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+*** START OF THE PROJECT GUTENBERG EBOOK 14185 ***
+
+EDWARD MACDOWELL
+
+A Great American Tone Poet, His Life and Music
+
+by
+
+JOHN F. PORTE
+
+Author of _Edward Elgar_, _Sir Charles V. Stanford_, etc.
+
+With a Portrait of Edward MacDowell and Musical Illustrations in
+the Text
+
+New York:
+E.P. Dutton & Company
+681 Fifth Avenue
+
+1922
+
+
+
+
+
+
+
+_I do like the works of the American composer MacDowell! What a
+musician! He is sincere and personal--what a poet--what exquisite
+harmonies!--Jules Massenet._
+
+
+_I consider MacDowell the ideally endowed composer.--Edvard
+Grieg._
+
+
+
+[Illustration]
+
+
+
+
+FROM MACDOWELL'S COLUMBIA UNIVERSITY LECTURES.
+
+(Published as _Critical and Historical Essays_).
+
+
+_For it is in the nature of the spiritual part of mankind to
+shrink from the earth, to aspire to something higher; a bird
+soaring in the blue above us has something of the ethereal; we
+give wings to our angels. On the other hand, a serpent impresses
+us as something sinister. Trees, with their strange fight against
+all the laws of gravity, striving upward unceasingly, bring us
+something of hope and faith; the sight of them cheers us. A land
+without trees is depressing and gloomy.
+
+In spite of the strange twistings of ultra modern music, a simple
+melody still embodies the same pathos for us that it did for our
+grandparents.
+
+We put our guest, the poetic thought, that comes to us like a
+homing bird from out the mystery of the blue sky--we put this
+confiding stranger straightway into that iron bed, the "sonata
+form," or perhaps even the third rondo form, for we have quite an
+assortment. Should the idea survive and grow too large for the
+bed, and if we have learned to love it too much to cut off its
+feet and thus make it fit (as did that old robber of Attica), why
+we run the risk of having some critic wise in his theoretical
+knowledge, say, as was and is said of Chopin, "He is weak in
+sonata form!"
+
+In art our opinions must, in all cases, rest directly on the
+thing under consideration and not on what is written about it.
+Without a thorough knowledge of music, including its history and
+development, and, above all, musical "sympathy," individual
+criticism is, of course, valueless; at the same time the
+acquirement of this knowledge and sympathy is not difficult, and
+I hope that we may yet have a public in America that shall be
+capable of forming its own ideas, and not be influenced by
+tradition, criticism, or fashion.
+
+Every person with even the very smallest love and sympathy for art
+possesses ideas which are valuable to that art. From the tiniest
+seeds sometimes the greatest trees are grown. Why, therefore,
+allow these tender germs of individualism to be smothered by that
+flourishing, arrogant bay tree of tradition--fashion, authority,
+convention, etc.
+
+No art form is so fleeting and so subject to the dictates of
+fashion as opera. It has always been the plaything of fashion,
+and suffers from its changes.
+
+Always respectable in his forms, no one else could have made
+music popular among the cultured classes as could Mendelssohn.
+This also had its danger; for if Mendelssohn had written an opera
+(the lack of which was so bewailed by the Philistines), it would
+have taken root all over Germany, and put Wagner back many years.
+
+Handel's great achievement (besides being a fine composer) was to
+crush all life out of the then promising school of English music,
+the foundation of which had been so well laid by Purcell, Byrd,
+Morley, etc._
+
+(On Mozart). _His later symphonies and operas show us the man at
+his best. His piano works and early operas show the effect of the
+"virtuoso" style, with all its empty concessions to technical
+display and commonplace, ear-catching melody ... He possessed a
+certain simple charm of expression which, in its directness, has
+an element of pathos lacking in the comparatively jolly
+light-heartedness of Haydn.
+
+Music can invariably heighten the poignancy of spoken words
+(which mean nothing in themselves), but words can but rarely, in
+fact I doubt whether they can ever, heighten the effect of
+musical declamation.
+
+To hear and enjoy music seems sufficient to many persons, and an
+investigation as to the causes of this enjoyment seems to them
+superfluous. And yet, unless the public comes into closer touch
+with the tone poet than the objective state which accepts with
+the ears what is intended for the spirit, which hears the sounds
+and is deaf to their import, unless the public can separate the
+physical pleasure of music from its ideal significance, our art,
+in my opinion, cannot stand on a sound basis.
+
+Music contains certain elements which affect the nerves of the
+mind and body, and thus possesses the power of direct appeal to
+the public--a power to a great extent denied to the other arts.
+This sensuous influence over the hearer is often mistaken for the
+aim and end of all music.... In declaring that the sensation of
+hearing music was pleasant to him, and that to produce that
+sensation was the entire mission of music, a certain English
+Bishop placed our art on a level with good things to eat and
+drink. Many colleges and universities of America consider music
+as a kind of boutonnière.... Low as it is, there is a possibility
+of building on such an estimate. Could such persons be made to
+recognize the existence of decidedly unpleasant music, it would
+be the first step toward a proper appreciation of the art and its
+various phases.
+
+In my opinion, Johann Sebastian Bach, one of the world's
+mightiest tone poets, accomplished his mission, not by means of
+the contrapuntal fashion of his age, but in spite of it. The laws
+of canon and fugue are based upon as prosaic a foundation as
+those of the rondo and sonata form; I find it impossible to
+imagine their ever having been a spur or an incentive to poetic
+musical speech.
+
+Overwhelmed by the new-found powers of suggestion in tonal tint
+and the riot of hitherto undreamed of orchestral combinations, we
+are forgetting that permanence in music depends upon melodic
+speech._
+
+
+
+
+PREFACE
+
+
+Owing to the high cost of book production at the present time,
+the use of illustrations, both musical and photographic, has been
+restricted in this book. It was decided only to fully illustrate
+the analysis of MacDowell's "Indian" Suite for Orchestra, _Op.
+48_, this being a work less accessible to the general reader than
+the composer's well known pianoforte pieces.
+
+The author gratefully acknowledges the help of:--
+
+Mrs. MacDowell--Information and gift of MacDowell portraits, an
+original letter and a piece of MS. of the composer.
+
+Mr. W.W.A. Elkin--Information and loan of scores.
+
+Mr. Charlton Keith--Loan of _D minor Pianoforte Concerto_.
+
+Messrs. J. and W. Chester, Ltd.--Information.
+
+
+
+
+CONTENTS
+
+
+
+
+BIOGRAPHICAL SKETCH
+
+MACDOWELL AS COMPOSER
+
+MACDOWELL THE MAN
+
+THE MACDOWELL COLONY
+
+REPRODUCTION OF A MACDOWELL LETTER
+
+THE MUSIC:
+
+  WORKS WITH OPUS NUMBERS
+
+  WORKS WITHOUT OPUS NUMBERS
+
+ALPHABETICAL INDEX TO MACDOWELL'S WORKS
+
+
+
+
+
+EDWARD MACDOWELL
+
+BIOGRAPHICAL SKETCH
+
+
+EDWARD ALEXANDER MACDOWELL was born in New York City, U.S.A., on
+December 18th, 1861, of American parents descended from a Quaker
+family of Scotch-Irish extraction who emigrated to America about
+the middle of the 18th Century. He was their third son. As a boy
+he studied the pianoforte with Juan Buitrago, a South American,
+Pablo Desvernine, a Cuban, and for a short time with the famous
+Venezuelan pianist, Teresa Carreño. He also indulged in childish
+composition on his own account. He was not a "wonderful" pupil
+and did not like the drudgery of practising "exercises."
+
+When he was fourteen years of age he went to France, accompanied
+by his mother, to study pianoforte playing and the theory of
+music at the Paris Conservatoire under Marmontel and Savard
+respectively. Here one of his fellow students was Debussy, even
+then looked upon as having curious and unconventional ideas on
+his art.
+
+MacDowell had also to learn the French language, and the person
+who taught him French discovered that the young American had a
+decided gift for drawing. He showed one of the boy's sketches to
+a teacher at the School of Fine Arts, who offered to take the boy
+as a pupil for three years free of charge, and to be responsible
+for his maintenance during that time.
+
+With his striking imaginative powers and love of Nature, and his
+appreciation of Historical and Legendary lore, it is very
+probable that MacDowell might have become distinguished as a
+painter had he applied himself to painting, for he was a born
+artist and very fond of sketching, but he refused the offer on
+the advice of his music teachers, and continued his studies at
+the Conservatoire.
+
+After persevering for a couple of years he grew dissatisfied with
+the tuition he was receiving, and upon hearing Nicholas
+Rubinstein play, he determined to go elsewhere.
