78:, Beach heartily responded, "e of the North should be far more likely to be influenced by old English, Scotch or Irish songs, inherited with our literature from our ancestors." When her symphony premiered, Beach was barely 30 years old and in the throes of forming her own compositional style; in contrast, her later years brought maturity and an openness to infuse Native-American, specifically Inuit, and African-American songs into her music.
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of leading composers, had heard and liked the Gaelic
Symphony, and: "...I always feel a thrill of pride myself whenever I hear a fine work by any of us, and as such you will have to be counted in, whether you will or not—one of the boys." Not long afterward Beach herself became recognized as one of
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Beach began composing her symphony in
November 1894. Although Beach would later become more accepting of music from North American traditions—such as Native American themes—Beach chose to incorporate songs of the European influence into her early works. One such (Celtic) tune was her song entitled,
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in 1894; it was the first symphony composed and published by a female
American composer. The piece debuted in Boston on Friday, October 30, 1896 to "public and journalistic acclaim." Beach drew inspiration for the large orchestral work from simple old English, Irish, and Scottish melodies; thus, she
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The symphony begins with a low chromatic rumble in the strings which provides the basis on which the romantic melody is built. Rich orchestration establishes the romantic style of the symphony. Its unusual key choices mirror those in the first movement of Dvořák's
50:; naturally, she looked to Dvořák's compositions and publicized philosophies on American music while composing her symphony. Though Dvořák's nationality was Czech, he was in the United States for much of 1892–1895 as head of the
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is divided into four contrasting movements. The Gaelic
Symphony is typically performed in thirty-five to forty minutes. With a full romantic harmonic structure and a glimpse of the horizons of modern music, Beach's
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The
Symphony was "forgotten during the 1920s" but "made a comeback in the 1930s and 1940s," being performed by multiple orchestras, some multiple times each, although not by "major" orchestras such as the
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along with his
European romantic style to create works unique to America—the melting pot. The "native" elements were not as readily embraced by Beach. Upon hearing of the derivations of Dvořák's
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187:"was generally enthusiastic about the work" although he "felt that Beach's orchestration was at times excessively heavy." Composer
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Haller, Steven J. "Beach: 'Gaelic
Symphony; Piano Concerto'." American Record Guide 66, no. 5 (Sept. 2003): 73–75.
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408:"Beach Piano concerto; Symphony No 2: One of the most valuable releases yet in Naxos's American Classics series"
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The symphony has received continued praise from modern critics as well, such as Andrew
Achenbach of
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set her apart as a prominent female composer at the turn of the twentieth century.
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Horowitz, Joseph (2001). "Reclaiming the Past: Musical Boston
Reconsidered".
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Block 1998, pp. 126–127, also accessed
December 14, 2014. ProQuest ebrary.
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Amy Beach, Passionate Victorian: The Life and Work of an American Composer
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The work was published by Schmidt in 1897, and was dedicated to "herrn
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39:"Dark Is the Night!" which she set to the words of the English poet
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Gates, Eugene, 2010, "Mrs. H.H.A. Beach, American Symphonist,"
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from Native-American and African-American music and rhythms of
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The last movement of the symphony is brisk and thematic.
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Score: Beach, Symphony, Arthur P. Schmidt, Boston, 1898.
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132:The four movements of the symphony are as follows:
163:The third movement is melodic and slow in nature.
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155:The Gaelic themes are introduced in variation.
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321:"BEACH: Piano Concerto / 'Gaelic' Symphony"
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359:"Amy Beach & Her "Old World" Symphony"
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656:American compositions and recordings
541:Symphony "Gaelic" in E minor, Op. 32
195:, a fellow member of the unofficial
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200:the School, thereupon called the
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159:III. Lento con molto espressione
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437:Block, Adrienne Fried (1998).
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446:The Kapralova Society Journal
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448:Vol. 8 No. 2, pp. 1–10
183:was well received. Critic
23:Symphony in E minor, Op. 32
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189:George Whitefield Chadwick
175:Reception and performances
646:Compositions by Amy Beach
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573:Second New England School
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197:Second New England School
396:Block 1998, p. 256
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63:American String Quartet
547:Piano Concerto, Op. 45
27:Amy Marcy Cheney Beach
210:New York Philharmonic
41:William Ernest Henley
518:List of compositions
167:IV. Allegro di molto
136:I. Allegro con fuoco
661:Romantic symphonies
467:DeQuis, Mona.
387:Block 1998, p. 103
241:Gates, 2010, p. 1.
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419:January 15,
185:Philip Hale
110:Mendelssohn
640:Categories
413:Gramophone
365:2018-10-30
335:2018-09-26
229:References
222:Gramophone
202:Boston Six
556:, Op, 149
509:Amy Beach
106:Beethoven
92:Structure
86:Emil Paur
591:Category
473:AllMusic
290:AllMusic
122:symphony
114:Schumann
604:Portals
566:Related
554:Cabildo
535:, Op. 5
432:Sources
273:3052594
34:History
558:(1932)
549:(1899)
543:(1894)
537:(1892)
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118:Brahms
116:, and
102:Mozart
630:Music
525:Music
325:NAXOS
269:JSTOR
98:Haydn
421:2016
179:The
120:, a
60:and
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261:doi
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