Parker, Horatio (William)

(b Auburndale, MA, 15 Sept 1863; d Cedarhurst, NY, 18 Dec 1919). American composer and church musician. At 14 he took piano and organ lessons with his mother; he later studied composition with George Chadwick, the piano with John Orth and theory with Stephen Emery in Boston. He was church organist in Dedham, Massachusetts, 1880–82. His first compositions were 50 songs on poems by Kate Greenaway, written shortly after his first year of musical study; within the next few years he composed keyboard, chamber and some short orchestral pieces. From 1882 to 1885 he studied at the Hochschule für Musik in Munich, including composition under Josef Rheinberger. During this time he wrote his first extensive compositions, including the Ballad of a Knight and his Daughter, the cantata King Trojan and the Symphony in C.

On returning to America, Parker spent several years in New York, where he taught at the cathedral schools of St Paul and St Mary (1886–90), at the General Theological Seminary (1892) and at the National Conservatory of Music (1892–3). He was organist and choirmaster at St Luke's in Brooklyn from 1885 to 1887, St Andrew's in Harlem from 1887 to 1888, and at Holy Trinity in Manhattan from 1888 to 1893.

Parker's reputation as a composer was established during the early 1890s with performances of his student works, the publication of a considerable amount of church music, and major works including the overture Count Robert of Paris, heard at the first public concert of the New York Manuscript Society in 1890; the cantata Dream-King and his Love, which won the National Conservatory prize in 1893; and the oratorio Hora novissima, written for the Church Choral Society of New York in 1893. There followed a series of major vocal and choral compositions, including Cáhal Mór of the Wine-Red Hand, a rhapsody for baritone and orchestra first performed by the Boston SO (1895); the dramatic oratorio The Legend of St Christopher, a commission from the Oratorio Society of New York (1897); and the motet Adstant angelorum chori, which received a prize and performance by the Musical Art Society of New York (1899).

Frequent performances of Hora novissima during the 1890s brought Parker to national prominence. In autumn 1893 he left New York to become organist and choirmaster at the fashionable Trinity Church in Boston. The following year he received an honorary MMus from Yale University and accepted the Battell Professorship of the Theory of Music there, a position he retained until his death. In 1904 he was made dean of the School of Music, and under his guidance Yale gained a national reputation for training composers. Parker also became an important musical figure in the New Haven community by organizing and conducting the New Haven SO (from 1895 to 1918) and the Choral Society (from 1903 to 1914). He conducted various choral societies and glee clubs both in the vicinity of New Haven and as far away as Philadelphia. He continued in his post at Trinity Church in Boston until 1902, when he left to take up a similar post at the collegiate church of St Nicholas in New York; he served this Dutch Reformed church until 1910.

A performance of Hora novissima at the Three Choirs Festival in Worcester in 1899 was the first of a series of activities in England which included the commission of A Wanderer's Psalm for the Hereford Festival and the performance of Hora novissima in Chester (both in 1900) and of part iii of St Christopher at Worcester and A Star Song at Norwich (both in 1902). He received an honorary MusD from Cambridge University in 1902.

Significant vocal and choral compositions from his later years include Crépuscule, a prizewinning concert aria performed by the Philadelphia Orchestra in 1912; the cantata King Gorm the Grim (1908) and the morality The Dream of Mary (1918), both for the Norfolk (Connecticut) Festival; and the oratorio Morven and the Grail (1915), commissioned for the centennial celebration of the founding of the Handel and Haydn Society of Boston.

Parker's second area of composition was theatre music. After writing incidental music for two plays, The Eternal Feminine (1904) and The Prince of India (1906), he composed music for two grand operas: Mona, which won a prize offered by the Metropolitan Opera Company and received four performances in that house (1912); and Fairyland, which won a prize offered by the National Federation of Music Clubs and six performances in Los Angeles (1915).

Parker composed numerous songs, anthems and hymns. Apart from some character-pieces for organ and piano, his instrumental composition was infrequent after the early years; however, the symphonic poem A Northern Ballad (1899) and the Concerto for Organ and Orchestra were performed by major American orchestras. Parker performed his Concerto with the Boston SO (1902) and the Chicago SO (1903).