+
+Careful discussion with his mother resulted in their selection of
+Stuttgart, Germany, whither they accordingly removed, MacDowell
+entering the Conservatorium there. Here he was soon convinced,
+however, that the instruction given there was of no use to him,
+and after having studied under Lebert and Louis Ehlert and having
+been refused a hearing by Hans von Büllow, he left Stuttgart and
+entered the Frankfort Conservatorium, where his teachers were
+Raff, the Principal, for composition, and Carl Heymann for
+pianoforte playing. Raff was kind and encouraging to the young
+American, and once said to him, "Your music will be played when
+mine is forgotten." The influence of Raff's teaching is evident
+in a number of MacDowell's early compositions, especially the
+_Forest Idyls, Op. 19_, and the _First Suite for Orchestra, Op.
+42_.
+
+In 1881 Heyman resigned and nominated MacDowell as his successor,
+a proposal seconded by Raff. The gifted American, however,
+possessed the criminal fault, in the eyes of jealous and
+intolerant old men, of being young; the fact that he was quite
+capable of filling the vacant post was, to them, a secondary
+consideration, and he was rejected.
+
+He now began to take private pupils, and among them was an
+American girl, Marian Nevins, who was to become his wife about
+three years afterwards; the _Forest Idyls, Op. 19_, are dedicated
+to her. Although he had failed to obtain the vacant professorship
+at Stuttgart, MacDowell was appointed head teacher of the
+pianoforte at the Conservatorium in the neighbouring town of
+Darmstadt. His work here was soul-killing in its drudgery and he
+soon relinquished it.
+
+Apart from his teaching labours, MacDowell had, in the meantime,
+been composing steadily, and had also been appearing at local
+orchestral concerts as solo pianist, and in 1882 Raff sent him to
+Liszt armed with his _First Pianoforte Concerto, Op. 15_. The
+mighty old Hungarian praised the work highly and also seemed
+impressed with MacDowell's playing. He was kind to the struggling
+young American, eventually accepted the dedication of the
+concerto, and recommended the performance and publication of some
+of MacDowell's earlier compositions, notably the _First Modern
+Suite, Op. 10_, and the _Second Modern Suite, Op. 14_.
+
+Composition now became more and more the dominating feature in
+the development of MacDowell's musical genius, although he was
+still obliged to teach for his living.
+
+He was fortunate in being able to persuade local conductors to
+try over his orchestral works, a thing that was practically
+impossible in his own country, as he afterwards found. In June,
+1884, he returned to the United States, and in the following
+month (July 21st) he married his former pianoforte pupil, Marian
+Nevins, in whom he was to find complete happiness and a devoted
+companion and sympathiser. In the same year Mr. and Mrs.
+MacDowell returned to Frankfort, after having visited England.
+
+In 1885 MacDowell applied for a professorship at the English
+Royal Academy of Music, but Lady Macfarren, wife of the
+Principal, was instrumental in securing his rejection on account
+of his youth, nationality and friendship with Liszt, who, in
+English Victorian academic eyes, was too "modern."
+
+In 1887 MacDowell and his wife, they having returned to Germany,
+bought a little cottage in the woods some distance from
+Wiesbaden. They were very friendly with Templeton Strong, another
+American composer, some of whose works have been played at the
+Queen's Hall Promenade Concerts in London.
+
+In September, 1888, the MacDowells sold their German cottage and
+returned to their native country, electing to make their home in
+Boston, Mass.
+
+MacDowell found that his European reputation and his music had
+preceded him to America, and he was well received on the occasion
+of his first concert in his native country. Most notable were his
+successes when he played his _Second Pianoforte Concerto, in D
+minor_ (_Op_. 23), at important orchestral concerts in New York
+and Boston.
+
+In 1889 MacDowell played his D minor concerto in Paris, where
+more than twelve years before he had been a student, and it was
+after his return from this visit to France that his fame as a
+pianist and composer began to spread freely in America. In 1890
+his _Second Symphonic Poem, Lancelot and Elaine_ (_Op_. 25), was
+played under Nikisch at Boston.
+
+The year 1891 was a successful one for MacDowell, for it saw two
+performances of a large orchestral work, _First Suite, in A
+minor_, he had just completed; the production of his symphonic
+_Fragments_ (_Op_. 30); and his first pianoforte recital in
+America.
+
+MacDowell's prestige continued to grow steadily. He was
+invariably received with enthusiasm on the numerous occasions of
+his public appearances as a pianist, while each new composition
+he issued was remarkably well received by the public and the
+newspaper musical critics. The Boston Symphony Orchestra was
+especially encouraging to him, placing both his _"Indian" Suite,
+Op. 48_, and his _First Concerto, in A minor, Op. 15_, on the
+programme of one of its New York concerts. Teresa Carreño, the
+famous pianist from whom he had had a few lessons when a boy,
+played some of his music at most of her recitals. She was also
+instrumental, with the ready help of Sir (then Mr.) Henry J.
+Wood, in making MacDowell's D minor concerto known in England.
+The popular London Queen's Hall conductor was impressed with the
+work, and has ever since recommended it to budding young pianists
+as a concerto worth studying.
+
+The occasion of MacDowell's performance of his D minor concerto
+with the Philharmonic Society of New York on December 14th, 1894,
+is worthy of note. He then achieved one of the most conspicuous
+triumphs of his career. His playing was described by Henry T.
+Finck, the distinguished American musical critic, as being of
+"that splendid kind of virtuosity which makes one forget the
+technique." MacDowell received a tremendous ovation such as was
+accorded only to a popular prima donna at the opera, or to a
+famous virtuoso of international reputation. The musical critics
+generally agreed that the fine feeling and the power of the
+concerto was as responsible for his remarkable success before the
+critical Philharmonic audience as his playing of it. The
+conductor was Anton Seidl.
+
+A few months after the above event, MacDowell created a deep
+impression in the same city by his playing of his _Sonata
+Tragica, Op. 45_, and some smaller pieces.
+
+In 1896 he bought some land near Peterboro, in the south of the
+state of New Hampshire. In addition to a music room connected by
+a passage with the house, he built a log cabin in the woods near
+by, where he could compose in the solitude that was needed for
+the transcribing of his dreams and inspirations into permanent
+music form.
+
+In the same year (1896) it was decided to found a department of
+music at Columbia University, New York, and MacDowell, described
+by the committee formed to appoint a Professor of Music as "the
+greatest musical genius America has produced," was offered the
+distinguished, but as it proved, laborious task of organising the
+new department. After some hesitation he accepted the post, as it
+would afford him an income free from the precariousness of
+private teaching.
+
+In a letter to the writer, Mrs. MacDowell says: "In taking the
+position of Professor of Music at Columbia University, Mr.
+MacDowell went into an environment quite different from anything
+he had ever experienced before. He had no University training, no
+knowledge of its methods, and brought to his work an enthusiasm
+and freshness which eventually meant overcrowded class rooms."
+
+During his vacation from the University in 1902-3, he undertook a
+great concert tour of the United States, going as far west as San
+Francisco. In 1903 he visited England, and on May 14th played his
+D minor pianoforte concerto at a concert of the Royal Philharmonic
+Society in Queen's Hall, London.
+
+In 1904 he resigned from Columbia because of a disagreement with
+the faculty concerning the proper position of music and the fine
+arts in the curriculum. His plans for a freer and greater
+relationship between University teaching and liberal public
+culture were considered impracticable and the authorities
+rejected them. MacDowell's attitude in the matter was criticised,
+misunderstood and misrepresented at the time. He was even accused
+of neglecting the duties of the position he held, whereas, as it
+afterwards transpired, he had laboured ungrudgingly at his task.
+It is pleasant to know that his students were among the first to
+uphold his character. His patience, his droll criticisms, and the
+illuminating quality of his teaching endeared him to all who
+studied under him.
+
+MacDowell was bitterly disappointed and hurt at the unfavourable
+reception of his reforming plans, but until the beginning of his
+fatal illness shortly afterwards, he continued his teaching
+privately, even giving free lessons to deserving students in
+whose talent he had faith.
+
+His lectures at Columbia University are preserved in permanent
+form under the title of _Critical and Historical Essays_. In a
+letter to the writer, Mrs. MacDowell says of the volume, "I think
+my husband would have felt that just such a title implies a more
+finished product than one finds, but after his death the demand
+was very great among his old students that these notes might be
+preserved in permanent form ... Mr. MacDowell had an extraordinary
+memory, and seldom had more than mere notes in delivering his
+lectures. Occasionally in preparing the lectures, without quite
+realising it, he dictated far more than he had intended, not
+always using this material in his class room. These Essays
+represent the result of what he dictated to me as he walked up
+and down his music room trying to crystallize his ideas; they were
+printed unedited. I sometimes think one reads in between the lines
+of these Essays a good deal of what the man was himself."
+
+Although the time at his command was restricted, the eight years
+of MacDowell's Columbia professorship saw the composition of most
+of his finest works. For two years he was conductor of the
+Mendelssohn Glee Club, one of the oldest and best Male-voice
+choruses in the United States, and was also, for a short time,
+President of the Manuscript Society, an association of American
+composers. Princeton University and the University of Pennsylvania
+conferred on him the honorary degree of Doctor of Music.
