Early Letters of George Wm. Curtis to John S. Dwight Part 2

'Tis loving and serving The Highest and Best!

'Tis onwards! unswerving, And that is true rest."

As an intimate friend of George Ripley, Dwight had discussed with him the project of a community at Brook Farm; and it was natural that he should find his place there in November, 1841. Many years later Dwight said of the purposes of Ripley, in this effort to improve upon the usual forms of social life: "His aspiration was to bring about a truer state of society, one in which human beings should stand in frank relations of true equality and fraternity, mutually helpful, respecting each other's occupation, and making one the helper of the other. The prime idea was an organization of industry in such a way that the most refined and educated should show themselves practically on a level with those whose whole education had been hard labor. Therefore, the scholars and the cultivated would take their part also in the manual labor, working on the farm or cultivating nurseries of young trees, or they would even engage in the housework."

In the Brook Farm community, Dwight was one of the leaders, his place being next after Ripley and Dana. In the school he was the instructor in Latin and music. His love for music began to make itself strongly manifest at this time; he brought out all the musical talent which could be developed among the members of the community. Of this phase he said: "The social education was extremely pleasant. For instance, in the matter of music we had extremely limited means or talent, and very little could be done except in a very rudimentary, tentative, and experimental way. We had a singing-cla.s.s, and we had some who could sing a song gracefully and accompany themselves at the piano. We had some piano music; and, so far as it was possible, care was taken that it should be good--sonatas of Beethoven and Mozart, and music of that order. We sang ma.s.ses of Haydn and others, and no doubt music of a better quality than prevailed in most society at that date, but that would be counted nothing now. Occasionally we had artists come to visit us. We had delightful readings; and, once in a while, when William Henry Channing was in the neighborhood, he would preach us a sermon."

At this time a musical awakening was taking place in Boston, a genuine taste for and appreciation of Beethoven, Mozart, and Haydn was being developed. Dwight was instrumental in promoting a love for these masters, and out of his cla.s.ses for their study grew what were called "Ma.s.s Clubs."

He and his pupils often went into Boston to hear the best music, walking both ways. In _The Dial_, and especially in the _Harbinger_, Dwight wrote with enthusiasm and poetic charm of the merits of cla.s.sical music. He wrote afterwards that the treatment of music in these periodicals told the time of day far ahead; and "such discussion did at least contribute much to make music more respected, to lift it in the esteem of thoughtful persons to a level with the rest of the humanities of culture, and especially to turn attention to the n.o.bler compositions, and away from that which is but idle, sensual, and vulgar."

To the _Christian Examiner_, _Boston Miscellany_, _Lowell's Pioneer_, and the _Democratic Review_, Dwight was an occasional contributor at this period. His chief literary work, however, was in the form of lectures on musical subjects, especially on the great composers already named. He gave a successful course of musical lectures in New York, and he lectured in a number of other cities.

To the _Harbinger_, which was the organ of Brook Farm after the Fourierite period began, as well as the best advocate of a.s.sociated life ever published in the country, Dwight was one of the chief contributors. He wrote much in behalf of a.s.sociation, but he also discussed literary topics. His chief contributions were on the subject of music, which was then, as always, so near his heart. He conducted the department devoted to musical criticism and interpretation. During the last year of the publication of the paper at Brook Farm he was a.s.sociated with Ripley in the editorial management.

In 1847 Brook Farm came to an end. The _Harbinger_ was removed to New York, and Ripley was its editor; but it was discontinued in less than two years. Dwight was the Boston correspondent, and continued his editorial connection with the paper. He removed to Boston, continued his interest in a.s.sociation, was an active member of W.H. Channing's "Religious Union of a.s.sociationists," was one of the most zealous workers in the organization for promoting a.s.sociated life, and began to write for the _Daily Chronotype_ on musical subjects. In 1849 he edited a department in the _Chronotype_ devoted to the interests of a.s.sociation, and he had the a.s.sistance of Channing, Brisbane, Dana, and Cranch. This arrangement was continued for only a few months, not proving a success. In 1851 he was for six months the musical editor of the _Boston Commonwealth_, he wrote for _Sartain's Magazine_ and other periodicals on musical topics, and he continued to lecture. Ripley and Dana made an earnest effort to secure him a place on one of the daily journals in New York. In February, 1851, Dwight and Mary Bullard, who had been a frequent visitor at Brook Farm, and a member of the choir at Channing's church in Boston, of which Dwight was the musical leader, were married. She was a beautiful and attractive woman, of some musical talent, and of a most unselfish and winning character. They went to live in Charles Street, and there had Dr. O.W.

