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Updated: May 8, 2025
Besides these scherzos, Hawley has written a few religious part songs of a high order, particularly the noble "Trisagion and Sanctus," with its "Holy, Holy!" now hushed in reverential awe and now pealing in exultant worship. But of all his songs, I like best his "When Love is Gone," fraught with calm intensity, and closing in beauty as ineffable as a last glimmer of dying day.
Corey, "that the sonata would have been stronger, from a programme standpoint, with this movement omitted that it had perhaps been included largely as a concession to the traditions of sonata form. The fact that no scherzos were included in the two sonatas that followed, strengthened my opinion in regard to this.
His PRELUDES, his NOCTURNES, his SCHERZOS, his CONCERTOS, his shortest as well as his longest compositions, are all filled with the national sensibility, expressed indeed in different degrees, modified and varied in a thousand ways, but always bearing the same character.
Goethe, who exercised so powerful an influence on Emerson, does not appear to have interested Lowell at all. The most plaintive of Beethoven scherzos, that in the Moonlight Sonata, says as if it were spoken in words: "Once we were happy, now I am forlorn; Fortune has darkened, and happiness gone." Lowell's poetic marriage did not last quite ten years.
In almost all of Chopin's or Heine's poems there is this peculiar mixture of the sad and the comic veins even in the scherzos, which represent the gay and cheerful moods of Chopin's muse. Another point between these two poets is their elegance of style, and their ironic abhorrence of tawdry sentimentality and commonplace.
This is not only evident in his polonaises, his waltzes and mazurkas, in which the wild Oriental rhythms of the original dances are treated with the creative skill of genius; but also in the études, the preludes, nocturnes, scherzos, ballads, etc., with which he so enriched musical literature.
Mazurkas, nocturnes, waltzes, scherzos, polonaises, preludes, he exhibited to us in groups those manifestations of that supreme spirit that spirit at once stern and tender, not more sad than joyous, and always sane, always perfectly balanced, always preoccupied with beauty.
It is characteristic that his major melodies should often be as sad and wailing as his minor, and that his scherzos and other movements, in which he has deliberately set out to be light-hearted, should often be ponderous and without the nervous energy he manifests when he gives his familiar feelings free play.
But Bartlett has made as original an imitation as possible. The second is particularly charming. In manuscript is a Prélude developed interestingly on well-understood lines. There is a superb "Reverie Poétique." It is that climax of success, a scholarly inspiration. To the meagre body of American scherzos, Bartlett's scherzo will be very welcome. It is very festive and very original.
A book called Music and Morals had appeared about that time, and on it they we had risen to regions of kite-high lunacy about Colour Symphonies, orgies of formless colour thrown on a magic-lantern screen vieux jeu enough at this time of day. "'Scherzos in Silver and Grey' 'Word Pastels' Lyrics in Stone!" he chuckled.
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