GEORGE WHITEFIELD CHADWICK
Educator, administrator, organist, conductor, and principal composer of the Second New
whose members also included John Knowles Paine, Horatio Parker, and Amy Marcy Beach, George W. Chadwick
taught several generations of American musicians at the New England Conservatory, and came to be regarded
as the standard bearer of the Yankee academic tradition in music.
Born in Lowell, MA. on November 13, 1854, Chadwick studied organ with his older brother and used his earnings
as an organist to finance the musical studies which his father opposed. After leaving high school in 1872, he
clerked for a brief time in his father's insurance office while studying with Dudley Buck and Eugene Thayer at
the New England Conservatory. Upon graduation in 1876 he accepted an appointment as a music instructor at Mt.
Olivet College in Michigan and founded the Music Teachers National Association.
In 1877 Chadwick embarked on the pilgrimage which was considered de rigeur for American musicians; he sailed for
Germany to study in Leipzig and Munich with such famous pedagogues as Rheinberger. His RIP VAN WINKLE OVERTURE,
composed abroad to an American theme, won him some early notice, and before returning to the States in 1880, he
tasted a bit of the bohemian life by tramping the Continent with a group of avant garde artists and writers
called the Duvenek Boys.
New England Conservatory
From 1877 to his appointment to the Directorship of the New England Conservatory in 1897, Chadwick built his
career as a Boston teacher, organist, and composer. Among his celebrated pupils were Horatio Parker, who, in
turn taught Charles Ives, Daniel Gregory Mason, and Frederick Shepherd Converse.
Chadwick's compositional style has been dubbed "Boston Classicism." Though there is a distinct academic foundation
to his music, his works also reflect a certain Yankee bluntness and retain the hints of his colorful vagabond days.
In his mature period to which his powerful verismo opera, THE PADRONE, and his lyric drama, JUDITH, belong,
Chadwick's music makes significant strides in freeing the American idiom from the German conservatory style.
Sensitive, also, to indigenous influences, Chadwick made use of African-American song, Anglo-American psalmody,
and folk idioms in his symphonic compositions. His 137 songs for solo voice and piano reflect a deep-seated
interest in contemporary poetry in a Romantic vein. Among his best known settings are two cycles by Boston poet
Arlo Bates: A FLOWER CYCLE and TOLD IN THE GATE.
OH, LET THE NIGHT SPEAK OF ME
from TOLD IN THE GATE
Oh, let the night speak of me,
For day knows not how breaks with woe my heart;
Day knows not how I mournful stray,
Weeping for thee, so dear thou art.
The sad night weeps with me,
And lays her tear wet cheek against my own;
Although I walk in sunlit ways,
Still doth my heart in darkness moan.
The night shall speak of me
And say all things to thee I dare not show;
And to thy dreams my love display,
Till thou art melted by my woe.