Holmes and his wife for near neighbors.

In April, 1852, Dwight issued the first number of _Dwight's Journal of Music_. He was able to do this with the aid of several of his a.s.sociationist and musical friends, who generously contributed to a guarantee fund for the purpose. The Harvard Musical a.s.sociation lent its aid to the project, and made it financially possible. In the first number Dwight said of his purposes and plans:

"Our motive for publis.h.i.+ng a musical journal lies in the fact that music has made such rapid progress here within the last fifteen, and even the last ten, years. Boston has been without such a paper, and Boston has thousands of young people who go regularly to hear all the good performances of the best cla.s.sic models in this art. Its rudiments are taught in all our schools....

"All this requires an organ, a regular bulletin of progress; something to represent the movement, and at the same time help to guide it to the true end. Very confused, crude, heterogeneous is this sudden musical activity in a young, utilitarian people. A thousand specious fas.h.i.+ons too successfully dispute the place of true art in the favor of each little public. It needs a faithful, severe, friendly voice to point out steadfastly the models of the true, the ever beautiful, the divine.

"We dare not promise to be all this; but what we promise is, at least, an honest report, week by week, of what we hear and feel and in our poor way understand of this great world of music, together with what we receive through the ears and feeling and understanding of others, whom we trust; with every side-light from the other arts."

What was thus promised was carried out successfully, so far as the spirit and purpose were concerned, for more than thirty years. At first the _Journal of Music_ was an eight-page weekly, of about the size of _Harper's Weekly_. After a time it was issued fortnightly, and the number of pages was increased. Though small the _Journal of Music_ was varied in contents, and published much that was of great value. The selections from English, French, and German musical publications were well adapted to give music a higher position in American society. Many works of great value were translated for its pages; and whatever new or of importance was taking place or being said in the musical world was faithfully reported.

The circulation was small at the best, for the high quality of the paper, and the refusal of the editor to make it an organ of the interests of publishers did not help to bring it widely before the public. Dwight would make no compromises with what was sensational or merely popular.

At the beginning of 1859 the _Journal of Music_ was put into the hands of Oliver Ditson & Co., who undertook its publication, paying Dwight a stated salary for his labors upon it. This arrangement relieved him of much drudgery as publisher, which he had hitherto undertaken. The conduct of the paper did not essentially change, but with each number was added a musical composition; the best works of Mendelssohn, Schubert, Wagner, Gluck, Mozart, and many other composers were thus issued. Dwight also did much translating for Ditson, turning into English the words which accompanied some of the best German music.

In July, 1860, Dwight went to Europe for purposes of travel and study.

Shortly after his departure his wife was taken ill, and died in a few weeks. The blow nearly crushed him, and it took many months for him to recover himself. In a most sympathetic letter Dr. Holmes told him of the illness, and the scenes which followed:

"I listened to the sweet music which was sung over her as she lay, covered with flowers, in the pleasant parlor of her house, by the voices of those that loved her--I and my wife with me--and then we followed her to Mount Auburn, and saw her laid in the earth, and the blossoms showered down upon her with such tokens of affection and sorrow that the rough men, whose business makes them callous to common impressions, were moved as none of us ever saw them moved before. Our good James Clarke, as you know, conducted the simple service. It was one which none of us who were present will ever forget; and in every heart there was one feeling over all others, that for the far-distant husband, brother, friend, as yet unconscious of the bereavement he was too soon to learn."

Dwight spent a few days in England, was for a fortnight in Paris, went through Switzerland, and then on to Germany. He went to Frankfort, then to Bonn, where he was for some weeks. In Berlin some months were pa.s.sed, and visits were made to Leipzig, Dresden, Munich, and other cities. He gave much attention to music, taking every opportunity of making himself better acquainted with its traditions and spirit. He then went to Italy, pa.s.sed on to France, and reached England in July, 1861. Early in September he sailed on the trial trip of the _Great Eastern_, which encountered a fearful storm, and was nearly wrecked. Dwight landed on the Irish coast, made his way back to London, thought of remaining another year in Europe, but finally returned home in November.

In Dwight's absence the _Journal_ had been conducted by Henry Ware, a young musical friend. He now established himself in the Studio Building on Tremont Street, and went on with his tasks as usual. He became an active member of the Sat.u.r.day Club, and was a constant attendant. He helped to organize, in 1863, the Jubilee Concert, at which Emerson read his "Boston Hymn." On the other hand, he severely criticised Gilmore's National Peace Jubilee of 1869.