Parker's health, which had been uncertain since his youth, deteriorated rapidly during World War I, and he died of pneumonia contracted while on a recuperative trip to the West Indies in 1919. His last compositions, The Red Cross Spirit Speaks (1918) and A.D. 1919, are marked more by emotional fervour than by his creativity.

Parker composed steadily throughout his life, although his church, educational and conducting duties were extensive. He was capable of intense concentration and frequently used the time while commuting from New Haven to Boston or New York for composing. After 1907, many of his largest works were written during summers at his family's vacation home in Blue Hill, Maine.

His career as a composer can be divided into three periods. The first was strongly eclectic and included the student and New York cantatas as well as the oratorio Hora novissima. The latter contains flowing, balanced melodic lines, moderately chromatic harmony, colourful orchestration and stirring polyphonic effects.

The second period was marked by an increasing concern for dramatic expression in several of the larger choral works, and the fulfilment, with Mona, of a desire to write an opera. The contrasting, sectional structures of the first period gave way to an increasingly unified, highly expressive style. The key works are Cáhal Mór of the Wine-Red Hand, with its integration of solo voice and orchestra; The Legend of St Christopher, with its well-developed leading motif technique; A Star Song, with its long-phrased melodies, tonally evasive harmony and unified structure; and finally Crépuscule and Mona, with their pervading chromaticism, vacillating tonalities and sometimes angular, disjunctive melodies.

During this same period Parker wrote a number of cantatas and ceremonial pieces which had a more conservative cast and sustained his reputation as a traditionalist. They include Adstant angelorum chori, with its allusions to Renaissance polyphony; A Wanderer's Psalm, with its contrasting sections and unifying tonus peregrinus; Hymnos Andron, with its application of the rhythm and structure of Greek poetry; and the occasional pieces, Union and Liberty and Spirit of Beauty, with their balanced sections.

The third period, following Mona, was stylistically regressive: for example, An Allegory of War and Peace, The Dream of Mary, The Red Cross Spirit Speaks and A.D. 1919 are marked by a return to diatonic harmony, more traditional key relationships, balanced structures and clearly defined melody. Parts of Morven and the Grail and Fairyland also show these tendencies. These works reflect Parker's concern, during his last few years, to communicate more directly with the American public.

During his lifetime Parker was considered a craftsman without equal and was one of America's most highly respected composers, but since his death, the number of performances of his major works has declined steadily. Even his more imaginative works, in which he attempted to follow such composers as Wagner, d'Indy, Strauss, Debussy and Elgar, are received no better than the more conservative pieces, which show the influence of Brahms, Dvořák and Gounod. Parker's inability to achieve a strongly individualistic style, and his reliance on chromatic formulae which are now considered too sentimental, have undoubtedly contributed to the neglect of his music. Hora novissima, A Northern Ballad and a few anthems are still occasionally heard, and several of his songs have a beauty which should rescue them from obscurity.

WILLIAM KEARNS

WORKS

printed works published in New York unless otherwise stated

choral

op.