+
+In the spring of 1905, MacDowell began to suffer from nervous
+exhaustion. Overwork and morbid worry over disagreeable
+experiences, especially in connection with his resignation from
+Columbia, brought on insomnia. A quiet summer on his Peterboro
+property brought no improvement in his condition, and the eminent
+medical specialists who attended him soon pronounced his case to
+be a hopeless one of cerebral collapse. He should have rested
+earlier from both his crowded teaching and his composing.
+
+Slowly, but with terrible sureness, his brainpower was beginning
+to crumble away and his mind became as that of a little child.
+Day after day he would sit near a window, turning over the pages
+of one of his beloved books of fairy-tales, an infinitely moving
+and tragic figure.
+
+Time went by and the delicately poised intellect grew more and
+more dimmed, until at last he hardly recognised his dearest
+friends. A few months before the end his physical strength,
+hitherto well preserved, began to fail, until at last he sank
+rapidly, dying at 9 o'clock in the evening of January 23rd, 1908,
+at the age of forty-six, in the Westminster Hotel, New York, in
+the presence of his devoted wife.
+
+A simple service was later held at St. George's Episcopal Church,
+and he was buried on the Sunday following his death. His grave is
+on an open hilltop of his Peterboro property that he loved, and
+is marked by a granite boulder on which is a simple bronze tablet
+bearing the lines inscribed at the head of one of his last
+pieces, _From a Log Cabin_ (_Op_. 62, _No_. 9), an unconscious
+prophesy of his own tragic end:--
+
+  _A house of dreams untold,
+  It looks out over the whispering tree-tops
+  And faces the setting sun_.
+
+The last music that MacDowell published appeared in 1902, and
+indicated the beginning of a new and deeper note in his creative
+voice. He felt, too, that he was growing away from pianoforte
+work and had he lived there would have been further and more
+representative symphonic poems and at least one symphony from his
+pen, three movements of the latter being among his unfinished
+manuscripts. He had hoped for ultimate leisure in which to
+compose, free from the drudgery of earning his living by
+teaching, and his last great concert tour was undertaken with the
+idea of gathering money for the realisation of his dream.
+
+The death of MacDowell completed the blow which his failing
+brain-power had dealt to American music and his many sympathisers,
+between two and three years before. His spirit lives, however, in
+his music and in the wonderful MacDowell Colony at Peterboro, New
+Hampshire. The latter is an amazing realisation of the composer's
+dream of an ideal environment for creative work in Music, Art and
+Literature. A chapter describing the Colony will be found further
+on in this book. In addition to the central organisation, now
+known as _The Edward MacDowell Association, Incorporated_, there
+are springing up in many American cities offshoots known as
+MacDowell Clubs, which contribute towards the expenses of the
+Colony.
+
+
+
+
+MACDOWELL AS COMPOSER
+
+
+Macdowell's position to-day in creative musical art remains the
+same as it was twenty years ago--one of unassailable independence
+and individualism. Although these two factors, whether assailable
+or not, must be a feature of any composer who lays claim to
+greatness, in MacDowell's case they are so marked as to form the
+strongest bulwark of his natural position among great music
+makers. His tone poetry is of a quality and power that is not
+quite like that of any other composer, and in the portraying, or
+suggesting, as he preferred to call it, of Natural, Historical
+and Legendary subjects he stands alone. Superbly gifted as a
+lyrical poet both in the literary and the musical sense, and with
+a most refined and keen feeling for the dramatic, he spoke with a
+voice of singular eloquence and power. Probably his greatest
+achievement was his remarkable, unerring ability to create
+atmospheres of widely varied kinds in his music, and in this
+respect there is no composer quite his equal. The soft beauty,
+grandeur, vastness and might of Nature; the joys and sorrows of
+Humanity; the romance of History and imaginative Legend; the
+buoyancy of sunshine and wind; the mysteriousness of enchanted
+woods; all these he translated with inimitable vividness into
+music. He could suggest with as definite and unmistakable a
+musical atmosphere, the simple beauty of a little wild flower, as
+the might of the sea; as well the fanciful and imaginative scenes
+of fairy tale as the wild and lonely vastness of the great
+American prairies; as well the joviality and humour of his
+countrymen as the elemental strength, and rude, stern manliness
+of the North American Indian, and the heroic, stirring atmosphere
+of the ancient bards.
+
+That MacDowell was greater than is generally recognised in
+England is an opinion that increasingly forces itself on all who
+study and become closely acquainted with his best work. He is
+generally admitted to be great in small, lyrical forms, but it is
+insufficient to regard him merely as a miniaturist. The form of
+the well-known _Sea Pieces_ (_Op_. 55) for pianoforte is small,
+for example, and yet the material is big and grand enough for
+symphonic work. The equally well-known _Woodland Sketches, Op.
+51_, contain pieces of charming and delicate conception, as well
+as broader writing, and can hardly be considered as the products
+of a restricted inspiration. The poetry is so unmistakably fresh
+and individual, and the atmosphere so vividly suggested, that the
+ability of the composer to condense his material into such small
+compass is remarkable to even the most casual observer. Far from
+shewing weakness, the small form of MacDowell's compositions is a
+proof of his strength, for few other composers have been able to
+suggest such big scenes, often of far-reaching and wide
+significance, on such small canvasses as those on which he
+painted his tone poems.
+
+The outstanding reason for his preference for writing albums of
+short pieces (partly due, no doubt, to lack of time for more
+extended work) was that he loved to seize a passing impression or
+inspiration and to express it in music before it faded from his
+mind. Nearly all his small pieces are musical photographs of the
+fancies of an impressionable and sensitive imagination.
+
+The criticism sometimes heard that he was only good in small
+forms is, however, based on a fallacy due to an imperfect
+acquaintance with his work and is completely shattered by the
+indisputable greatness of his two concertos, of his four
+pianoforte sonatas and of the _"Indian" Suite_ for orchestra. The
+sonatas, although not all of equal value, comprise some of the
+finest pianoforte music in existence. They are notable for their
+passion, breadth of style, massive momentum, dramatic power and
+eloquence of expression. Admirers think them only equalled by
+such creations as Beethoven's _Sonata Appassionata_. It is
+curious that MacDowell's sonatas are infrequently performed, for
+they bring the resources of the modern pianoforte into full and
+sonorous play, sweeping the whole of the keyboard with their
+stirring expressions. It is possible that as they are not in
+general demand, the average virtuoso does not consider their
+technical difficulties worth conquering. Nay, it is even doubtful
+whether the pianist's mind could always rise to the heights of
+fervent poetry and imagination whither MacDowell was often
+carried and the memories of which are embodied in his finest
+music.
+
+As a tone poet MacDowell has none of the sensuous emotionalism
+that wins popularity in the drawing room and at the musical
+recitals of popular pianists. He is never sentimental and his
+strength and passion is always finely controlled, never feverish.
+His music is singularly free from the emotionalisms of sex, the
+love-impulse with him is always noble and restrained. In all his
+moods there is a human spirit and some definitely suggested
+content, the most notable purist exceptions being the two
+pianoforte concertos. His tone colourings are never used densely
+or oppressively, but only serve to heighten the suggestiveness of
+the whole. He loved the pianoforte as an instrument for personal
+melodic and harmonic expression, and understood the range of its
+tonal resources. His biggest music for it is written with very
+broad and extended chords, strong in character, but always
+wonderfully clear and ringing, and eminently suited for
+pianoforte sonority. His tone nuances range from a shadowy,
+mysterious _pppp_ to a virile, massive _ffff_.
+
+MacDowell's best orchestral composition is his _Second (Indian)
+Suite, Op_. 48. This is one of his most noble works, scored with
+masterly skill and vividly suggesting the great plains and
+forests, the wild and lonely retreats, the festivals, sorrows,
+rejoicings, and romances and also the stern, rude manliness of
+the North American Indians, whose pathetic annals form such a
+stirring page in American history. MacDowell also wrote three
+symphonic poems for orchestra, another suite, and some symphonic
+sketches.
+
+The songs of MacDowell make an important section of the catalogue
+of his works, and are chiefly notable for their beauty and
+tenderness of expression, and he was at his very best when
+writing in the pure lyric form. His efforts comprising Ops. 56,
+58 and 60 are of a rare and expressive order. He also composed a
+number of fine part-songs for male-voice choruses. Most of his
+best vocal works are set to his own verses, as he could seldom
+satisfy himself that words ally themselves naturally with music.
