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Scan 97
Cyclopedia of music and musicians, 1888
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1an American university. Paine's reputation as an organist was exceedingly brilliant during the first six or eight years after his return from Germany, his taste and style of playing placing him almost alone in this country as a follower of the extreme classic school; but of late years he has played but little in public, or even in church, and is known to-day principally, if not solely, as a composer and teacher of composition. As a composer he has admittedly held the first rank in America for some years. His musical education was very thorough, and entirely classic in its tendency; indeed, he may be said to have been brought up on Bach. His earlier works, too, are wholly of the classic type, and show a rare mastery over musical form. But after his Mass, op. 10, he began to strike out more and more plainly in the modern romantic direction, and is now to be classed with the romanticists. Works: I. For voices with orchestra: Domine salvum fac, for male chorus and orchestra, op. 8, given at the inauguration of President Hill, of Harvard University, Cambridge, March 4, 1863, and at that of President Eliot, ib., Oct. 19, 1869 (MS.); Mass in D, for soli, chorus, and orch., op. 10, given under the composer's direction, Berlin, Singakademie, February, 1867 (pianoforte score, New York, Schirmer); Saint Peter, oratorio, op. 20, Portland, Me., May, 1873 (pianoforte score, Boston, Ditson, 1872); Centennial Hymn, in D, for chorus and orch., op. 27, given in Philadelphia, at the opening of the Centennial Exposition, May 10, 1876 (Boston, Ditson); Music to the Œdipus Tyrannus of Sophocles, for male voices and orch., op. 35, Cambridge, Sanders Theatre, May 17, 1881 (Boston, Schmidt); The Realm of Fancy, cantata for soprano solo, chorus, and orch., op. 36, Boston, Music Hall, 1882 (Boston, Schmidt); Phœbus, arise, for tenor solo, male chorus, and orch., op. 37, ib., 1882 (Boston, Schmidt); The Nativity, cantata for soli, chorus, and orch., op. 38, Boston, Music Hall, 1883 (Boston, Schmidt); Song of Promise, do. for soprano, chorus, and orch., op. 43, Cincinnati May Festival, 1888 (Cincinnati, John Church & Co.); Harvard Commencement Hymn; Mirabel, romantic opera in 4 acts (MS., not yet finished). II. For orchestra: Symphony No. 1, in C minor, op. 23, Boston, Music Hall, Thomas orchestra, Jan. 26, 1876 (MS.); Overture to Shakespeare's "As You Like It," in F, Cambridge, Sanders Theatre, Thomas orchestra, Nov. 21, 1878 (MS.); Symphonic poem on Shakespeare's Tempest, in D minor, op. 31, New York, October, 1877 (MS.); Duo concertante for violin and violoncello, with orch., in A, op. 33, Cambridge, Sanders Theatre, Thomas orchestra, April, 1878 (MS.); Spring symphony, No. 2, in A, op. 34, Cambridge, Sanders Theatre, March, 1880 (Hamburg, Schmidt & Cranz); An Island Fantasy, symphonic poem in G-sharp minor and A-flat major, op. 44, Boston, Symphony Orchestra, April, 1888 (MS.); III. Songs and part-songs: Part-songs and motets, op. 14, 16, 18 (MS.); 4 songs, with pianoforte, op. 29 (Boston, Ditson); 3 songs, with do., op. 40 (ib., Schmidt). IV. Chamber music: String quartet in D, op. 5 (MS.); Trio for pianoforte, violin, and violoncello, in D minor, op. 22 (MS.); Larghetto and scherzo for do., in B-flat, op. 32 (MS.); Sonata for pianoforte and violin, in B minor, op. 24 (MS.); Romanza and scherzo for pianoforte and violoncello, op. 30 (MS.). V. For pianoforte: Sonata No. 1, in A minor, op. 1 (MS.); do. No. 2, in F-sharp minor, op. 4 (MS.); Christmas gift, in D, op. 7 (Boston, Ditson); Funeral March for Abraham Lincoln, in B-flat minor, op. 9 (New York, Schirmer); 4 Charakterstücke, op. 11 (Leipsic, Forberg); Romance in C minor, op. 12 (Boston, Schmidt); 4 character pieces, op. 25 (ib., Ditson); In the country, 12 pieces, op. 26 (ib., ib.); Romance in D-flat, op. 39 (ib., ib.); 3 pieces, op. 41 (ib., Schmidt); Nocturne in B-flat, op. 45 (MS.). VI. For organ: Concert variations on the Austrian Hymn, in F, and on The Star-spangled Banner, in C, op. 3 (Boston,
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