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Helen C. Crane
Composer / Pianist / Conductor
1868 - 1930
Newly Rediscovered
Sometimes the calamitous events of an age can totally obscure and nearly obliterate the lives and careers of those who must share the stage with them. It seems, such is probably the case with Helen C. Crane. a talented young lady from New York, who showing great promise was accepted to study composition with Philip Scharwenka at the Klindworth Scharwenka Conservatory in Berlin in the last decade of the 1800s. Her talent was monumental ensuring acceptance in that society. When finished with her studies she was accepted for publication by Breitkopf & Hertl and G. Vetter; the Berlin Philharmie brought with them the music of this American protigee when they performed her symphonic suite at the Saint Louis Exposition in 1904. and her career and the application of her abilities went on unhindered until the advent of the First World War. She was forced of necessity to return to the United States in 1917, now at 49 year of age, and lived only slightly more than a decade longer. The ties to her European audience were strong though: in 1923 the Mozarteum in Salzberg featured an all-Helen Crane program in her honor.
Whether you are a pianist, a cellist, a violinist, a conductor or a person who just loves good music, take this time to acquaint yourself with the many facets of this American gem.
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Helen Crane was certainly prolific in her music for piano, Intermezzi, 4 Ballades, numerous sets of character pieces.
Ms. Crane composed numerous pieces for the violin: two sonatas , a set of Idylls (6) Folk Songs for Violin (3) a “Romanza”, also “Abend Idyll” – a fabulous, scintillating piece, with a vibrant American country feel
Helen Crane composed a set of six cello pieces with piano accompaniment, she called “Idylls”. also a Suite for Cello & Piano plus two Pieces for Cello & Piano, her “Morning Serenade”, and “Romanza”
Helen’s output included to numerous grouping of art songs in English & in German; featuring various styles.
Ms. Crane composed a myriad of art songs for solo voice, in German as well as English. Her writing is characterized by lyricism; her accompaniments support the text but do not parrot the voice line per se.
She has written a triptych of pieces for SATB a capella; and then, most monumental of all: Psalm 42 for Orchestra and Chorus where she set this particular psalm most widely known in the vernacular, “As the deer pants after the waters….”here in Latin. Along with chorus amd orchestra there is a dramatic passage for mezzo soprano. “Why are you cast down, O my soul,…believe in God”, deftly handled first by the soloist. then by the whole chorus. In contrapuntal style she is facile nimble and convincing, like Mendelsohn or Wagner.
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A bit Wagner, a bit Brahms, a bit Schumann, maybe a little Franck, and surely all Helen Crane, these pieces are evocative and enigmatic. I’ve been reading through all four volumes of Crane’s piano music and find myself fascinated by many things, especially some of her turns of harmony. Finding a composer from this era who’s been overlooked is wonderful gift.
Aaron Rosenberg
Mill City Music Studio