Louis Coerne

February 27, 1870 (age 52)

Newark, New Jersey, United States

About 1893 Coerne led a concert performance of his symphonic poem “Hiawatha” in Boston. He was then called to Buffalo, as musical director of the Vocal Society, the Liedertafel, and the Church of the Messiah. From 1897 to 1899 he filled similar positions at Columbus, Ohio. From 1899 to 1902 he was abroad, composing various works, and completing and editing Rheinbergcr’s posthumous Mass in A Minor. Returning late in 1902, he headed the music department at the next Harvard summer school, and became associate professor at Smith College (1903 - 1904). During the years 1904-1905 he did research work at Harvard and in New York, as preparation for his book, The Evolution of Modern Orchestration (1908)—a subject for which he was well fitted by his own orchestral technique and modern style. This research won its author a Doctor of Philosophy degree (1905), the first given at Harvard for special work in music. Another sojourn abroad (1905 - 1907) enabled him to hear his opera Zenobia, which was given at Bremen five times. Coerne returned to Troy, New York, being an active leader there for two years. He then became director of the conservatory at Olivet College, where he received the degree of Doctor of Music. His later wanderings took him to the University of Wisconsin, as professor and director of the music school, with outside work as church organist and chorus leader. A last change, in 1915, led him to New London, as professor in the Connecticut College for Women. For the final three years of his life he was also editor of the school and college department of the Oliver Ditson Company. His death took place in Boston. As a composer, Coerne was very active, with 150 opus numbers to his credit, and many other works in manuscript. His melodic line is always well defined, and his harmonic settings rich in character, though they have something of the sameness of style that goes with a constant attempt at modernist effects. His best work was Zenobia, showing that queen first presiding at a celebration of victories won by her generals, then defeated by Aurelian, and finally spurning his love, to die, rather unhistorically, with her chancellor Selenos, the real object of her affections. The first act, which includes priestly rites, military display, dances of rejoicing, and triumph over prisoners and tribute- bearers, contains many clearly effective and beautiful numbers, and has been classed with the tonal pageantry of L’Africaine and A'ida. The second and third acts, however, show a lack of characterization, the modernist chords creeping in throughout, where a contrast of emotional styles would have been preferable. Coerne’s earlier opera, A Woman of Marblehead, like his cantata Skipper Ireson's Ride, owes its inspiration to the history and literature of the old colonial town. The Maiden Queen and The Bells of Beaujolais are operettas. Another ambitious work was the ballet Evadne, a concert suite from it consisting of a melodious introductory march, a droll “Clowns’ Dance” in bolero rhythm, a varied and well-contrasted introduction to Act II, a “Valse de Salon, ” a spicy “Devils’ Dance, ” and a strong waltz finale, working up to a great climax with the sudden introduction of voices. The melodrama Sakuntala was a success in a field that deserves more attention from composers, the spoken text against a musical background being not only effective, but well suited to concert performance. Coerne’s incidental music to The Trojan Women deserves mention also. For orchestra, besides “Hiawatha, ” there are two overtures, a “Fantaisie, ” a “Tone Picture, ” a “Tone Poem, ” and “On Mountain Crests. ” A “Jubilee March” for military band became well known. For violin Coerne wrote the “Romantic” concerto, a “Swedish Sonata, ” and a “Concertino” with piano. Other chamber works include various trios, concertos for small forces, a string quartet, and a striking set of three piano trios in canon. Among vocal works, his cantatas (mostly with orchestra) include Beloved America, Until the Day Break, The Landing of the Pilgrims, a Dedication Ode, A Song of Victory, etc. The Man of Galilee and The First Christmas are in the sacred field, as are the Morning and Communion Services, and a six-voiced Mass. Many songs and piano pieces, with some anthems, partsongs, organ pieces, and violin works, complete a long and worthy list.

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Works

book

The Bells Of Beaujolais: A Musical Play In Two Acts (1921)

(This scarce antiquarian book is a facsimile reprint of th...)

Flower-Lyrics: Op. 77. Medium Voice

(This is a reproduction of a book published before 1923. T...)

A Cycle of Love-Lyrics (Classic Reprint)

(Excerpt from A Cycle of Love-Lyrics My feet long lame fr...)

The Evolution of Modern Orchestration (Classic Reprint)

(Excerpt from The Evolution of Modern Orchestration Throu...)

Libretto to The Bells of Beaujolais: A Musical Play in Two Acts

(This is a reproduction of a classic text optimised for ki...)

The Landing Of The Pilgrims: A Cantata For Mixed Voices, Op. 135...

(This is a reproduction of a book published before 1923. T...)

