d Paris. Returning to America, he entered
Harvard College and studied harmony and composition under John Knowles
Paine. He studied the violin under Kneisel. In 1890 he went to Munich,
where he studied the organ and composition at the Royal Academy of
Music, under Rheinberger, and the violin under Hieber. He now decided
to give up the career of a violinist for that of composer, conductor,
and organist. In 1893 he returned to Boston and acted as organist. A
year later he went to Buffalo, where for three years he directed the
Liedertafel.

While in Harvard, Coerne had composed and produced a concerto for
violin and 'cello with string orchestra accompaniment, a fantasy for
full orchestra, and a number of anthems which were performed at the
university chapel. While in Munich and Stuttgart he wrote and produced
a string suite, an organ concerto with accompaniment of strings,
horns, and harps, three choral works, and a ballet, "Evadne," on a
subject of his own. His symphonic poem on Longfellow's "Hiawatha" was
also produced there with much success under his personal direction,
and later by the Boston Symphony Orchestra. He was invited then by
Theodore Thomas to attend the World's Fair at Chicago, to give
recitals on the great organ in Festival Hall.

It has been my misfortune not to have heard or seen hardly any of his
writings except the published "Character Pieces" from the ballet
"Evadne" (op. 155). A "Clown's Dance" in bolero rhythm is delightful.
The "Introduction to Act II." contains many varied ideas and one
passage of peculiar harmonic beauty. A "Valse de Salon" has its good
bits, but is rather overwrought. A "Devil's Dance" introduces some
excellent harmonic effects, but the "Waltz with Chorus and Finale" is
the best number of the opus. It begins in the orchestra with a most
irresistible waltz movement that is just what a waltz should be. A
chorus is then superimposed on this rhapsody, and a climax of superb
richness attained.

For the organ Coerne has written much and well. There is an adaptation
of three pieces from the string quartette (op. 19); a graceful Minuet,
a quaint Aria, and a Fugue. Then there are three Marches, which, like
most marches written by contemplative musicians, are rather thematic
than spirited, and marked by a restless and elaborate preparation for
some great chant that is longed for, but never comes. Besides these,
there are a very pleasant Pastoral, a good Elevation, and a Nocturne.

Coe