+
+Poetry furnishes a composer with inspiration for expression
+which, MacDowell felt, could not be clearly demonstrated in a
+small space, and that the music therefore is apt to distort the
+words if they are harnessed to it in song form. Most of
+MacDowell's finest pianoforte pieces bear verses in addition to
+titles, thus definitely indicating what the music is intended to
+suggest. His verses are of an uncommon and gifted order, for he
+was a true poet in both the literary and the musical sense. His
+poems were collected some years after his death and published
+under the title of _Book of Verses, by Edward MacDowell_. They
+are valuable for their own sake, quite apart from their
+connection with his music, and make very beautiful reading. A
+number of his wonderfully illuminating Columbia University
+lectures, to which we have referred more fully in the preceding
+chapter, were collected and edited by W.J. Baltzell and published
+in 1912 under the title of _Critical and Historical Essays
+(Lectures delivered at Columbia University) by Edward MacDowell_.
+
+MacDowell's work is of the kind that appeals intimately to those
+only who understand and feel the significance of things musical.
+His compositions are seldom mentioned in those terms of effusive
+adoration so often applied to the works of many well-known
+composers, neither do they figure largely in the recitals of
+popular pianists, for minds saturated with sensuous sentiment and
+the worship of tradition cannot easily follow his pure idealism
+and the significance of the things which he loved and expressed
+in his music. His compositions are "modern" in outlook, but
+remarkably free in spirit and never savour of the type of
+modernism that is little more than gilded pedanticism.
+
+Mention must be made of MacDowell as a pianist. He was capable of
+playing with remarkable swiftness of finger action, and his tone
+production ranged from the most delicate refinement to overwhelming
+floods of orchestral-like strength. In playing his larger works, he
+loved to make his music sweep in great waves, and to introduce the
+most wonderful contrasts and varieties of tone colour. At his
+recitals he played other music besides his own, and became
+distinguished as a pianist, although his interpretations were
+always more personal than traditional.
+
+
+
+
+MACDOWELL THE MAN
+
+
+The whole nature of MacDowell was singularly impressionable,
+imaginative, idealistic and romantic. He loved the beauty,
+grandeur and solemnity of Nature not only for its outward aspect,
+but for what he thought it symbolised. His sensitive character
+made him extremely sympathetic towards human nature, although he
+never used his understanding of his fellow men to cultivate by
+trickery or device their favour and praise. He loved and
+idealised the ancient days of romance and chivalry, when men
+lived the wonderful tales of heroism that are now discredited and
+fading before the materialism of modern civilisation, and in this
+respect he had an affinity with the English composer, Elgar. He
+derived enjoyment from fairy tales and folk-lore, and these were
+his apparent consolation in his tragic last years. He was a man
+of rare qualities, noble, sincere and unselfish to an extreme. He
+hated insincerity in any form, and if he had been more tolerant
+in this respect his path would have often been easier. He had a
+curious and charming love for the growing things and creatures of
+the woods, and although an excellent shot, he could never enjoy
+hunting or shooting, as it hurt him to kill birds or animals. He
+abhorred the copying, by Americans, of European aristocratic
+"sport," for the nobleness of his nature could not descend to the
+vicious customs of those only noble by assumption or in title.
+His intellectual bearing, his catholicity of tastes and his
+learning presented a striking contrast to the narrow outlook and
+brainlessness of the average high-brow type of musician, and in
+this respect again he was like Elgar.
+
+He dipped deeply into literature, both ancient and contemporary,
+and was always working out aesthetic and philosophic problems
+concerning music. His knowledge of his art would have done
+justice to a learned academician, though this he certainly was
+not, and he always held shrewdly formed opinions typical of his
+countrymen, on subjects that interested him. He had a healthy
+dislike of fashionable "at-homes" and dinner parties where music
+is "adored" and "loved" by those who may have a good knowledge of
+social matters, but who have little or no ability to comprehend
+the deeper significance and power of the art. In fact one
+suspects that they adopt high-class music chiefly in an attempt
+to indicate an intellectual status they do not possess. For
+sincere and able criticism, however, MacDowell always had respect
+and interest, and he was always touched by what he thought was
+honest praise and admiration. In quiet conversation he was the
+most charming of men, but in social gatherings he was ill at
+ease, and unable to take part in the tactful conversation and
+studied courtesies of society that make for success. His
+convictions were passionately idealistic, and he often stated
+them with a bluntness and utter lack of diplomacy that would have
+made Beethoven claim him as a brother; although MacDowell felt
+none of that old giant's bitterness towards Society. Where
+Beethoven felt contempt for even the praise of those he knew were
+not great enough to understand him, MacDowell was merely
+uncomfortable; both because he hated insincere attentions and
+because his modesty would seldom allow him to believe that he
+deserved even honest congratulations.[Note: When in London in
+1903, MacDowell was asked to give some recitals from his
+compositions, after the Philharmonic performance of his _D minor
+Piano Concerto_, but on seeing the heavy recital list at Wigmore
+(then Bechstein) Hall, he characteristically decided that nobody
+would want to hear his music after all the other pianists had
+played. His London publisher, Mr. W. Elkin. however, asked him to
+come the following year, which he promised to do, but his fatal
+illness intervened and he never saw England again.]
+
+He was often sarcastic, with the humour of his countrymen, but
+never bitter, and even when he was so cruelly misunderstood and
+misrepresented about his Columbia resignation, he was more hurt
+and disappointed than angry.
+
+In his private life MacDowell's was a healthy, manly and robust
+figure. He was fond of outdoor life, of riding and walking, and
+of the homely hobbies of gardening, photography and carpentry. He
+was fairly tall, broad-shouldered and powerfully built. His
+features were strong and intellectual, but a captivating twinkle
+and humour in his eyes and a frequent sweetness of expression
+prevented his being stern or forbidding. He had a natural, noble
+bearing and an unassuming, thoughtful dignity that often gave him
+a look of command.
+
+In short, MacDowell was as fine as a man as he was as a composer.
+He loved the traditions of the great Republic whose born citizen
+he was, and was hopeful of her future in all things, and for her art
+he worked nobly and unselfishly. He suffered from discouragement in
+an acute form, but worked steadily on with a simple, unshakable
+faith in his divine gifts. At the height of his fame he was never
+unapproachable, but always had a kindly thought for the struggling
+student of limited means; and although his plans at Columbia
+University were defeated, he gave free private lessons to poor
+students of talent. His noble and unselfish action in this regard
+has not often been equalled among past and present successful
+musicians. MacDowell was very modest about his work, but he was
+quite conscious of the greatness of his gifts, and he had the
+ambition to make a name, not merely for his own sake, but also that
+America might be able to hold up her head as proudly in music as she
+does in other things.
+
+The idea of purely personal fame seldom entered his head and when
+it did it made him rather uncomfortable, but his belief that he
+was gifted and destined to make a name for his country, sustained
+him in the struggle against the endless drudgery that always
+dogged the free use of his talents.
+
+One of MacDowell's dearest wishes was that America should have a
+musical public capable of judging in an intellectual, educated and
+sincere manner the merits of music and musicians, uninfluenced by
+traditions and reputations introduced from other countries. He
+wanted Americans to encourage their own men in Music, Art and
+Literature and not to respect a third-rate artist simply because
+he came from a foreign country having traditions of culture. He
+insisted on the American composer being treated on absolutely equal
+terms with the foreigner and according to his merits.
+
+
+
+
+THE MACDOWELL COLONY
+
+
+This account of that remarkable haven for creative artists known
+as the "MacDowell Colony," situated at Peterboro', New Hampshire,
+U.S.A., about three hours from Boston, is a reprint of the
+prospectus of the "Edward MacDowell Association." The Colony owes
+a great debt to the untiring enthusiasm and energy of Mrs.
+MacDowell, who also finds time to give frequent recitals in
+various American cities of her late husband's music. In the
+opinion of many who know of her work, she is only comparable to
+Madame Schumann, in her practical devotion to her great husband's
+music and to the realisation of his ideals.
+
+
+
+A DREAM COME TRUE
+
+
+Speaking of nationalism in music--and the remark holds true of
+nationalism in all the arts--Edward MacDowell once said: "Before
+a people can find a musical writer to echo its genius, it must
+first possess men who truly represent the people, that is to say,
+men who, being part of the people, love the country for itself,
+and put into their music what the nation has put into its life."
+
+When MacDowell defined the essentials of a characteristic
+national culture, he did not know that his name would one day be
+associated with an enterprise ideally fitted to supply these
+essentials. MacDowell had a dream which he hoped might be
+converted into reality. This dream was shaped by influences from
+two different sources--an abandoned farm in New Hampshire and the
+American Academy at Rome.
+
+He was one of the trustees of the American Academy at Rome. In
+this capacity he met intimately a remarkable group of men--John
+W. Alexander, Augustus St. Gaudens, Richard Watson Gilder,
+Charles McKim, and Frank D. Millet. Contact with these men proved
+an inspiration to MacDowell and convinced him that there was
+nothing more broadening to the worker in one art than affiliation
+with workers in the other arts.