2	5 Part Songs, 1882; listed in Strunk
—	2 Gesänge für Gemischten Chor, 1882; listed in 9. Jahresbericht der Königlichen Musikhochschule in München (1882–3), 37
1	Mountain Shepherd's Song (Uhland), TTBB, pf, 1883 (Boston, 1884)
3	Psalm 23, S, women's chorus, org, hp, 1884; Munich, Königliche Musikhochschule, 23 Dec 1884 (pubd as The Lord is my Shepherd, 1904)
6	Ballade (F.L. Stolberg), f, chorus, orch, 1884; Munich, Königliche Musikhochschule, 7 July 1884 (pubd as The Ballad of a Knight and his Daughter, 1891)
8	König Trojan (A. Muth), ballad, T, Bar, SATB, orch, 1885; Munich, Königliche Musikhochschule, 15 July 1885 (pubd as King Trojan, Boston, 1886)
15	Idylle (cant., J.W. von Goethe), T, B, SATB, orch, 1886 (1891)
14	Blow, Blow, thou Winter Wind (W. Shakespeare), TTBB, pf, 1888 (1892)
16	Normannenzug (cant., H. Lingg), TTBB, orch, 1888 (pubd as The Norsemen's Raid, Cincinnati, 1911)
—	Ecclesia, SATB, SSA boys' chorus, org, 1889, US-NH
21	The Kobolds (cant., A. Bates), SATB, orch, 1890; Springfield, MA, Choral Festival, 7 May 1891 (London, 1891)
26	Harold Harfager, partsong, SATB, orch, 1891 (1891)
31	Dream-King and his Love (cant., Geibel, trans. E. Whitney), T, SATB, orch, 1891; New York, 30 March 1893 (1893)
27	2 Choruses for Women: The Fisher (Goethe), The Water Fay (H. Heine), SSAA, pf (1892)
30	Hora novissima (orat, B. de Morlaix), S,A,T,B, SATB, orch, 1893; New York, Church Choral Society, 3 May 1893 (London, 1893)
33	3 Choruses, male vv: My Love (L.E. Mitchell), Three Words (W.B. Dunham), Valentine (C.G. Blanden) (1893)
37	The Holy Child (Christmas cant., I. Parker), S,T, B, SATB, pf/org, 1893 (1893)
39	4 Choruses, male vv: Behold, how good and joyful; Blest are the departed; Lord dismiss us with thy blessing; Softly now the light of day, 1893 (1894)
42	Ode for Commencement Day at Yale University (E.C. Stedman), 1895 (1895)
—	In May, partsong, female chorus, hp, orch, 1897 (1897)
—	Laus Artium (cant.), solo v, SATB, orch, 1898, NH
43	The Legend of St Christopher (dramatic orat, I. Parker), solo vv, chorus, orch, 1897; New York, Oratorio Society, 15 April 1898 (London and New York, 1898)
45	Adstant angelorum chori (Thomas à Kempis), motet, 8vv, 1899; New York, Musical Art Society, 16 March 1899 (1899)
50	A Wanderer's Psalm (cant., after Ps cvii), solo vv, chorus, orch, 1900; Hereford, Three Choirs Festival, 13 Sept 1900 (London, 1900)
48	3 Part Songs, TTBB: Awake, my Lady Sweetlips (E. Higginson), The Lamp in the West (Higginson), The Night has a Thousand Eyes (F.W. Bourdillon) (Cincinnati, 1901)
