Introduction and Theme

George Whitefield Chadwick (November 13, 1854 – April 4, 1931) was an American composer. Along with Horatio Parker, Amy Beach, Arthur Foote, and Edward MacDowell, he was a representative composer of what is called the Second New England School of American composers of the late 19th century—the generation before Charles Ives. Chadwick's works are influenced by the Realist movement in the arts, characterized by a down-to-earth depiction of people's lives. Many consider his music to portray a distinctively American style. His works included several operas, three symphonies, five string quartets, tone poems, incidental music, songs and choral anthems. Along with a group of other composers collectively known as the Boston Six, Chadwick was one of those responsible for the first significant body of concert music by composers from the United States. The other five were Amy Beach, Arthur Foote, Edward MacDowell, John Knowles Paine, and Horatio Parker.

His works fall into distinctive "periods".

The formative period (1879–1894): During this time, Chadwick utilized his training as a student in Leipzig, favoring sonata form, diatonic harmony, and regular phrasing and rhythms.

The Americanism/Modernism period (1895–1909): Here Chadwick is asserting his own musical style more than previously. In some works he uses unusually instrumentation, unconventional rhythms and more chromaticism. A major critic said the Chadwick had "outgrown the classic ideals."

The dramatic period (1910–1918): During this period, Chadwick shifted from overtures and symphonies to a more dramatic and programmatic style. At this point, he was more interested in musical effects than in form and construction.

The reflective years (1919–1931): By this time, Chadwick was a highly regarded elder musician who was no longer writing as the energetically creative artist.

The score is attached below, as well as several photos of Chadwick.

Please see First Comment for musical notes about the performance.