Arthur Foote: A Musician in the Frame of Time and Place
Arthur Foote (1853-1937) was one of the most important American composers who worked creatively in the late 19th and early 20th centuries. His musical style was at first Germanic in orientation, soon changing to include Anglo-Americanisms and modifications derived from French and Russian composers. His compositions were highly esteemed by his contemporaries. Moreover, today's listeners continue to be struck by the coherency of his music, both in its general form and in its details. They note a command of craft, an integration of tone with desired expression, and an honest straightforward sound that brooks no pretentious complexities or enigmas of meaning. In addition, he was admired as an educator, musical theorist, keyboard performer, and choral music director. His books and articles on keyboard pedagogy and those containing his insightful contemplation of aspects of modulation and third-relationships in musical structures are still of great value. Assiduous as he was in preserving various aspects of his public life in his several scrapbooks, Foote strove to keep his private life out of the public eye. He discouraged the publication of his more personal letters, and late in life even desired their destruction. This book attempts to gather all the available information in order to give information about the man, his life, and his thinking. Lastly, it looks into the music, what it is, why and where it was written, and what its significance is. With bibliography and musical examples.
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Allegro American composers American Music Andante April Apthorp art music Arthur Foote Collection artist audience Autobiography B-flat major Boston Evening Transcript Boston Public Library Boston Symphony Orchestra Bostonians Brahms Caleb cello Chadwick chords chorus church clipping Club composer's compositions concert Conservatory of Music dated Dwight E-flat England Conservatory Essex Institute example expression F major flute Foote's music G minor Gardner George Henschel harmony Harvard Musical Association heard Helen Hopekirk Henry Henschel Horatio Parker Ibid John John Knowles Paine John Sullivan Dwight Katharine keyboard Kneisel letter listener Major for String March Massachusetts measures melody ment movement music public musicians Omar Khayyam opus organist Parker performance pianist played prelude reviewer Salem says Scherzo Scrapbook Serenade shelf Society Sonata song sound strain String Orchestra String Quartet style Suite summer tempo ternary form theme tion tonality trio tune violin vocal William writing wrote York