53	Hymnos Andron (T.D. Goodell), solo vv, TTBB, orch, 1901; Yale U., 23 Oct 1901 (pubd as Greek Festival Hymn, 1901)
54	A Star Song (H.B. Carpenter), lyric rhapsody, solo vv, chorus, orch, 1901; Norwich (England) Festival, 23 Oct 1902 (Cincinnati, 1902)
54b	Come Away! (J. Dowland), SATB (London, 1901)
—	The Robbers (J. Baillie), SATB, pf; in W.L. Tomlin: The Laurel Song Book (Boston, 1901)
—	An Even Song (C. Thaxter), SA, pf (London, 1901)
60	Union and Liberty (O.W. Holmes), chorus, band/orch, 1905; commissioned for and perf. at inauguration of President T. Roosevelt (1905)
61	Spirit of Beauty (ode, A. Detmers), male chorus, band/orch, 1905; Buffalo, NY, ded. of Albright Art Gallery, 31 May 1905 (1905)
63	The Shepherds' Vision (Christmas cant., F. Van der Stucken, trans. A. Jennings), solo vv, chorus, org, (ob, str, hp ad lib), 1900 (1906)
64	King Gorm the Grim (T. Fontane, trans. M.P. Whitney), ballad, chorus, orch, 1907; Norfolk Festival, 4 June 1908 (1908) Piscatrix, TTBB (1908)
—	Songs for Parker daughters, trios, female vv, 1911: I Remember the black wharfs and ships (H.W. Longfellow), September Gale (C.H. Crandall), Rollicking Robin (L. Larcom), no.1 (Boston and New York, 1923)
66	School Songs, SATB, pf: no.1 unidentified, Springtime Revelries (N. Waterman), The Storm (Waterman), Freedom Our Queen (O.W. Holmes); nos.2–4 (Boston, 1912, 1919, 1911)
—	The Song of the Swords (from op, Mona), SATB, pf (New York and Boston, 1911)
73	A Song of Times (cant., J.L. Long), S, SATB, bugle corps, band/orch, org, 1911; Philadelphia, Wanamaker Dept Store, 1 Dec 1911 (1911)
—	A Song of a Pilgrim Soul (H. Van Dyke), partsong, vv, pf (1912)
74	7 Greek Pastoral Scenes (Meleager, Argentarius), SA, female chorus, ob, hp, str, 1912 (1913)
75	The Leap of Roushan Beg (Longfellow), ballad, T, TTBB, orch; Philadelphia, Orpheus Club, 1913–14 season (1913)
76	Alice Brand (cant., Scott), solo vv, SSA, pf (1913)
—	Gloriosa patria, patriotic hymn (1915)
79	Morven and the Grail (orat, B. Hooker), solo vv, chorus, orch, 1915; Boston, 13 April 1915 (Boston, 1915)
—	Ave virgo gloriosa (from op, Fairyland), female chorus, pf, 1915 (1915)
82	The Dream of Mary (J.J. Chapman), morality, solo vv, children's chorus, chorus, congregation, org, orch, 1918; Norfolk Festival, 4 June 1918 (1918)
—	Triumphal March (D.K. Stevens), SATB, pf; in G. Parsons: High School Song Book (Boston, 1919)
84	A.D. 1919 (cant., Hooker), S, chorus, orch, 1919; Yale U., June 1919 (New Haven, 1919)
—	I Remember (Longfellow), female vv, pf; in A Book of Choruses for High Schools and Choral Societies (Boston, 1923)