Louis Adolphe Coerne Edit Profile

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Background

Louis Adolphe Coerne, the son of Adolphe M. and Elizabeth (Homan) Coerne, was born on February 27, 1870 in Newark, New Jersey, United States. His father, of Dutch and Swedish extraction, was a man of brilliant mind and an accomplished linguist.

Education

Louis received his early education in Germany and France. Then young Coerne moved with his family to Boston, where he graduated from the Latin School in 1888. Thereafter he spent two years at Harvard studying harmony and counterpoint with John Knowles Paine, and violin, outside, with Franz Kneisel. In 1890 he went to the Royal Academy of Music at Munich, where he took organ and composition with Rheinberger, and violin and conducting with Abel. In 1893 he graduated with highest honors.

Career

About 1893 Coerne led a concert performance of his symphonic poem “Hiawatha” in Boston. He was then called to Buffalo, as musical director of the Vocal Society, the Liedertafel, and the Church of the Messiah. From 1897 to 1899 he filled similar positions at Columbus, Ohio.

From 1899 to 1902 he was abroad, composing various works, and completing and editing Rheinbergcr’s posthumous Mass in A Minor. Returning late in 1902, he headed the music department at the next Harvard summer school, and became associate professor at Smith College (1903 - 1904). During the years 1904-1905 he did research work at Harvard and in New York, as preparation for his book, The Evolution of Modern Orchestration (1908)—a subject for which he was well fitted by his own orchestral technique and modern style. This research won its author a Doctor of Philosophy degree (1905), the first given at Harvard for special work in music. Another sojourn abroad (1905 - 1907) enabled him to hear his opera Zenobia, which was given at Bremen five times.

Coerne returned to Troy, New York, being an active leader there for two years. He then became director of the conservatory at Olivet College, where he received the degree of Doctor of Music. His later wanderings took him to the University of Wisconsin, as professor and director of the music school, with outside work as church organist and chorus leader. A last change, in 1915, led him to New London, as professor in the Connecticut College for Women. For the final three years of his life he was also editor of the school and college department of the Oliver Ditson Company. His death took place in Boston.

As a composer, Coerne was very active, with 150 opus numbers to his credit, and many other works in manuscript. His melodic line is always well defined, and his harmonic settings rich in character, though they have something of the sameness of style that goes with a constant attempt at modernist effects. His best work was Zenobia, showing that queen first presiding at a celebration of victories won by her generals, then defeated by Aurelian, and finally spurning his love, to die, rather unhistorically, with her chancellor Selenos, the real object of her affections. The first act, which includes priestly rites, military display, dances of rejoicing, and triumph over prisoners and tribute- bearers, contains many clearly effective and beautiful numbers, and has been classed with the tonal pageantry of L’Africaine and A'ida. The second and third acts, however, show a lack of characterization, the modernist chords creeping in throughout, where a contrast of emotional styles would have been preferable.

Coerne’s earlier opera, A Woman of Marblehead, like his cantata Skipper Ireson's Ride, owes its inspiration to the history and literature of the old colonial town. The Maiden Queen and The Bells of Beaujolais are operettas. Another ambitious work was the ballet Evadne, a concert suite from it consisting of a melodious introductory march, a droll “Clowns’ Dance” in bolero rhythm, a varied and well-contrasted introduction to Act II, a “Valse de Salon, ” a spicy “Devils’ Dance, ” and a strong waltz finale, working up to a great climax with the sudden introduction of voices. The melodrama Sakuntala was a success in a field that deserves more attention from composers, the spoken text against a musical background being not only effective, but well suited to concert performance.

Coerne’s incidental music to The Trojan Women deserves mention also. For orchestra, besides “Hiawatha, ” there are two overtures, a “Fantaisie, ” a “Tone Picture, ” a “Tone Poem, ” and “On Mountain Crests. ” A “Jubilee March” for military band became well known. For violin Coerne wrote the “Romantic” concerto, a “Swedish Sonata, ” and a “Concertino” with piano. Other chamber works include various trios, concertos for small forces, a string quartet, and a striking set of three piano trios in canon. Among vocal works, his cantatas (mostly with orchestra) include Beloved America, Until the Day Break, The Landing of the Pilgrims, a Dedication Ode, A Song of Victory, etc. The Man of Galilee and The First Christmas are in the sacred field, as are the Morning and Communion Services, and a six-voiced Mass. Many songs and piano pieces, with some anthems, partsongs, organ pieces, and violin works, complete a long and worthy list.

Achievements

Louis Coerne held the first American Doctor of Philosophy degree in music and composed the first American grand opera entitled "Zenobia", to be performed in Germany.