In 1878 the desire of the Ditson publis.h.i.+ng house to make the _Journal of Music_ more popular in its character, and more directly helpful to their business interests, led Dwight to transfer its management to the firm of Houghton, Osgood & Co. It was better printed, the list of contributors was enlarged, and in many ways the paper was improved. A number of Dwight's friends promised to stand behind it for a year or two with definite sums of money, that it might be improved, and an effort made to reach a larger public. From some cause, not easy to understand, the response on the part of the public was not large enough to warrant the additional outlay; the list of paid contributors had to be abandoned, and the paper returned gradually to its old ways. In December, 1880, Dwight's friends joined with the musicians of Boston in giving a testimonial concert for the benefit of the paper, which yielded the sum of $6000. In an editorial Dwight said of this expression of interest in his work: "Greetings and warmest signs of recognition, kindliest notes of sympathy (often from most unexpected quarters), prompt, enthusiastic offers of musical service in any concert that might be arranged, poured in upon the editor, who, all at once, found himself the object of unusual attention. Hand and heart were offered wherever he met an old acquaintance; everybody seemed full of the bright idea that had struck somebody just in the nick of time. We never knew we had so many friends."

In September, 1881, the _Journal of Music_ came to an end. The position taken by Dwight was not that of the self-seeker; he had no gift for turning his love for the art of music into financial results. He would not lower the critical att.i.tude of his journal for the sake of pleasing the publishers of music; and he would not pretend to a love of those popular forms of music which he held to be inferior in their character. It may be he was not a great critic, certainly he had not the technical knowledge of music which is desirable in its scientific expositor; but his whole soul was in the art, and he gave it the devotion of his life. His preference was for the older composers, and he did not yield a ready homage to those of the newer schools. Of this he speaks in the closing number of his journal: "Startling as the new composers are, and novel, curious, brilliant, beautiful at times, they do not inspire us as we have been inspired before, and do not bring us nearer heaven. We feel no inward call to the proclaiming of the new gospel. We have tried to do justice to these works as they have claimed our notice, and have omitted no intelligence of them which came within the limits of our columns, but we lack motive for entering their doubtful service; we are not ordained their prophet."

Dwight frankly admitted that the causes for the limited success of his journal lay in himself, and said, truly, "We have long realized that we were not made for the compet.i.tive, sharp enterprise of modern journalism.

The turn of mind which looks at the ideal rather than the practical, and the native indolence of temperament which sometimes goes with it, have made our movements slow. To be the first in the field with an announcement, or a criticism, or an idea, was no part of our ambition; how can one recognize compet.i.tors, or enter into compet.i.tion, and at the same time keep his eye on truth?"

The real value of Dwight's work in his _Journal of Music_ was expressed in a letter sent him by Richard Grant White, when the closing number appeared: "I regret very much this close of your valuable editorial labors. You have done great work; and have that consciousness to be sure--some comfort, but it should not be all. There is not a musician of respectability in the country who is not your debtor." In the "Easy Chair"

Curtis gave a worthy account of the labors of his friend, and showed how deserving he was of a far greater success than he had reached.

"In the midst of the great musical progress of the country," he wrote, "it is a curious fact that the oldest, ablest, and most independent of musical journals in the United States has just suspended publication, on the eve of the completion of its thirtieth year, for want of adequate support. We mean, of course, _Dwight's Journal of Music_, which ended with an admirably manly, candid, and sagacious, but inevitably pathetic, valedictory from its editor--veteran editor, we should say, if the atmosphere of good music in which he has lived had not been an enchanted air in which youth is perpetually renewed.... A more delightful valedictory it would not be easy to find in the swan song of any journal....

"Mr. Dwight does not say, what the history of music in this country will show, that to no one more than to him are we indebted for the intelligent taste which enjoys the best music. His lectures upon the works of the great Germans at the time of their performance by the Boston Academy of Music in the old Odeon forty years ago were a kind of manual for the intelligent audience. They showed that an elaborate orchestral musical composition might be as serious a work of art, as full of thought and pa.s.sion, and, in a word, of genius, as a great poem, and that no form of art was more spiritually elevating. They lifted the performance of such music from the category of mere amus.e.m.e.nt, and a.s.serted for the authors a dignity like that of the master poets. If to some hearers the exposition seemed sometimes fanciful and remote, it was only as all criticism of works of the imagination often seems so. If the spectator sometimes sees in a picture more than the painter consciously intended, it is because the higher power may work with unconscious hands, and because beauty cannot be hidden from the eye made to see it. Beethoven, for instance, had never a truer lover or a subtler interpreter than Dwight, and Dwight taught the teachers, and largely shaped the intelligent appreciation of the unapproached master.

