Scan 29
The American history and encyclopedia of music, 1910
10 lines. Read by computer on 10 September 2026. Printed page 9. See the scan on archive.org.
1first appearance as an orchestral composer was in 1891, when he performed his "Les Veilles de l'Ukraine" for solo violin and orchestra. This was followed in 1894 by his concerto for the violoncello, which was played by Alwin Schroeder.
3These early works show many traces of the harmonic individuality which is such a striking characteristic of his later compositions. They are, however, more conservative, in form and color and much less daring in treatment than his later works.
5The first piece to give full expression to Loeffler's matured style was his Divertimento in A minor for violin and orchestra, which was first performed by him at a concert of the Boston Symphony Orchestra in 1897. It was received with such approval that a "round robin" request was made to the other composers for its repetition, which however was not complied with. In this Divertimento Loeffler gave very positive evidence of his consummate mastery of orchestral color, especially with simple means, and of his skilful rhythmical invention, and most of all his unique harmonic talent.
7His symphonic poem, "The Death of Tintagile," which was performed by the Boston Symphony Orchestra in its original version in 1899, shows much dramatic power as well as a singular sympathy with the inner significance of the poem. Its atmosphere of evil augury is suggested with both power and subtlety by the strange harmonies and weird orchestration of Loeffler's music.
9He has always been a relentless critic of his own works, most of them having been revised many times, and the "Mort de Tintagiles" which was originally scored with two obbligato parts for solo violi d'amore, was afterwards rewritten with one of them omitted, and with many other changes. His two short pieces, "La Bonne chanson" and "Villanelle du Diable," after poems by Varlaine and Rollinat, performed under Mr. Gericke in 1902, present the strongest possible contrast of style. The one placid, idyllic; the other an orgy of diabolism beside which the "Witches' Sabbath" of Ber-
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