George Whitefield Chadwick (1854-1931), composer, organist, conductor, and director of the New England Conservatory in Boston, was one of America's most prolific musical authority in the later 19th and early 20th century.Like with many composers of his generation, his music, his biography, and his influential role in cultural life became forgotten in the crosscurrents of modernity. However, Chadwick has been recently rediscovered, and his nearly forgotten music subsequently has provoked new and increasing interest. Hitherto unkwn biographical and musical findings make it w possible to value Chadwick's importance in a new way. His biography, uniquely documented by personal papers of all kinds, simultaneously depicts the career of a 19th century American composer and the contemporary musical and social networks of his surrounding. This book was written with the intention of illuminating Chadwick's musical development, his role models, musical ideals and aesthetics. However, in reviewing the source material it was impossible t to stumble in the sources upon the very personal unburdening of a full-blooded musician, who throughout his life was confronted with many obstacles, but never stopped struggling to be recognized as a composer of good music.
A flutist and musicologist, Marianne Betz is full Professor of Musicology at the Hochschule fur Musik und Theater Felix Mendelssohn Bartholdy Leipzig, Germany since 1993. She studied with Hans Heinrich Eggebrecht (University of Freiburg) and Ludwig Finscher (University of Heidelberg), and did her PhD. in 1991. Working on American music, with a special focus on the generation of George W. Chadwick, she is active as researcher, editor and author. She was in charge of the entries on American composers of the 19th century for the second edition of MGG (Die Musik in Geschichte und Gegenwart). Besides that she wrote articles for the Handworterbuch der musikalischen Terminologie, and published in Archiv fur Musikwissenschaft, Die Musikforschung, Musical Quarterly, Zibaldone, and the Yearbook of the American Music Research Centre, Boulder/Colorado. She is the editor of Chadwick's five string quartets (A-R editions) and of the first publishing of his only opera The Padrone (MUSA).