"Those were memorable evenings at the old Odeon. Francis Beaumont did not more pleasantly recall the things that he and Ben Jonson had seen done at the Mermaid than an old Brook Farmer remembers the long walks, eight good miles in and eight miles out, to see the tall, willowy Schmidt swaying with his violin at the head of the orchestra, to hear the airy ripple of Auber's 'Zanetta,' the swift pa.s.sionate storm of Beethoven's 'Egmont,' the symphonic murmur of woods and waters and summer fields in the limpid 'Pastorale,' or the solemn grandeur of sustained pathetic human feeling in the 'Fifth Symphony.' The musical revival was all part of the new birth of the Transcendental epoch, although none would have more promptly disclaimed any taint of Transcendentalism than the excellent officers of the Boston Academy of Music. The building itself, the Odeon, was the old Federal Street Theatre, and had its interesting a.s.sociations.... To all there was now added, in the memory of the happy hearers, the a.s.sociation of the symphony concerts.

"As the last sounds died away, the group of Brook Farmers, who had ventured from the Arcadia of co-operation into the Gehenna of compet.i.tion, gathered up their unsoiled garments and departed. Out of the city, along the bare Tremont road, through green Roxbury and bowery Jamaica Plain, into the deeper and lonelier country, they trudged on, chatting and laughing and singing, sharing the enthusiasm of Dwight, and unconsciously taught by him that the evening had been greater than they knew. Brook Farm has long since vanished. The bare Tremont road is bare no longer. Green Roxbury and Jamaica Plain are almost city rather than suburbs. From the symphony concerts dates much of the musical taste and cultivation of Boston. The old Odeon is replaced by the stately Music Hall. The _Journal of Music_, which sprang from the impulse of those days, now, after a generation, is suspended; nor need we speculate why musical Boston, which demands the Pa.s.sion music of Bach, permits a journal of such character to expire. Amid all these changes and disappearances two things have steadily increased--the higher musical taste of the country, and the good name of the critic whose work has most contributed to direct and elevate it. If, as he says, it is sad that the little bark which the sympathetic encouragement of a few has kept afloat so long goes down before reaching the end of its thirtieth annual voyage, it does not take down with it the name and fame of its editor, which have secured their place in the history of music in America."

From the beginning Dwight was intimately connected with the Harvard Musical a.s.sociation, which has done so much to promote the interests of music in Boston. He was its first vice-president and chairman of its board of directors. He was active in providing its meetings with attractive musical programmes; about 1844 he secured for it a series of chamber concerts; he took part in procuring the building of Music Hall, and in bringing to it the great organ which was for many years an attraction.

From 1855 to 1873 he continuously filled the position of vice-president of the a.s.sociation; and in the latter year was elected president, which place he held until his death. Beginning about 1850 he worked steadily for securing a good musical library, that should be as nearly complete as possible; and his desire was to make this a special feature in the activities of the a.s.sociation. In 1867 a room was secured for it; and in 1869 a suite of rooms was rented for the gatherings, both social and musical, of the members of the a.s.sociation. On his election as president, Dwight went to live in those rooms, cared for the library, and received the members and guests of the a.s.sociation whenever they chose to frequent them. This was in Pemberton Square; but in 1886 there was a removal to Park Square, and another in 1892 to West Cedar Street. Dwight's connection of forty or fifty years with the Harvard Musical a.s.sociation was most intimate, so that he and the a.s.sociation came to be almost identical in the minds of Boston people. Whatever it accomplished was through his initiative or with his active cooperation.

In 1865 Dwight proposed the organization of a Philharmonic Society among the members of the a.s.sociation, and also that a series of concerts be undertaken. This suggestion was carried out, and the concerts were for many years very successful. In time their place was taken by the concerts of Theodore Thomas, and the Symphony Concerts generously sustained by Mr.

H.L. Higginson; but it must be recognized that Dwight and the Harvard Musical a.s.sociation taught the Boston public to appreciate only those concerts at which the best music was produced.

One special object in the organization of the Harvard Musical a.s.sociation was the securing of a place for music in the curriculum of Harvard College. That was an object very dear to the heart of Dwight, and one which he brought forward frequently in the pages of his _Journal of Music_. He maintained that music was not merely for amus.e.m.e.nt, but that it is the most human and spiritual of all the arts, and must find its place in any systematic effort to secure a full-rounded culture. In a few years Harvard appointed an instructor in music. Mr. John K. Paine was called to that position in 1862, and was made a professor in 1876.

