Books › Newark City Directory 1916, 1916 › scan 336
Scan 336
Newark City Directory 1916, 1916
21 lines. Read by computer on 17 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1This problem—the problem of making the past speak for itself, potently, in ringing tones, is the problem which the pageant attacks. It goes about this work directly. Have we in the history a time when the Puritan spirit was driven by its own sense of righteousness to this place; when the founders moored their boats and made their bargains? This time the pageant sets before our eyes. The founders, in their character and habit as they lived, move and speak, and have their being; the establishment of the town, its consistencies, its prejudices, its ideals—all these things reach the audience of the pageant easily and directly. The growing feeling of insubordination to the exactions of the proprietors and that greater discontent which followed and which culminated in the stirring scenes of the revolution can be readily portrayed.
3The growth of the modern city through the less isolated but frequently very important events of the first half of the Nineteenth Century furnish us, roughly speaking, another act in the drama, and after all it is this sequence of events—this cumulative common experience—that gives motive and meaning to our celebration as a whole.
5So it is most fitting that the pageant should be the first phase of the celebration; and having looked back over its two and a half centuries of life, the city may then turn its attention to its living present and its festival year.
7But the pageant, if it is to present these matters clearly to the public, must first be produced, and in the production there is opportunity for great co-operation of citizens and for the working out of innumerable interesting details. The arts of music, the dance, design and stage-craft must all be employed and the artists must come spontaneously from the city itself, bringing with them not only the skill but their willingness to work together in the cause of a great civic demonstration.
9For the present this work is largely to secure the most competent and representative people for each part of the task, and the pageant committee is now searching out, or its sub-committees on production, the men and women who can best give counsel about music, dancing, lighting, and stage-craft. The members of these sub-committees will be, as the work progresses, actively in charge of all its details. The first and most vital step toward a successful pageant is the organization of a public-spirited and representative body of volunteers, a body which in Newark is already well on the way to successful formation.
11THOMAS WOOD STEVENS, Director of the Pageant. one of two readings
12Thomas Wood Stevens, Director of the Pageant. one of two readings
14The Pageant Music Composer
16Henry Hadley, the eminent composer, a resident of Somerville, Mass., was engaged by the Pageant Committee of the Committee of One Hundred to write the choral, dance and other music of Newark's great historic pageant. Sensible of the limitations of stringed instruments in the open, Mr. Hadley writes for band instruments, thereby music that can be distinctly heard and fully enjoyed by the most distant auditor.
18Henry Hadley was born in Somerville, Mass., Dec. 20th, 1874, and showed marked ability in musical composition before he was twelve years old. Under the instruction of his father, he learned to play the piano and violin. His first studies in composition were at the New England Conservatory of Music under Stephen Emery and George W. Chadwick. At the age of twenty he composed his first serious work for orchestra, an overture called "Hector and Andromache" which was performed in New York under Walter Damrosch at a concert of the Manuscript Society in Chickering Hall. He had carried on the study of violin coincidently with composition and in 1893 made a tour of the United States as leader with the Laura Schirmer Mapleson Opera Company. In the following summer he went to Vienna to study counterpoint with Eusebius Mandziewski, and while there completed his Ballet Suite, No. 3, which was heard first at a concert of the Manuscript Society, New York, under the late Adolf Neuendorf, and was afterwards included in the repertory of Sam Franko's American Symphony Orchestra.
20Mr. Hadley was appointed director of the music department at St. Paul's School, Garden City, L. I., in 1895, a position he held for seven years. He composed the following works during that remarkably fruitful period; two symphonies, "Youth and Life," first produced under Anton Seidl at a concert of the Manuscript Society in 1897; and "The Four Seasons," which won the New England Conservatory and the Paderewski prizes in 1902; an overture, "In Bohemia," first produced in Pittsburgh by Victor Herbert, an overture to Stephen Philips' tragedy, "Herod," a cantata, "In Music's Praise," which won the Oliver Ditson Company prize and was first produced at Carnegie Hall, New York, by the People's Choral Union in 1899; an "Oriental Suite," produced at a
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