John Knowles Paine

John Knowles Paine, born today in 1839, was the first American composer to be recognized and appreciated by the Europeans (which was important in those times). He was also the first American to write a symphony and the first professor of music at any American university.

He was born in Portland, Maine, where his father operated a music store. He played piano and organ from an early age and after his father's death in 1856, he played a series of recitals to raise the money to travel to Berlin for his musical education. After nearly four years, he returned and was hired as organist at the West Church in Boston. Only six months later he took the position of organist and choirmaster at Harvard University.

His first major choral work, Domine salvum fac, was written for the installation of a new Harvard president in 1863. His organ variations on the Star-Spangled Banner were very popular during the Civil War, and in 1866 his Mass in D had its premiere performance in Berlin. Harvard was impressed; Paine was awarded an honorary degree in 1869 which then made it possible for them to appoint him as an instructor in music. In 1875 he was made a full professor, the first in this country.

Paine continued to compose orchestral, organ, and choral works; he was the first of the Second New England School of composers which included George W. Chadwick, Horatio Parker, and Amy Beach among others. Unlike those colleagues, his major choral works have been recorded, both the Mass in D and his oratorio St. Peter (1872). His other long-lasting composition (at Harvard, at least) is the tune for the Harvard Hymn, which I believe is still sung at commencement ceremonies, and is still in the most recent Harvard University Hymn Book (2007).

Paine also wrote a handful of other hymn tunes which I have come across in recent years, though none that anyone still sings today, and none that are documented at any of the usual hymn websites. However, in the aforementioned St. Peter, he reharmonized three familiar German chorales. This Epiphany hymn by Philipp Nicolai appears in many different hymnals, but you probably have not heard or sung it to this arrangement by John Knowles Paine.

How lovely shines the Morning Star!
The nations see and hail afar
The light in Judah shining.
Thou art my heart’s most beauteous Flower,
And thy blest Gospel’s saving power
For thee my heart is pining.
Thou mine, I thine;
Sing hosanna!
Heav’nly manna
Tasting, eating,
Whilst thy love in songs repeating.

Lift up the voice and strike the string,
Let all glad sounds of music ring
In God’s high praises blended.
Christ will be with me all the way,
Today, tomorrow, every day,
Till traveling days be ended.
Sing out, ring out,
Triumph glorious,
O victorious,
Chosen nation;
Praise the God of thy salvation.

Oh, joy to know that thou, my Friend,
Art Love, beginning without end,
The First and Last, eternal!
And thou at length —- O glorious grace!
Wilt take me to that holy place,
The home of joys supernal.
Amen, Amen!
Come and meet me!
Quickly greet me!
With deep yearning,
Christ, I look for thy returning.

Philipp Nicolai, 1597
translation composite
Tune: WIE SCHON LEUCHTET (8.8.7.8.8.7.4.8.4.8)
Philipp Nicolai, 1599
harm. John Knowles Paine, 1872

The major work of Paine's later life was an opera, Azara, which was scheduled to be performed at the Metropolitan Opera in 1906. However, the performers, at that time used to singing only in Italian (regardless of the original language of any work) refused to learn a piece in English and the premiere never took place. It was performed in concert at Harvard and elsewhere, but has never been presented in a fully staged production.

P.S. The portrait of Paine above (undated) is by Caroline Amelia Cranch (1853-1931), donated to Harvard Universaity by Paine's daighter-in-law in 1920.

George W. Chadwick

Composer George Whitefield Chadwick was born today in 1854 in Lowell, Massachusetts. Though he dropped out of high school in 1871, the following year he was admitted to the New England Conservatory of Music as a special student. He was successful in his musical studies, and taught music at Olivet College in Michigan after graduation. While there, he became one of the founders of the Music Teachers National Association, and also published some of his first compositions.

He then traveled to Leipzig and Munich for two more years of musical studies; at the time European study was considered a necessity for an American composer. After returning to the US, he went back to the New England Conservatory as a teacher, and eventually becoming its director in 1897, serving for 33 years. He was also the organist at Boston's South Congregational Church and conducted annual choral festivals at Springfield and Worcester.

Chadwick composed in many different forms, including choral music, symphonies and chamber music, and opera. His works were popular in his own time both in this country and abroad; he was thought to be one of the best American composers of the day. He became known as one of the Second New England School of composers, with Amy Beach, Horatio Parker, John Knowles Paine, and others. Each of these composed some hymn tunes, and Chadwick added another handful (a few more than you can hear at the Cyber Hymnal site).

I sought thee, Lord, and afterward I knew
Thou mov'dst my soul to seek thee, seeking me.
It was not I that found, O Savior true;
No, I was found of thee.

Thou didst reach forth thy hand and mine enfold;
I walked and sank not on the storm vexed sea.
’Twas not so much that I on thee took hold,
As Thou, dear Lord, on me.

I find, I walk, I love, but oh, the whole
Of love is but my answer, Lord, to thee!
For thou were long beforehand with my soul,
Always thou lovedst me.

Author unknown, c. 1880; alt.
Tune: PEACE (10.10.10.6.)
George W. Chadwick, 1890

This anonymous hymn text may have first appeared in a collection published in Boston titled Holy Songs, Carols, and Sacred Ballads (1880). One subsequent source attributed it to the British poet Jean Ingelow, but apparently there is no consensus on her authorship. Chadwick is said to have written the tune specifically for this text, though other sources say that the text did not appear in an American hymnal until 1903. Of course, it still could have been sung earlier by Chadwick's Boston congregation. The hymn later appeared in several twentieth century hymnals, but nearly always with a different tune. Chadwick's other hymn tunes fared equally badly; I don't believe any of them appear in current collections.

From my own bookshelf, A Book of Choruses for High Schools and Choral Societies (1923) states of Chadwick (admittedly, one of its editors):

Probably no American composer has had a larger influence on the development of music in this country. Mr. Chadwick's works have won a permanent place in the repertoires of orchestras, choruses, choirs, and singers the world over...

Not so permanent, as it turned out. Some of his orchestral and chamber works have been recorded, but almost none of his choral or vocal music.

I've always thought it would be interesting to attend a New England Classical Christmas concert, with choral excerpts from Chadwick's oratorio Noel (1908), Parker's cantata The Holy Child (1893), Paine's cantata The Nativity (1883) and Amy Beach's Christmas pieces Bethlehem (1893) and Constant Christmas (1922). But I've also come to realize that if I ever want to hear it I will probably have to start the choral group myself.