+
+In 1895 MacDowell purchased an old farm in Peterborough. In the
+deep woods, about ten minutes from the little farmhouse he built
+a log cabin:
+
+  "A house of dreams untold
+  It looks out over the whispering tree-tops
+  And faces the setting sun."
+
+There he did much of his best work and there he liked to dream of
+a day when other artists could work in just such beautiful and
+peaceful surroundings. This is the dream that has come true.
+
+Until MacDowell went to Peterborough he had worked under the
+usual difficult conditions. During the winter he lived in the
+city amidst noisy surroundings; in the summer he went the rounds
+of country hotels and boarding-houses. Even the comparative
+independence of his own house never gave him the quiet and
+isolation that he craved at times, for there is no household
+whose wheels can be instantly adjusted to the needs of one
+member. For years MacDowell tried one makeshift after another
+until at last in the Log Cabin he found exactly what he needed.
+
+During the last year of MacDowell's life a society was
+incorporated under the name of the Edward MacDowell Memorial
+Association. The purpose of the society was to establish in
+America a fitting memorial to the work and life of the American
+composer along lines of MacDowell's own suggestion. A sum of
+about thirty thousand dollars had been raised for MacDowell's
+benefit. This amount was entrusted to the Association. Mrs.
+MacDowell deeded to the Association the farm at Peterborough and
+the contents of MacDowell's home. The Association at once
+undertook the development of what has since become known as the
+"Peterborough idea" and before MacDowell's death had actually
+established, in a modest way, a Colony for Creative Artists.
+
+
+
+LIFE IN THE COLONY
+
+
+In an article in the North American Review, Edwin Arlington
+Robinson writes: "It is practically impossible for me to say,
+even to myself, just what there is about this place that compels
+a man to work out the best that there is in him and to be
+discontented if he fails to do so. The abrupt and somewhat
+humiliating sense of isolation, liberty, and opportunity which
+overtakes one each morning has something to do with it, but this
+sense of opportunity does not in itself explain everything ...
+The MacDowell Colony is in all probabilities about the worst
+place in which to conceal one's lack of a creative faculty."
+
+There is nothing camp-like about the place either in appearance
+or in manner of life. There are comfortable living houses for the
+men and women with all the conveniences of running water,
+electric light, and telephone. A common dining room is in Colony
+Hall. Here good wholesome food is served as it would be in any
+well-managed household. This much for the creature comforts. For
+the other and the more important side of Colony life there are
+fifteen individual studios scattered here and there through the
+woods.
+
+The daily routine of life in the Colony is somewhat as follows:
+After breakfast there is a quick scattering of the residents as
+each one hurries off to his studio. It may be recalled here what
+an important place MacDowell's Log Cabin plays in this scheme,
+and how the idea has been to reproduce for as many people as
+might be in the Colony conditions similar to those MacDowell
+enjoyed--a comfortable home and an isolated workshop. Each one of
+the fifteen studios is out of sound and sight of the others. In
+order that the writer or painter may not be disturbed by the
+sound of a piano, the composers' studios are as isolated as
+possible. All the studios have open fireplaces and pleasant
+verandahs and are furnished simply but always attractively. Each
+studio has been planned for its own particular site. Some are
+hidden in the woods, some command views of Monadnock or East
+Mountain, and some long vistas through the trees.
+
+In order that the working day may be long and uninterrupted, at
+noon a basket lunch is left at each studio. Dinner is the time
+for relaxation and social intercourse. Long pleasant evenings are
+passed in the big living room of Colony Hall which is also the
+library, or in the Regina Watson Studio which is near Colony Hall
+and in the evening is used as a general music room, or in
+leisurely walks to the village.
+
+It should perhaps be added that daily life in the Colony is not
+the cut and dried affair that this quick resume might seem to
+imply. No one, of course, is required to stay in his studio all
+day. No one is required to do anything. These artists are
+independent men and women, not supervised students, and to all
+intents they are as free as the wind. There are only two rules to
+which every one must conform. One is that the studios, with the
+one exception of the music-room, shall not be used at night. The
+reason for this rule is the danger of fire. The other rule is that
+no one shall visit another's studio without invitation. The purpose
+of this rule is protection against unexpected interruptions. In all
+other ways the colonist is free to do as he pleases--free except
+for that irresistible compulsion to work which nobody who lives in
+the Colony can escape. For, as Mr. Robinson says, the Colony is
+"the worst loafing place in the world."
+
+
+
+THE TRIUMPH OF EFFORT
+
+
+A curious distrust of idealistic enterprises prevails in the
+world even among people whose own life work is idealistic. This
+distrust the MacDowell Colony has had to fight from the start. It
+has had to prove that its ideals are practical. It has had to
+demonstrate this to the very workers for whom it was founded and
+who should from their own experience have clearly understood the
+advantages it offers.
+
+Gradually, in the face of discouraging skepticism and in spite of
+inadequate equipment, it has won recognition and support. Its
+triumph over initial obstacles is best illustrated by the extent
+to which it has grown and by the number of earnest art workers
+who have availed themselves of its opportunities.
+
+Starting with MacDowell's home, his Log Cabin, and two hundred
+acres of land, the Colony now has five hundred acres of land,
+including three hundred and fifty acres of forest and a farm in
+good cultivation, well equipped farm buildings, fifteen studios,
+and five dwelling houses. There is also Colony Hall, a very large
+barn which through the generosity of Mrs. Benjamin Prince is
+being converted into a beautiful building. Colony Hall is the
+social centre of the Colony. The John W. Alexander Memorial
+Building, to be used for summer exhibitions of paintings and
+sculptures, is now under construction and will soon be completed.
+The Colony has also amassed equipment of another sort including
+the splendid Cora Dow library of some three thousand volumes and
+a most valuable collection of scores and costumes. Furthermore a
+superb open air theatre for outdoor festivals of music and drama
+has lately been completed. The beautiful stadium seats of this
+theatre are a gift from the National Federation of Musical Clubs.
+
+Such growth in the physical plant of any enterprise is evidence
+enough of an actual, tangible success. The number of artists who
+have availed themselves of the advantages offered by the Colony
+are proof of another kind of success.
+
+
+
+A SOCIAL ASSET
+
+
+It should be clearly understood that the MacDowell Colony is in
+no sense a philanthropic enterprise. Although it does strive as
+far as possible to lower the barriers which lack of means so
+often places in the path of talent, yet it is not intended
+primarily for the impecunious. The qualification for admission to
+the Colony is talent. A prospective colonist must either have
+some fine achievement to his credit, or be possessed of a talent
+for which two recognized artists in his own field are willing to
+vouch.
+
+The directors of the Association consider that it is a sound
+economic policy to offer the advantages of the Colony at a
+nominal price. They look upon the amount paid by the residents
+for board and lodging as the directors of a university look upon
+the tuition fees paid by the students. These fees are as much as
+the students can be expected to pay, yet they do not go far
+toward defraying the entire expenses of the university. The real
+return to be made by the student is that later contribution to
+society which in all likelihood will be more important on account
+of his years of study in the university. Similarly the directors
+of the Association are carrying on their undertaking for the
+enrichment of American Art and Letters. Like the university, the
+Colony must have either public or private support.
+
+In a civilization like ours where the social significance of
+creative art is not yet popularly recognized, support for an
+enterprise like the MacDowell Colony cannot be expected from the
+government. Such support must come from individuals.
+
+This is the reason why the directors of the MacDowell Association
+are appealing at this time to the friends and patrons of American
+art to help them raise an endowment of two hundred thousand
+dollars. Up to the present most of the necessary funds have been
+raised through the personal efforts of Mrs. MacDowell. The
+Directors feel that the time has come when her strength, never
+very great, must be more carefully conserved by lifting from her
+shoulders this very heavy financial burden. The Colony has had an
+amazing twelve years of life. Shall its future be threatened by
+lack of permanent income?
+
+
+
+A CHANGE IN NAME
+
+
+The name of the Edward MacDowell Memorial Association has been
+changed to the Edward MacDowell Association, Incorporated. The
+use of the word _Memorial_ has sometimes given people the
+mistaken idea that the work of the Association was in the nature
+of propaganda for the MacDowell music. MacDowell's work is
+finished.
+
+His music has long since spoken for itself and has gained
+whatever hearing it deserves. The concern of the Association is
+for contemporary work and for the future of American art in all
+its branches--this and nothing else.
+
+[Illustration: Handwritten Letter.]
+
+To the Hof-Capellmeister Dr. Haase, Darmstadt,
+
+19th Oct., 1885.
+
+DEAR MR. HOF-CAPELLMEISTER,
+
+I permit myself to address you in the hope that you may perhaps
+feel inclined to have a little work of mine listed on a
+convenient occasion at a theatre. The Opus would take _at most_
+15-20 minutes in performance. Tune and scores are throughout
+clearly and correctly copied.
+
+You would infinitely oblige me if you would have the great
+kindness to grant my request.
+
+In the hope of receiving your early and favourable answer,
+
+I am,
+
+With great respect,
+
+Yours gratefully,
+
+E.A. MACDOWELL.
