Finally I have had to admit defeat :( I simply could not make sense of the dates given by various online sources for most of Hadley's compositions. The opus numbers are correct but they do not match the years given for many of these works.
In these circumstances therefore I have reverted to an opus number driven catalogue as opposed to a chronological list. If anybody can do better please feel free to try ;D Hadley wrote a very substantial number of weighty cantatas and it is more than likely that I have not got them all.
HENRY KIMBALL HADLEY: A CATALOGUE OF THE ORCHESTRAL AND CHORAL MUSIC
op.3: Ballad "The Fairies" for soprano, chorus and orchestra (1894)
op.5: Festival March for orchestra or band
op.13: Ballad "Lelawala: an Indian Legend of Niagara" for soloists, chorus and orchestra
op. 16: Ballet Suite
op. 21: Cantata "In Music's Praise" for soloists, chorus and orchestra
op. 25: Symphony No.1 in D minor "Youth and Life"(1897)
op. 28: Overture "In Bohemia": 14 minutes, op.28 *
op. 30: Symphony No.2 in F minor "The Four Seasons", op.30 (1901): 45 minutes + (Bridge cd)
op. 31: Overture "Herod" (1901)
op. 32: Oriental Suite (1903)
op. 34: Cantata "The Princess of Ys" for soprano, chorus and orchestra (1903)
op. 45: "A Legend of Granada" for soprano, baritone, female chorus and orchestra (1904)
op. 46: Symphonic Fantasia (1904): 16 minutes
op. 54: "The Nightingale and the Rose" for soprano, women's voices and small orchestra
op. 55: Symphonic Poem "Salome"(1905-06): 31 minutes + (Bridge cd)
op. 58: Cantata "The Fate of Princess Kiyo: a Legend of Japan" for soprano, womens' chorus and orchestra(1907)
op. 60: Symphony No.3 in B minor (1907)
op. 61: Konzertstuck for Cello and Orcestra: 15 minutes
op. 62: Symphonic Poem "The Culprit Fay"(1908): 15 minutes + (Naxos cd)
op. 64: Symphony No.4 in D minor "North, East, South, West"(1910): 40 minutes + (Naxos cd)
op. 66: Symphonic Poem "Lucifer"
op. 69: Cantata "The Golden Prince" for soprano, baritone, women's chorus and orchestra (1914)
op.75: "Music: an Ode" for soloists, chorus and orchestra (1915)
op.76: Cantata "The Fairy Thorn" for soprano, mezzo-soprano, women's chorus and orchestra
op. 77: "Silhouettes; a Characteristic Suite for Orchestra" (1918)
op. 83: Idyll "In Arcady" for chorus and orchestra
op. 85: Ode "The New Earth" for soprano, contralto, tenor, bass, chorus and orchestra
op. 91: "Prophecy and Fulfillment: a Christmas Cantata" for soprano, contralto, tenor, chorus and orchestra
op.95, No.2:"October Twilight" for orchestra: 4 minutes *
op. 96: Symphonic Poem/Overture "Othello" (1919): 12 minutes *
op. 98: Oratorio "Resurgam" for soprano, contralto, tenor, bass, chorus and orchestra
op. 99: Symphonic Poem "The Ocean"(1920-21): 14 minutes + (Naxos cd)
op. 100: "Mirtil in Arcadia: a Pastoral" for soloists, narrator, chorus and orchestra
op. 108: Suite Ancienne for orchestra
op. 112: Cantata "Belshazzar" for soloists, chorus and orchestra
op. 117: Overture "The Enchanted Castle"
op. 121: Symphonic Suite "San Francisco" (1931)
op. 122: Overture "Alma Mater"
op. 131: Concertino for Piano and Orchestra: 12 minutes *
op. 135: Scherzo Diabolique for orchestra(1934) + (New World cd)
op. 139: Cantata "Divine Tragedy"
op. 140: Symphony No.5 in C minor "Connecticut" (1935)
and Suite "The Atonement of Pan"(from the Opera) (1912)
Cantata "The Admiral of the Seas" for tenor, chorus and orchestra(1928)
Suite "The Streets of Pekin"(1930)
Overture "Youth Triumphant" for band
Suite "The Legend of Hani" (from the Opera)
Overture "Aurora Borealis"
I've spent quite a lot of time on Hadley's music. There are several published catalogues of Hadley's music, though I don't consider any of them complete or error-free. However, in his book "Henry Hadley, Ambassador of Harmony", published during Hadley's lifetime (1932), Herbert Boardman gives a listing from Op.1 to Op. 100. There are, however, some errors in it. In the 1940s, a book was published listing Hadley's works, but it is also incomplete. Later, in 1960, John Claire Canfield wrote a dissertation on Hadley, and did the best job to date of listing all Hadley's works--both a list of his opus numbers, but a list of works without opus numbers, which includes a number of important works. The list, from Op. 101 - 140, however, has some gaps, and it may be that some of those works without opus numbers were intended to fit in those gaps.
However, as with many other composers, there is not absolute chronological logic to Hadley's opus numbers. His first string quartet is listed as Opus 24, but the manuscript, in the NYPL, is listed as early as 1886, when Hadley was 15 years old. However, his Op. 25 is his first symphony, written a decade later.
The most upsetting thing to me is that some of his full score manuscripts to important works, such as "Resurgam", "Azora", etc. seem to be missing, or are in collections which cannot be searched online. I'm trying to track them all down.
Eric
Aren't the Hadley mss at NYPL, Lincoln Center? That's where I went (ca. 1984) to make (handwritten) copies of some of the dance music (orchestral waltzes, polkas, etc) that Hadley wrote when he was a student. Played 'em at my first wedding, and delightful stuff they are, too. Not sure how accessable the manuscripts are, though, if you're not in Manhattan...
David
NYPL does not have all of the full score manuscripts. Not even close. They are undoubtably extant, but in places that may be difficult to search online. Some footwork will be necessary.
Right. They have a LOT. I've been there and looked at some of it, and gotten copies of some of it, but it's far from everything. They have four of his five operas there, the grove plays, as well as manuscripts to many orchestral works, chamber works, smaller scale choral works, and many songs. But they have few of his large scale choral works there, sadly.
The catalog is accessible online. They have more than 500 items.
The Library of Congress has some, too. I copied manuscripts of "The Golden Prince", "Music: An Ode" (first volume--the second isn't there...), and "Belshazzar" there, and later obtained "The Princess of Ys", which is also in their collection.
As to making sense of dates given, I am going to guess (maybe this was already taken into account?) that the sources you were using were careless, as many are in general, about the difference between date of composition, date of first performance, and date of publication...
He is not here anymore. I too have had that frustration - most sources (like Groves and Hofmeister) only give dates of publication. But in the great scheme of things, that sometimes can get you close enough (when comparing who may have heard and been influenced by pieces).
not sure why I responded to this, good point.
though in fact date of publication and date of composition can differ by of course more than a little and more than just in exceptional cases...