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CHARLES GRIFFES

Charles Tomlinson Griffes was among the most distinctive and poetic of American composers. In the 15 years of his artistic maturity, his style evolved from German-derived post-Romanticism to a particularly personal adaptation of French Impressionism, and finally to a strong and individual style of his own. Most commentators regard his as the greatest talent of his generation.

His older sister, Katharine, started giving him piano lessons when he was young, passing on what she learned from her own teacher, Mary Selina Broughton. When the boy was 15, he started studying directly with Broughton, who was on the faculty of Elmira Free Academy. She also taught him "taste" and "gentility," and persuaded his parents that he had such talent that he should be encouraged to become a musician. She even subsidized his travel to Berlin, where he studied piano with Ernst Jedliczka and Gottfried Galston at the Stern'sche Conservatory; his counterpoint instructors were Max Lowengard and Wilhelm Klatte, and his composition professors were Philippe Rüfer and Engelbert Humperdinck. Griffes appeared at a Conservatory concert as a piano soloist in 1904, to high acclaim; but by then his interests had turned toward composition, somewhat to Broughton's disappointment. He left the Conservatory to study privately and intensively with Humperdinck, and continued in piano with Galston. He made some money by taking in pupils in piano and harmony, and by giving some concerts.

During his German period, he wrote German-language songs and a Symphonische Phantasie. He returned to the United States in September, 1907, accepting a job at the Hackley School of Tarrytown, New York, where he remained until his death in 1920 (of pneumonia, perhaps due to the 1919-1920 influenza epidemic).

Since he died young, and because the position was a relatively minor one within the world of music, biographical information has been romanticized over the years, suggesting that Griffes was trapped in a menial job, living in poverty. In fact, he found the job interesting and was much liked by fellow faculty members and students -- he was certainly not starving. Furthermore, the job included a lengthy summer period during which he could devote himself entirely to composition and promote his works in nearby New York.

During his own lifetime, piano works such as the Roman Sketches appeared and were appreciated for their poetic and descriptive beauty. The tone poem The Pleasure Dome of Kublai Khan, the Japanese ballet Sho-jo, Five Poems of Ancient China and Japan, and a major chamber ballet, The Kairn of Koridwen, all received major premieres, drawing attention to Griffes as a composer possessed of a unique voice, exceptional craftsmanship, and melodic inventiveness. His later pieces, such as the Notturno for Orchestra (1918) and the Piano Sonata are most illustrative of his mature voice; in these works, the influences of his German and French models are completely assimilated into his own harmonically adventurous palate.

[Article taken from All Music Guide]

Griffes developed his own personal adaptation of Debussy's and Ravel's "Impressionism." He died at a young age, but like so many composers that died at a young age, he never got the chance to fully mature as composer, but what he left behind was surely some great music.

Anyone familiar with Griffes' work?

 

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I love the tone poems The White Peacock and The Pleasure Dome of Kubla Khan. There are others works on the same Naxos recording with these, though I can't say I remember them. I was familiar with these two better known pieces from public radio before I owned the CD.

It's interesting that you would place him with the impressionists. I never thought much about it, but considered him more modern than the impressionists, perhaps more accessible than other moderns of the time. I think it is unusual that an American composer would write this exotic music when so many were wrapped up in American folk music and folklore. The only other composer I can think of that dealt with such exotic subjects is Hovhaness many years later.

Well I have not heard one note of his music (yet), but many of the articles I have read have placed him in the same category as Debussy and Ravel. I think I'm going out on a limb here since I haven't heard one note and say that I probably agree with you. Many times critics, and fans too, say somebody sounds like this composer or that composer, but honestly it could never be further from the truth.

Another American composer who composed pretty exotic music and was tragically unknown during his lifetime was Romeo Cascarino. You should check him out sometime. His music is slow, melodic, but always interesting. There is only one recording available of his music and it's on Naxos.

 

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I am only slightly familiar with the tone poem The Pleasure Dom of Kubla Khan. I've heard it two or three times on the radio. A nice work, if my memory serves me well.

Thanks to the folks at Naxos we have a collection of some of his orchestral works available.