+
+
+
+
+THE MUSIC
+
+
+
+ANALYTICAL AND DESCRIPTIVE NOTES ON MACDOWELL'S COMPOSITIONS IN
+ORDER OF OPUS NUMBER. WORKS UNNUMBERED FOLLOW ON
+
+
+_NOTE_.--_In the British Empire, the more important of
+MacDowell's pianoforte pieces and songs published in America by
+Arthur P. Schmidt are obtainable from Elkin & Co., Ltd_., 8 & 10,
+_Beak Street, London, W.I., who issue a list of the composer's
+works they sell. Other MacDowell compositions are mostly
+obtainable through J. & W. Chester, Ltd_., II _Great Marlborough
+Street, London, W.I. Ops_. 24, 28 & 31 _are issued by Winthrop
+Rogers, Ltd_., 18, _Berners Street, London, W.I. In America,
+Arthur P. Schmidt for all MacDowell works_.
+
+
+OPUS 1 TO OPUS 8.
+
+Destroyed by the Composer.
+
+
+
+OPUS 9. TWO OLD SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1894. (Arthur P. Schmidt).
+
+  1. _Deserted_.
+
+  2. _Slumber Song_.
+
+The _Two Old Songs, Op. 9_, head the list of MacDowell's
+published works with opus numbers. Their position in it, however,
+is somewhat misleading to the casual observer of the composer's
+artistic development, for they are the fruits of a mature period
+and were given the opus number they bear only as a matter of
+convenience. They were composed about ten or eleven years after
+the songs of Ops. 11 and 12, which in comparison with the _Two
+Old, Songs_ are weak and devoid of individuality and originality.
+The _Two Old Songs_ are very beautiful and expressive, exhibiting
+the composer's melodic gift.
+
+_Deserted_ is a setting of Robert Burns's lines, "Ye banks and
+braes o' bonnie Doon." It is one of the most expressive of
+MacDowell's songs, being full of deep and very human pathos. The
+melody is one of the most poignant he set down, but it is
+subjected to repetition that becomes monotonous. The song is
+expressively indicated _Slow: With pathos, yet simply_.
+
+_Slumber Song_ is a setting of some of the composer's own lines,
+"Dearest, sleep sound." The song presents a fairly good mating of
+words and music, and its expression is a lovable one, inimitably
+MacDowell-like in effect.
+
+
+
+OPUS 10. FIRST MODERN SUITE, FOR PIANOFORTE.
+
+_Composed, Frankfort, 1880. First Played, July 11th, 1882, by the
+composer, at the Ninth Annual Convention of the General Society
+of German Musicians, held at Zurich.
+
+First Published, 1883_ (Breitkopf & Härtel).
+
+_Dedicated to Mrs. Joachim Raff_.
+
+  1. _Præludium_.
+
+  2. _Presto_.
+
+  3. _Andantino and Allegretto_.
+
+  4. _Intermezzo_.
+
+  5. _Rhapsody_.
+
+  6. _Fugue_.
+
+The first public performance of this suite was secured by Liszt,
+whom MacDowell had interviewed and who was entrusted with the
+making up of the programmes of the General Society of German
+Musicians at that time. It was on Liszt's recommendation, too,
+that this suite and its successor, the _Second Modern Suite for
+Pianoforte, Op. 14_, were published by Breitkopf and Härtel at
+Leipzig. The _First Modern Suite_ is of comparatively little
+importance to-day as music, but it is well written and interesting
+as an early work by MacDowell. Some significance may be attached
+to the fact that we find two movements of the suite bearing
+quotations showing their source of inspiration and suggesting
+their poetic content. Suggestive titles and verses are an
+outstanding feature of all MacDowell's later and finest works.
+Two movements of the suite were first heard in London in March,
+1885, at a concert composed of American music.
+
+
+
+OPUS 11 AND OPUS 12. FIVE SONGS, FOR VOICE AND PIANOFORTE.
+
+
+_First Published_, 1883 (C.F. Kahnt Nachfolger. British
+Empire--Elkin & Co.).
+
+  1. _My Love and I_ (_Op. 11, No. 1_).
+
+  2. _You Love Me Not!_ (_Op. 11, No. 2_).
+
+  3. _In the Sky, where Stars are Glowing_ (_Op. 11, No. 3_).
+
+  4. _Night Song_ (_Op. 12, No. 1_).
+
+  5. _The Chain of Roses_ (_Op. 12, No. 2_).
+
+These songs are interesting as the first examples published of
+MacDowell's work in this form of composition. They are well
+written and obviously sincere, which is in itself a merit rare in
+song writing, but they have little of the individual charm and
+beauty of expression found in the composer's later song groups.
+_My Love and I_ is the most popular of the set, having a certain
+distinctive charm of its own.
+
+
+
+OPUS 13. PRELUDE AND FUGUE, FOR PIANOFORTE.
+
+_First Published_, 1883. (Revised Edition--Arthur P. Schmidt).
+
+This is a well-written number in conventional form, but it is
+obviously foreign to MacDowell's temperament, which was only at
+its best in subjects having some definite poetical basis. The
+work was later revised by the composer, and while quite a good
+example of its form, as a MacDowell work it is unconvincing.
+
+
+
+OPUS 14. SECOND MODERN SUITE, FOR PIANOFORTE.
+
+_Composed, Frankfort-Darmstadt_, 1881. _First Published_, 1883
+(Breitkopf & Härtel).
+
+_Dedicated to Camille Saint-Saens._
+
+  1. _Præludium_.
+
+  2. _Fugato_.
+
+  3. _Rhapsody_.
+
+  4. _Scherzino_.
+
+  5. _March_.
+
+  6. _Fantastic Dance_.
+
+Much of this music was composed in the makeshift studio of a
+German railway carriage, while the composer was travelling to and
+fro to give lessons, between Frankfort and Darmstadt and from one
+of these to Erbach-Fürstenau, the latter place entailing a
+typically tiring Continental journey. The suite, like its
+predecessor, the _First Modern Suite for Pianoforte, Op. 10_, was
+published at Leipzig by Breitkopf and Härtel on the recommendation
+of Liszt. The music is of little importance to-day, although it is
+melodious and well written. The opening _Præludium_ foreshadows
+the composer's later regard for significance of expression, for it
+bears an explanatory quotation from Byron's _Manfred_. Teresa
+Carreño, the masculine woman pianist, from whom MacDowell had
+received one or two early lessons in pianoforte playing, performed
+the _Suite_ in New York City on March 8th, 1884, and toured three
+movements of it in the following year, in other parts of the United
+States.
+
+
+
+OPUS 15. FIRST CONCERTO, IN A MINOR, FOR PIANOFORTE AND
+ORCHESTRA.
+
+_Composed, Frankfort_, 1882. _First Published_, 1885 (Breitkopf &
+Härtel).
+
+_Dedicated to Franz Liszt._
+
+  1. _Maestoso, Allegro con fuoco._
+
+  2. _Andante Tranquillo._
+
+  3. _Presto_--_Maestoso_--_Molto piu lento_--_Presto_.
+
+Joachim Raff frightened MacDowell into composing this concerto.
+He called on his young American pupil one day and asked him what
+he had in hand? MacDowell, who stood in great awe of his master,
+was confused and hardly knowing what he was saying replied that
+he "was working at a concerto." Raff told him to bring it along
+on the following Sunday, but when that day arrived MacDowell had
+only the first movement completed, which had been commenced as
+soon as Raff had left him. He evaded his appointment, and his
+master named the following Sunday for their meeting, but
+MacDowell's visit had to be further postponed until the following
+Tuesday, and by that day he had finished the concerto. On Raff's
+advice he took the work to Liszt, arranging a second pianoforte
+part for the purpose. The old master received him kindly and
+asked D'Albert, who was present, to play the second pianoforte.
+At the finish he not only complimented MacDowell on his
+composition, but on his ability as a pianist, which pleased the
+young American immensely, for he had not yet come to regard his
+compositions as of any value, and pianoforte playing was his
+first study. Afterwards MacDowell wrote to Liszt asking him to
+accept the dedication of the concerto, which the venerable
+Hungarian did.
+
+The _First Pianoforte Concerto_ hardly ranks as one of
+MacDowell's finest works, it having been written before he had
+attained, in any notable degree, to his mature impressionist
+style. It is, however, brilliantly written, bold and original in
+harmonic treatment and full of youthful fire and vigour. With the
+second concerto (_Op. 23_), it is one of his few large works not
+having some definitely indicated poetic content. If it has not
+the significant expression of its greater successors, it has at
+least a strength and fervency that indicate a youthful genius of
+no common order. Its interest is not of mere historic value as an
+early example of MacDowell's work, for it can be performed to-day
+with success. It has a lasting white heat of inspiration and even
+in the light of the composer's greater works it still sounds
+remarkably brilliant and fresh. The influence of Teutonic
+training is evident and although the concerto cannot now be
+considered as thoroughly representative of MacDowell, it has a
+confident bearing and a certain individuality that mark it as
+something considerably more than a mere academic experiment. It
+must always be remembered, however, that a two-page piece from
+_Sea Pieces, Op. 55_, or _New England Idyls, Op. 62_, or any
+mature work by MacDowell is of greater artistic value than the
+whole of the concerto in question.