stage

—	The Eternal Feminine (incid music, F. Nathan), chorus, orch, 1903–4; New Haven, 7 Nov 1904; lost
—	The Prince of India (incid music, J.I.C. Clarke, after L.E. Wallace), 1v, chorus, orch, 1905; New York, Broadway Theatre, 24 Sept 1906, NH
71	Mona (op, 3, Hooker), 1910; New York, Metropolitan, 12 March 1912 (1911)
77	Fairyland (op, 3, Hooker), 1914; Los Angeles, 1 July 1915 (1915)
80	Cupid and Psyche (masque, 3, J.J. Chapman), 1916; New Haven, 16 June 1916, NH
81	An Allegory of War and Peace (F.H. Markoe), chorus, band, 1916; New Haven, 21 Oct 1916, NH

songs

1 voice, piano unless otherwise stated

—	Kate Greenaway Songs, 50 settings, 1878; see Kearns (1990) for individual listing, NH
—	La coquette, 1879, NH
—	3 Songs: Goldilocks, Slumber Song, Wedding Song, 1881 (Boston, 1882)
10	3 Love Songs: Love's Chase (T.L. Beddoes), Night Piece to Julia (R. Heink [Herrick]), Orsame's Song (Suckling), 1886 (Boston, 1886)
—	2 Sacred Songs: Rest, There is a Land of Pure Delight, 1890 (Boston, 1890)
22	3 Sacred Songs: Evening, Heaven's Hope, Morning (1891)
23	3 Songs: My Love, O Waving Trees, Violet, 1891(1891)
24	6 Songs: Cavalry Song (E.C. Stedman), Egyptian Serenade (G.W. Curtis), O Ask me Not (H. Hopfen), Pack, clouds, away! (T. Heywood), Spring Song (Curtis), The Light is Fading (E.A. Allen) (1891)
—	Come see the Place (1893), also arr. as anthem
34	3 Songs: I know a Little Rose, My Lady Love, On the Lake (1893)
—	In Glad Weather (C.B. Going) (1893)
—	A Rose Song, unison chorus, pf (London, 1893)
—	2 Songs: Fickle Love (L.C. Moulton), Uncertainty (C. Swain) (Boston, 1893)
—	2 Songs: A Song of Three Little Birds, Love is a Rover (S.M. Peck), 1893 (Cincinnati, 1893)
—	Divine Love (A. Jennings) (Boston, 1894)
—	2 Shakespeare Songs: A Poor Soul Sat Sighing, It was a Lover and his Lass (Boston, 1894)
40	Cáhal Mór of the Wine-Red Hand (J.C. Mangan), rhapsody, Bar, orch, 1893; Boston, 29 March 1895 (1910)
—	Salve regina (1895)
—	Spanish Cavalier's Song (I. Parker) (Boston, 1896)
47	6 Old English Songs: Come, O come, my life's delight (T. Campion), Love is a sickness (S. Daniel), He that loves a rosy cheek (T. Carew), Once I loved a maiden fair (Old English), The Complacent Lover (C. Selby), The Lark (W. Davenant), 1897–9 (Cincinnati, 1899)
–	The Green is on the Grass Again, 1900, NH
51	4 Songs: A Spinning Song (I. Parker), At Twilight (E.A. Baker), June Night (E. Higginson), Love in May (Higginson), 1901 (Cincinnati, 1901)
—	The Toedt Songs, S, vn, pf, 14 songs as Christmas gifts for children of close friends, 1903–16, microfilm of MS, NH (for individual listing see Kearns (1990)), no.5 (1939)
59	4 Songs: Good-Bye (C. Rossetti), Serenade (N.H. Dole), Songs (R.L. Stevenson), The Blackbird (W.E. Henley) (1904)
—	2 Songs from Tennyson's Queen Mary: Lute Song, Milkmaid's Song (1904)
58	3 Sacred Songs, org acc.: Come, Holy Ghost (St Ambrose), Declining now, the sun's bright wheel (C. Coffin), Lo, now the shades of night (St Gregory) (London, 1905)
—	Springtime of Love (F.D. Sherman), 1905 (1905)
—	Last Night the Nightingale (T. Marzials); The Garden Pirate (G. Rogers); The Reason Why (G. Cooper); 1906, NH
62	Crépuscule (J. de Beaufort, trans. E. Whitney), concert aria, Mez, orch, 1907; Philadelphia, 27 March 1911 (1912)
—	The First Christmas, 4 S, pf, 1907, NH
—	The Wandering Knight's Song (Cincinnati, 1908)
—	O, I will Walk with you; On the Hillside; The Presence Dwells among the Starlit Places; Lamentation (trans. G. Morris); 1909, NH
70	7 Songs (B. Hooker): A Man's Song, A Robin's Egg, A Woman's Song, I Shall Come Back, Offerings, Only a Little While, Together, 1910 (Cincinnati, 1910)
—	A Christmas Song (J.G. Holland), 1911; in Century Illustrated Monthly Magazine (Dec 1911)
—	Rollicking Robin (L. Larcom), 1911, NH
—	2 Songs: A Perfect Love (A.H. Hyatt), 1913, Her cheek is like a tinted rose (F.E. Coates), 1912 (Boston, 1914)
—	3 Songs: Across the Fields (W. Crane), 1906, Morning Song (M. Schütze), 1908, Nightfall (Schütze), 1908 (Boston, 1914)
78	The Progressive Music Series for Basal Use in Primary, Intermediate and Grammar Grades, 61 songs, 1914–19 (Boston and New York, 1914–19); for individual listings see Kearns (1990)
—	It was a Lover and his Lass (W. Shakespeare), 2 S, vn, pf, 1916, NH
—	Tomorrow (F.E. Coates), 1915; The Pearl (A. Hyatt), 1916; NH
83	The Red Cross Spirit Speaks (J. Finley), 1v, orch, 1918 (1918)
—	Hymn for the Victorious Dead (H. Hagedorn); in The Outlook (18 Dec 1918)