Dwight gave a most generous welcome to all young musicians of promise as they came forward. Such men as John C.D. Parker, John K. Paine, Benjamin J. Lang, George W. Chadwick, Arthur Foote, and William F. Apthorp were generously aided by him; and the _Journal of Music_ never failed to speak an appreciative word for them. However Dwight might differ from some of them, he could recognize their true merits, and did not fail to make them known to the public. When Mr. Paine, who had been watched by Dwight with appreciation and approval from the beginning of his musical career, was made a professor of music in Harvard University, when his important musical compositions were published, and when his works were given fit interpretation in Cambridge and elsewhere, these events were welcomed by him as true indications of the development of music in this country.

For many years John S. Dwight was the musical autocrat of Boston, and what he approved was accepted as the best which could be obtained. His knowledge of music was literary rather than technical, appreciative rather than scientific; but his qualifications were such as to make him an admirable interpreter of music to the cultivated public of Boston. What a musical composition ought to mean to an intelligent person he could make known in language of a fine literary texture, and with a rare spiritual insight he voiced its poetic and aesthetic values. If the better-trained musicians of more recent years look upon his musical judgments with somewhat of disapproval, as not being sufficiently technical, they ought not to forget that he prepared the way for them as no one else could have done it, and that he had a fine skill in bringing educated persons to a just appreciation of what music is as an art. As Mr. William F. Apthorp has well said, "his musical instincts and perceptions were, in a certain high respect, of the finest. He was irresistibly drawn towards what is pure, n.o.ble, and beautiful, and felt these things with infinite keenness."

Dwight's last years were spent in furthering the interests of the Harvard Musical a.s.sociation, in writing about his beloved art, and in the society of his many generous friends. He had a talent for friends.h.i.+p, and during his lifetime he was intimately a.s.sociated with almost every man and woman of note in Boston. He was of a quiet, gentlemanly habit of life, took the world in the way of one who appreciates it and desires to secure from it the most of good, was warmly attached to the children of his friends and found the keenest delight in their presence, loved all that is graceful and beautiful, and devoted himself with unceasing ardor to the art for which he did so much to secure a just appreciation.

On the occasion of his eightieth birthday his friends and admirers were brought together in the rooms of the Harvard Musical a.s.sociation. It was a red-letter day in his life, and he greatly appreciated it. A few months later, September 5, 1893, his life came to an end--a life that had been in no way great, but that had been spent in the loving and faithful service of his fellow-men. At his funeral, Mrs. Julia Ward Howe, an intimate friend of many years, read this just and appreciative tribute:

"O Presence reverend and rare, Art thou from earth withdrawn?

Thou pa.s.sest as the suns.h.i.+ne flits To light another dawn.

Surely among the symphonies That praise the Ever-blest, Some strophe of surpa.s.sing peace Inviteth thee to rest.

Thine was the treasure of a life Heart ripened from within, Whose many l.u.s.tres perfected What youth did well begin.

The n.o.ble champions of thy day Were thy companions meet, In the great harvest of our race, Bound with its priceless wheat.

Thy voice its silver cadence leaves In truth's resistless court, Whereof thy faithful services Her heralds make report.

Here thou, a watchful sentinel, Didst guard the gates of song, That no unworthy note should pa.s.s To do her temple wrong.

Dear are the traces of thy days Mixed in these walks of ours; Thy footsteps in our household ways Are garlanded with flowers.

If we surrender, earth to earth, The frame that's born to die, Spirit with spirit doth ascend To live immortally."

The letters contained in this volume give fullest indication of the cordial and intimate relations which existed between Dwight and Curtis.

This may be seen more distinctly, perhaps, with the help of a few letters not there given, including two or three written by Dwight to his friend.

In a letter to Christopher P. Cranch, the preacher, poet, and artist, written at the time when he was starting his _Journal of Music_ on its way, Dwight said: "If you see the Howadji, can you not enlist his active sympathy a little in my cause? A letter now and then from him on music or on art would be a feather in the cap of my enterprise. It is my last, desperate (not very confident), grand _coup d'etat_ to try to get a living; and I call on all good powers to help me launch the s.h.i.+p, or, rather, little boat."

Curtis seconded his friend's efforts cordially, subscribed for the new journal, persuaded a number of his friends to subscribe, and wrote frequently for it. He wrote Dwight this letter of appreciation and advice:

"Your most welcome letter has been received, and its contents have been submitted to the astute deliberations of the editorial conclave [_Tribune_]. We are delighted at the prospect--but we do not love the name. 1st. _Journal of Music_ is too indefinite and commonplace. It will not be sufficiently distinguished from the _Musical Times_ and the _Musical World_, being of the same general character. 2d. 'Side-glances'

is suspicious. It 'smells' Transcendentalism, as the French say, and, of all things, any aspect of a clique is to be avoided.