+
+
+
+OPUS 16. SERENATA, FOR PIANOFORTE.
+
+_First Published_, 1883. (Revised Edition--Arthur P. Schmidt.)
+
+This is a weak and unimportant work in MacDowell's catalogue. The
+conventional _morceau_ style did not suit his type of genius even
+before it was fully developed. Some years later the composer
+revised the piece, but it is still of little value, despite its
+outward grace and charm.
+
+
+
+OPUS 17. TWO FANTASTIC PIECES, FOR PIANOFORTE.
+
+_First Published_, 1884 (J. Hainauer). (Revised Edition of No.
+2--Arthur P. Schmidt.)
+
+  1. _Legend._
+
+  2. _Witches' Dance_ (_Hexentanz_).
+
+The _Legend_ is interesting and by stretching the imagination may
+suggest some fantastic fairy tale, but its chief merit is that it
+is more in keeping with MacDowell's natural gift for musical
+suggestion than are the preceding pianoforte pieces, and also the
+succeeding ones comprising _Op. 18_.
+
+The _Witches' Dance_ became popular with pianoforte virtuosi,
+being better known under its German title of _Hexentanz_.
+MacDowell grew to detest its shallow outlook and the appeal it
+made to the flashy pianist, although he himself played it in
+public as late as 1891. He revised both the _Two Fantastic
+Pieces_ some years after their original publication.
+
+
+
+OPUS 18. TWO PIECES, FOR PIANOFORTE.
+
+_First Published_, 1884 (J. Hainauer). (Revised Edition of No.
+1--Arthur P. Schmidt.)
+
+  1. _Barcarolle in F._
+
+  2. _Humoresque in A._
+
+These are two more unimportant pieces in conventional style,
+indicating that MacDowell had not realized at that time just
+where his true genius lay. The revised version of _Barcarolle_
+made some years after its original publication, fails to make it
+convincing, although it has a certain outward charm and is well
+written in the particular style of piece of which it is an
+example. Poetic significance, as we know it in MacDowell's
+representative works, is conspicuous by its absence in these two
+compositions.
+
+
+
+OPUS 19. FOREST IDYLS, FOR PIANOFORTE.
+
+_First Published_, 1884. New Edition, 1912 (C. F. Kahnt
+Nachfolger. British Empire--Elkin & Co.).
+
+_Dedicated to Miss Marian Nevins._
+
+  1. _Forest Stillness._
+
+  2. _Play of the Nymphs._
+
+  3. _Rêverie._
+
+  4. _Dance of the Dryads._
+
+These pieces are noteworthy as early attempts at significant
+expression and the consequent foreshadowing of MacDowell's mature
+period. Their suggesting of their particular subjects as
+indicated in the titles is fairly well done, but they are of
+little importance as music, reflecting as they do the nineteenth
+century German romanticism that had already been fully exploited
+by Schumann and others. There is little of the individuality of
+MacDowell in any of the _Forest Idyls_. The dedication is
+interesting, for Miss Marian Nevins became Mrs. MacDowell in the
+year of the original publication of the pieces. The revised
+edition of _Forest Idyls_ now in circulation in England is by
+Robert Teichmüller, and was issued in 1912. MacDowell himself
+revised the _Rêverie_ (No. 3) and the _Dance of the Dryads_ (No.
+4) in his later period, and these are published in America by
+Arthur P. Schmidt.
+
+1. _Forest Stillness_ is an _Adagio_, opening with softly
+breathed chords _misterioso_. The effect is one of deep
+stillness, but soon becomes dull and burdensome, seeming to lack
+that touch of genius found in the composer's later works, which
+are able to preserve their interest throughout.
+
+2. _Play of the Nymphs_ is technically clever and brilliant, but
+lacks interest and is too spun out.
+
+3. _Reverie_ is a short and tuneful little piece with little or
+nothing MacDowell-like in it and much of nineteenth century
+German romanticism and harmonies. It has been arranged for
+orchestra, and for pianoforte and strings.
+
+4. _Dance of the Dryads_ would doubtless attract lovers of the
+Sydney Smith type of salon music, if there are any of them left.
+It opens in quite a bewitching dance manner and then goes on
+tinkling away on top notes, with chromatic runs, half floating
+arpeggios and all the rest of the stock-in-trade of pretty salon
+music. There are, however, some rather characteristic touches in
+it, which distinguish it from its companions. The key transitions
+from A flat major through distant D major and then F sharp major
+in bars 22, 23 and 24 (Teichmüller 1912 Edition) respectively are
+quite personal.
+
+
+
+OPUS 20. THREE POEMS, FOR PIANOFORTE DUET.
+
+_Composed, Winter_, 1884-5. _First Published_, 1886 (J.
+Hainauer).
+
+  1. _Nights at Sea._
+
+  2. _Tale of the Knights._
+
+  3. _Ballade._
+
+Like the _Forest Idyls, Op. 19_, these pieces have a definite
+poetic basis, but are conceived in a manner that only slightly
+suggests the individuality of the composer. They are quite
+musical and well written for a pianoforte duet, but lack the
+sustained interest one expects to find in MacDowell's work.
+
+
+
+OPUS 21. MOON PICTURES AFTER HANS CHRISTIAN ANDERSEN, FOR
+PIANOFORTE DUET.
+
+_Composed, Winter_, 1884-5. _First Published_, 1886 (J.
+Hainauer).
+
+  1. _The Hindoo Maiden._
+
+  2. _Stork's Story._
+
+  3. _In Tyrol._
+
+  4. _The Swan._
+
+  5. _Visit of the Bear._
+
+The titles of these pieces are quite characteristic of MacDowell,
+and are early indications of his love of the imaginative and
+fanciful atmosphere of fairy tales. The pieces were originally
+intended to form a suite for orchestra, but the opportunity arose
+to have them printed as pianoforte duets and the composer was not
+in a financial position to refuse the offer. Unfortunately he
+destroyed the orchestral sketches. The _Moon Pictures_ are as a
+whole charming and imaginative in conception, and represent the
+fancies of the immortal Hans Andersen, although they are far from
+being truly representative of MacDowell as we now know him.
+
+
+
+OPUS 22. FIRST SYMPHONIC POEM, HAMLET AND OPHELIA, FOR FULL
+ORCHESTRA.
+
+_Composed, Frankfort, Winter_, 1884-5. _First Published_, 1885
+(J. Hainauer).
+
+_Dedicated to Henry Irving and Ellen Terry._
+
+With the appearance of _Hamlet and Ophelia_ MacDowell found his
+reputation considerably increasing. The work was performed in a
+number of German towns soon after its first appearance, and
+within a year following its publication the _Ophelia_ section was
+performed in the composer's native city, New York. In the year
+following this latter event, the _Hamlet_ section was played in
+the same city. The first complete performance at Boston, Mass.,
+was on January 28th, 1893, the Boston Symphony Orchestra playing
+with Nikisch as conductor. _Hamlet and Ophelia_ really consists
+of two separate poems for orchestra, and was first published in
+that form, but MacDowell himself afterwards authorised its
+alteration into one work, and he named it _First Symphonic Poem_.
+The piece is not an altogether unworthy product of his genius. It
+bears unmistakable evidence of Teutonic influence, but there is a
+certain originality of thought and a freshness of spirit about it
+that make for serious work. It was by far the most important of
+MacDowell's music up to this period, for in addition to a skill
+and brilliance of harmonic and orchestral colouring, it has a
+depth of feeling and fuller exposition of personality than its
+predecessors. It has a sense of romance, a beauty of melodic
+outline and an attempted justification of title that are, at
+least, sincerely effected, and although it is far from being one
+of its author's representative works, it must be remembered that
+he was but twenty-four years of age at its completion. As a
+youthful achievement it is very fine, the creation of a gifted,
+though immature, tone poet, and full of a promise that the future
+was to amply fulfil. The title and dedication of the work are
+interesting, and both indicate its link with the English dramatic
+world. The performance of the English Shakespearian actors, Sir
+Henry Irving and Ellen Terry, inspired MacDowell whilst in London
+in 1884, on his honeymoon trip with Mrs. MacDowell.
+
+
+
+OPUS 23. SECOND CONCERTO, IN D MINOR, FOR PIANOFORTE AND
+ORCHESTRA.
+
+_Probably Commenced Early in 1885 at Frankfort. Completed at
+Wiesbaden the same year._
+
+_First Performance in New York City, March 5th 1889, at
+Chickering Hall, by the Composer and Orchestra Conducted by
+Theodore Thomas._
+
+_First Published_, 1890 (Breitkopf & Härtel).