anthems, services

for SATB, organ; solo voices as indicated

—	Christ our Passover (1890)
—	Bow down thine ear; Deus misereatur, E, 1890; Magnificat, E, with solo v; Nunc dimittis, E; The Lord is my light; There is a land of pure delight, with solo v (all pubd in 1890)
—	Give unto the Lord, 1890; I will set his dominion in the sea (1891)
—	The Riven Tomb, in New York Herald (29 March 1891); Te Deum, A (1891); Who shall Roll us away the Stone?, with S solo (1891)
—	12 Christmas Carols for Children, unison chorus, pf (1891)
—	The Morning and Evening Service, E, together with the Office for The Holy Communion, 1890 (London, 1892)
—	Let us Rise up and Build, 1892, NH
—	Before the Heavens were Spread Abroad, with T solo (London, 1893)
—	Come See the Place, arr. as anthem, 1v, chorus/qt, org (1893)
34b	Magnificat and Nunc dimittis, E, 1893 (London, 1893)
—	Te Deum, B (1893)
—	Rejoice in the Lord; Look ye Saints, the Sight is Glorious, 1894 (1976)
—	Light's Glittering Morn, with B solo, 1894 (1894)
—	Far from the World, with S/T solo (1896)
—	O Lord, I will Exalt thee, 1897 (1897)
—	Calm on the Listening Ear of Night, with S/T solo, 1898; in The Churchman (10 Dec 1898)
—	Grant, we beseech thee, merciful Lord, 1899 (Boston, 1898)
—	Behold, ye Despisers, with B solo (London, 1899)
—	Now Sinks the Sun (from The Legend of St Christopher), a cappella, 1897 (London, 1900)
—	In Heavenly Love Abiding, with S solo; While we have Time; 1900 (both pubd London, 1900)
—	Thou Shalt Remember, with Bar solo, 1901 (London, 1901)
—	Come, gentles, rise (D. Evans), unison chorus, org, 1903 (1905)
—	God, that Makest Earth and Heaven (1903/R)
—	Brightest and Best, with S solo, 1904 (1904)
57	The Office for the Holy Communion, B, 1904 (New York and London, 1904)
—	It Came upon the Midnight Clear, solo vv, chorus, org, (vn, hp ad lib), 1904 (Boston, 1904)
—	I Shall not Die but Live, with Bar solo, 1905 (Boston, 1905)
—	To Whom then Will ye Liken God, with T solo, 1909 (1909)
—	The Voice that breathed o'er Eden, unison chorus, kbd, 1916, NH
—	He Faileth Not, with S/T solo, 1919 (1919)
—	He who Hath Led Will Lead, NH
The following hymnals contain the majority of Parker's hymn settings (for individual listings see Kearns, 1990):
H. Parker, ed.: The Hymnal, Revised and Enlarged … of the Protestant Episcopal Church in the USA (1903)
H. Parker and H.B. Jepson, eds.: University Hymns for Use in the Battell Chapel at Yale with Tunes Arranged for Male Voices (1907)
The Hymnal … of the Protestant Episcopal Church in the USA (1918)
The Hymnal of the Protestant Episcopal Church in the USA (1943)

keyboard

individual listings in Kearns (1990)

—	Geschwindmarsch für zwei Orgelspielern, 1881 (Carol Stream, IL, 1975)
9	5 morceaux caractéristiques, pf (Boston, 1886)
19	4 Sketches, pf (Boston, 1890)
17	4 Compositions, org (1890)
23	6 Lyrics, pf (1891)
20	4 Compositions, org (1891)
28	4 Compositions, org (1891)
32	5 Sketches, org (1893)
36	4 Compositions, org (1893)
—	2 Compositions, pf; in Famous Composers and their Works, xiii (Boston, 1895), 1097–106
—	3 Compositions, org; in D. Buck: Vox organi (Boston, 1896)
49	3 morceaux caractéristiques, pf (Cincinnati, 1899)
—	Praesentir Marsch, pf 4 hands, 1906, NH
65	Organ Sonata, E (1908)
67	4 Compositions, org (pubd as op.66, 1910)
68	5 Short Pieces, org (1908)
—	Introduction and Fugue, e, org, 1916, NH

