaneous premieres of it December 20-21, 1928. Fifteen other orchestras played it the next year. The 92 scores submitted for the prize included Mason's Chanticleer, which was to become his most successful work. Inexplicably, Mason's score was lost and seen only by Damrosch amongst the five judges who chose Bloch's work unanimously.
Mason was not the first American-born composer to grouse about immigrants usurping control of American music. George Bristow and William Henry Fry both wrote scathingly about foreign domination of “our” music in the 1850's. As immigration increased from somewhat over ten million in the period from 1820 to 1880 to 23.5 million from 1880 to 1920, those in control of this country saw their grip on power threatened. The Quota Act of 1921 began the restrictions on immigration that resulted in a decline to just over eight million over the next forty years.
Many of the immigrants from this 1880-1920 period were from southern and eastern Europe. They included significant Slavic, Semitic, and Latin populations and provoked racist reactions. In Yankee Blues, MacDonald Smith Moore traces the history of the pseudo-scientific theory of racialism beginning with Count de Gobineau's 1853 Essay on the Inequality of the Races. Jews were posited to be Oriental middlemen, between the race of princes (or Aryans), and Blacks, who were portrayed as animalistic. Jews came to he seen on the one hand as the personification of sensuality, delighting in hedonism and base pleasure, while on the other hand possessing manipulative cleverness, with which they sold this hedonism to whites. They were supposed agents of “semitization,” the pollution of white blood and culture. These conceptions, seemingly based on scientific study, become very prevalent in society, and were accepted unconsciously by many, including Mason. His use of the terms “insidiousness,” “Oriental extravagance,” “sensuous brilliancy,” “intellectual facility and superficiality,” was consistent with a commonly held perception of Jews at that time.
In Healing Racism in America Nathan Rutstein defines racism as a disease that one acquires unconsciously from one's environment, like one learns language and attitudes. One of the most powerful ways the disease can begin to he healed is to hear someone it has harmed relate the experience. In his memoirs, Music in My Time, Mason writes a chapter about his friend Ossip Gabrilowitsch, the Jewish Russian immigrant pianist/conductor who championed many of Mason's works. Mason describes a conversation in 1932 when Gabrilowitsch challenged his anti-Semitic writings:
His [Gabrilowitsch's] discouragement [at the situation in Germany] became, it seemed to me, almost morbid; and it was a grief to me that some ill-considered words in one of my books added to it. I had attributed some of the sensationalism of New York music to the Jewish influence - rather mistakenly, I now think, as the degrading tendencies were general, not confined to any race or group.
Mason later sent Gabrilowitsch a copy of a letter he had sent to the New York Times, voicing support for Furtwangler's resignation in protest from the Berlin Philharmonic, ending with the sentence, “The Nazis are doing things which, if unchecked, will ruin all science and art.” Gabrilowitsch accepted his mea culpa, and so might we. While it is less complete and public than we would like, Mason's choice to include what must have been a painful realization of his own, lifelong error in his culminating tone is powerful evidence that he recanted his previous position. The anti-Semitic words for which Mason is remembered today were written during a time in which such ideas were commonplace, and before he realized the harm and pain he was creating.
Further, what MacDonald Smith Moore does not emphasize in Yankee Blues due to his overriding concern for culture is Mason's success in developing a unique style based on Anglo-American folk song. In Music in My Time Mason recounts his reaction to a review of his Suite after English Folk-songs:
Well, that morning [after the performance] I took up the Herald Tribune and started to read aloud to her [his wife] Gilman's [the critic's] notice. “By some rare and doubtless unconscious imaginative process,” he wrote, about two thirds through his article, “the music that integrates the songs has been made to sound like an extension of the same material. [The composer] must have been penetrated through and through by the essential quality of these ensnaring tunes - by their gaiety, their beauty, their tenderness, their invincible and resistless charm.”
When I came to that sentence my voice, already a little shaky, completely failed me and broke; and I had to pass the article to her to finish.
Viewed from the last years of the 20th century, the parallels between Mason and Bloch are striking. What Mason so strove for is precisely what Bloch achieved: the use of his cultural and musical heritage to derive a unique and appealing compositional style. A 1906 letter to Edmond Fleg, Swiss poet and historian, relates Bloch's re-discovery of his faith:
"I have read the Bible. I have read fragments from Moses, and an immense sense of pride surged in me. I will find myself again on this.” A 1911 letter to Fleg marks the completion of the transformation:
I note here and there themes that are without my willing it, for the greater part Jewish, and which begin to precise themselves and indicate the instinctive and also conscious direction in which I am going...
MacDonald Smith Moore also noted similarities:
"The central irony of Mason's attack on Bloch is that Bloch himself aspired to communicate through his music many of the same sentiments which Mason held dear.”
He even employed similar means. Bloch used folk music and jazz in America, the gemora nigun (a Hebrew teaching melody) in Schelomo, and American Indian themes in his 1938 Violin Concerto.
Bloch came to see his and Mason's similarities, which he expressed in a 1946 letter to Mason:
I do not know whether you feel as I do, a stranger in “our time” - and, I must add, a stranger to most of the music written nowadays… Thus I live already in the past, in the company of great minds.
Whether Mason saw the parallel and responded is unknown.
Two final quotations will serve to end this study. The first is by Bloch, discussing composing:
“It [a composition] characterizes its author, whether or not he is willing to admit it, in the most truthful, most complete manner. It reveals - even unbeknown to him - his inmost nature, his virtues and faults, his temperament, and the degree of his intellectual and emotional faculties.”
And, from Randall Thompson: “A sinister and foreboding pessimism, a dour and bitter irony in M
ason's music has not been fully appreciated. His exuberant Chanticleer, so widely played, refutes the characterization; but the paradox is to his credit.” Mason was complex, opinionated, and crusty, but perhaps not the unrepentant racist he can seem at first glance. His life and music should take their place, with those the other composers on this disc, as one important current in the stream of American music during a most fascinating period.
Notes by Richard Rognstad
ALBANY RECORDS U.S.
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WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL.
This CD marks the first recording of the works by Henry Hadley and Daniel Gregory Mason and includes re-issues of those by Ernest Block and Charles Wakefield Cadman. Those composers represent the musical mainstream of the early 20th century when American classical music was finding its voice.
© 1998 Albany Records
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