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John Alden Carpenter: Sea Drift / Henry Hadley: Scherzo Diabolique / Daniel Gregory Mason: Chanticleer (Festival Overture) / Quincy Porter: Dance In Three-Time
 
 

John Alden Carpenter: Sea Drift / Henry Hadley: Scherzo Diabolique / Daniel Gregory Mason: Chanticleer (Festival Overture) / Quincy Porter: Dance In Three-Time

John Alden Carpenter

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Editorial Reviews

Daniel Gregory Mason, Quincy Porter, John Alden Carpenter and Henry Hadley believed in the conservation of traditional musical values, advocated contemporary music accessible to the concert public, and crafted compositions of the highest order. For them, abiding music, whatever modernisms it introduced, built on the examples of its predecessors.
They were active mostly during the first half of the twentieth century, when audiences in America were still relatively small and Europeans dominated music-making and repertoire. The younger American colleagues of these four composers were embracing dissonant post-triadic styles, repudiating traditional practices, and refusing to entertain the concert public. To these young modernists, music that sounded euphonious failed to pass the test of up-to-dateness, and what pleased the larger public was seen as reactionary and tainted. They demanded individualistic and innovative statements, however eccentric and off-putting. And since World War II, in a time of clashing avant-garde ideologies and of audiences increasingly suspicious of all twentieth century music, the works of these four composers exist mostly as hearsay. They deserve better.

DANIEL GREGORY MASON (1873-1953)
Chanticleer Festival Overture
(Side One, Band 1)
Mason was a composer, an educator, and a writer of books on music intelligible to the nonmusician. He was born in Brookline, Massachusetts, and was grandson to Lowell Mason, the noted educator; nephew to William Mason, the concert pianist; and son to Henry Mason, cofounder of Mason & Hamlin, the piano company. Mason's music teachers included the New Englanders John Knowles Paine (New World Records NW 206 and 262-263) and George Chadwick (NW 266) and the French composer Vincent d'Indy. Throughout most of his adulthood, he taught at Columbia University.
Mason prized mid-European, especially Brahmsian, romanticism and musical emotionalism that was polished and of dignified propriety.

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