orchestral and chamber

4	Concert Overture, E, orch, 1884; Munich, Königliche Musikhochschule, 7 July 1884, NH
5	Regulus, ov. héroïque, orch, 1884, NH
12	Venetian Overture, B, orch, 1884, NH
13	Scherzo, g, orch, 1884, NH
7	Symphony, C, orch, 1885; Munich, Königliche Musikhochschule, 11 May 1885, NH
11	String Quartet, F, 1885; Detroit, MI, 29 Nov 1887; in J. Graziano, ed.: Three Centuries of American Music, viii (1991), 245–313
24b	Count Robert of Paris, ov., orch, 1890; New York, 10 Dec 1890, NH
35	Suite, pf, vn, vc, New York, 3 March 1893 (1904)
38	String Quintet, d, 1894; Boston, 21 Jan 1895, NH
41	Suite, e, pf, vn, 1894; Boston, 15 Jan 1895, NH
46	A Northern Ballad, sym. poem, 1899; Boston SO, 29 Dec 1899, NH
55	Organ Concerto, 1902; Boston SO, 26 Dec 1902 (London, 1903)
56	Vathek, sym. poem, 1903, NH
72	Collegiate Overture, with male chorus, 1911; Norfolk Festival, 7 June 1911, NH
77d	Fairyland Suite (prelude, int, ballet from op, Fairyland), 1915, NH

Parker, Horatio

WRITINGS

‘Concerning Contemporary Music’, Proceedings of the American Academy of Arts and Letters, i (1909–10), 36–43; repr. in North American Review, cxci (1910), 517–26

‘Some Orchestral Conditions’, Atlantic Monthly, cxix (1917), 485–90

‘Our Taste in Music’, Yale Review, 2nd ser., vii (1917–18), 777–88

Parker, Horatio

BIBLIOGRAPHY

R. Hughes: Contemporary American Composers (Boston, 1900, rev. 2/1914/R by A. Elson as American Composers)

J. van Broekhaven: ‘Mona: a Thematic Analysis’, Musical Observer, vi/4 (1912), 22–8

G.W. Chadwick: Horatio Parker (New Haven, 1921/R)

E.E. Hipsher: American Opera and its Composers (Philadelphia, 1927, 2/1934/R)

D.S. Smith: ‘A Study of Horatio Parker’, MQ, xvi (1930), 153–69

O.W. Strunk: ‘Works of Horatio W. Parker’, MQ, xvi (1930), 164–9

J.T. Howard: Our American Music: Three Hundred Years of it (New York, 1931, enlarged 4/1965 as Our American Music: a Comprehensive History from 1620 to the Present)

I.P. Semler and P. Underwood: Horatio Parker: a Memoir for his Grandchildren (New York, 1942/R)

W.C. Rorick: ‘The Horatio Parker Archives in the Yale University Music Library’, FAM, xxvi (1979), 298–304

W.K. Kearns: ‘Horatio Parker's Mona: its Place in the Composer's Career and in American Opera’, Sonneck Society Newsletter, vi/3 (1980), 11–12

W.K. Kearns: ‘Horatio Parker and the English Choral Societies’, American Music, iv/1 (1986), 20–33

W.K. Kearns: Horatio Parker, 1863–1919: his Life, Music, and Ideas (Metuchen and London, 1990)

W.K. Kearns: ‘Horatio Parker's Oratorios: a Measure of the Changing Genre at the Turn of the Twentieth Century’, Inter-American Music Review, xi/2 (1990–91), 65–73

N.E. Tawa: The Coming of Age of American Art Music: New England's Classical Romanticists (New York, Westport, CT, and London, 1991)

S.E. Scroggins: The Songs of Horatio Parker (diss., U. of Maryland, 1995)

W.K. Kearns: ‘Horatio Parker, Edward Elgar, and Choral Music at the Turn of the Twentieth Century’, Elgar Society Journal, x/i (1997), 4–24