+
+_Dedicated to Teresa Carreño._
+
+  1. _Larghetto calmato_--_Poco piu mosso._
+
+  2. _Presto giocoso._
+
+  3. _Largo_--_molto Allegro, etc._
+
+This is the most frequently played of MacDowell's two concertos
+for pianoforte. It is much the finer of the two, being constructed
+with greater skill and artistic confidence than the _First
+Concerto, Op. 15_, and of all the works of MacDowell's early
+period it is the most enduring. Like its predecessor, it is
+one of the composer's few compositions that have no definitely
+indicated poetic content. As a whole it is a work full of
+feeling, brilliantly cohesive and logical, with good material
+that is handled with confident skill, but it is not to be
+compared with even the small works of the composer's mature
+period, which commences with his _Opus_ 47. Its character,
+however, is altogether strong and virile, containing many
+passages of pure tonal beauty and eloquent expressiveness. The
+orchestra is written for with skill and imagination and is on
+equal terms with the solo instrument. The only fault of the work
+is that its pianoforte part is far too continuously brilliant.
+
+The concerto was enthusiastically received on MacDowell's first
+performances of it in New York in March, 1889, and in Boston a
+month later. On July 12th of the same year he played it in Paris.
+His playing of it at a concert of the New York Philharmonic
+Society on December 14th, 1894, was a memorable one and created a
+furore, and he not only had to bow several times after each
+movement, but at the end was given a storm of cheering and
+recalled again and again to receive the acknowledgments of the
+Philharmonic audience, which could be very critical when occasion
+demanded. On May 14th, 1903, MacDowell visited London and played
+the concerto at a concert given by the venerable Royal Philharmonic
+Society held at Queen's Hall. The work had been first played in
+London (Crystal Palace) three years previously, by Carreño.
+
+
+
+OPUS 24. FOUR PIECES, FOR PIANOFORTE.
+
+_Composed, Wiesbaden, Early Summer_, 1887.
+
+_First Published_, 1887 (J. Hainauer. British Empire--Winthrop
+Rogers, Ltd.).
+
+  1. _Humoresque._
+
+  2. _March._
+
+  3. _Cradle Song._
+
+  4. _Czardas_ (_Friska_).
+
+The interval of time between the preceding work and these pieces
+is explained by the fact that MacDowell and his wife had been
+travelling, and the latter had passed through a dangerous illness
+at Wiesbaden. The _Four Pieces for Pianoforte_ (__ 24) were among
+the first productions of the composer after his return to
+Wiesbaden, and date from that delightful period when he lived
+with his wife in a cottage in the woods, some way from the town.
+The pieces under notice are tuneful and well written, but quite
+devoid of the individuality that distinguishes the composer's
+later works. The brilliant _Czardas_ was revised by MacDowell in
+his later period.
+
+
+
+OPUS 25. SECOND SYMPHONIC POEM, LANCELOT AND ELAINE, FOR FULL
+ORCHESTRA.
+
+_Composed, Wiesbaden_, 1887-8. _First American Performance at
+Boston, Mass., January 10th_, 1890, _at a Symphony Concert
+Conducted by Nikisch. First Published_, 1888 (J. Hainauer).
+
+_Dedicated to Templeton Strong._
+
+MacDowell was not long in returning to the domain of symphonic
+music, the _First Symphonic Poem_, _Hamlet and Ophelia, Op. 22_,
+and the _Second Pianoforte Concerto, Op. 23_, having been
+composed only about two or three years previously and separated
+from it in order of opus number merely by a group of unimportant
+piano pieces comprising _Op. 24_. _Lancelot and Elaine_ has its
+poetical basis in the legends of King Arthur's days, which
+MacDowell loved to read about and idealize. The work as a whole
+follows Tennyson's poem and is essentially programme music. It is
+impressively scored, rich and sonorous in harmonic treatment and
+full of strikingly vivid and expressive poetical feeling. The
+brilliance of the tournament; the loveliness of Elaine; the
+nobleness of Lancelot; the scene of the maiden's funeral barge
+floating down the river, and the knight's ensuing grief--all are
+graphically illustrated in MacDowell's tone poem. The work
+embraces moods and colours from brilliant exhilaration to
+sombreness and poignant emotion. The climaxes are stirring and
+coherent, and in many places the music really attains to a
+considerable amount of dramatic power, contrasted by passages of
+infinitely expressive tenderness. The whole thing was evidently
+composed in a state of fervent inspiration and the feeling of
+Teutonic influence, which was still over MacDowell at that time,
+is forgotten in the power and beauty of his tone poetry, already
+becoming individual and distinct from that of other composers.
+
+
+
+OPUS 26. FROM AN OLD GARDEN, FOR VOICE AND PIANOFORTE.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1887 (G.
+Schirmer).
+
+  1. _The Pansy._
+
+  2. _The Myrtle._
+
+  3. _The Clover._
+
+  4. _The Yellow Daisy._
+
+  5. _The Bluebell._
+
+  6. _The Mignonette._
+
+These songs are purely lyrical and are quite delightful examples
+of MacDowell's work in this form, which he was to afterwards
+uphold as a beautiful medium for song writing. They are not quite
+of his very best output, but make charming solo numbers and are
+free from vocal emotionalism. Many flower songs of other
+composers are harnessed to highly emotional subjects and tend to
+become love-songs, MacDowell's songs are a welcome relief in
+their purely lyrical outlook. It will be noticed that the titles
+of the songs in this group are all of the simple type of flowers
+such as he loved, the gaudy, heavy and carefully cultivated
+blossoms being conspicuous by their absence. It will serve no
+purpose here to suggest which of the songs is the best, for each
+has its own particular charm and it is more a matter of taste and
+fancy than judgment as to which are the favourites.
+
+
+
+OPUS 27. THREE PART-SONGS, FOR MALE CHORUS.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1890 (Arthur P.
+Schmidt).
+
+  1. _In the Starry Sky Above Us._
+
+  2. _Springtime._
+
+  3. _The Fisher-boy._
+
+These are spirited and well written part-songs. They contain
+expressive matter and make good and contrasting numbers for
+male-voice choirs. The fact that they savour of the influence of
+the German romantic school does not detract from their general
+merit, although they are not truly MacDowell-like.
+
+
+
+OPUS 28. SIX LITTLE PIECES, IDYLS (AFTER GOETHE), FOR PIANOFORTE.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1887 (J. Hainauer.
+Revised Edition--Arthur P. Schmidt. British Empire--Winthrop
+Rogers, Ltd.).
+
+  1. _In the Woods_.
+
+  2. _Siesta_.
+
+  3. _To the Moonlight_.
+
+  4. _Silver Clouds_.
+
+  5. _Flute Idyl_.
+
+  6. _The Bluebell_.
+
+These pieces were suggested to the composer by lines by the
+German poet, Goethe. The music attempts to suggest the various
+scenes indicated by the verses quoted at the head of each piece.
+It is an advance on the preceding small pieces for pianoforte,
+and foreshadows the later MacDowell of inimitable poetic
+suggestion in music. The whole set was later revised by the
+composer in his mature period, and in this form they are
+acceptable, but even now not satisfying to those who are
+acquainted with his greater work.
+
+
+
+OPUS 29. THIRD SYMPHONIC POEM, LAMIA (AFTER KEATS), FOR FULL
+ORCHESTRA.
+
+_Commenced, Wiesbaden_, 1888. _Completed, Boston,_ _Winter,_
+1888-9. _First Published_, 1908 (_Posthumously_) (Arthur P.
+Schmidt). _Dedicated to Henry T. Finck_.
+
+MacDowell refrained from publishing this work because he had been
+unable to try it over in America with an orchestra, as he had
+been able to do in Germany with his earlier symphonic works, and
+he was not altogether certain of its effect. He, however,
+published his two later suites for orchestra, Ops. 42 and 48,
+with confidence.
+
+The chief demerit of _Lamia_ is that it is obviously influenced
+by the music of Wagner, and has but little of MacDowell's
+customary individual expression. Apart from this defect, however,
+it is undoubtedly effective, strongly and well written, and
+interestingly scored. MacDowell himself considered it at least
+the equal of his two earlier symphonic poems, _Hamlet and
+Ophelia, Op. 22_, and _Lancelot and Elaine, Op. 25_, and intended
+revising it. The work was published after his death by friends
+who were anxious to provide against any future doubt as to its
+authenticity. The composer dedicated it to Henry T. Finck, the
+distinguished American musical critic, who was one of the first
+to recognise the significance of MacDowell's music.
+
+_Lamia_ has its poetic basis in the romantic, legendary poem by
+John Keats. An introductory note by the composer in the full
+score briefly outlines the meaning of the music:--
+
+_Lamia, an enchantress in the form of a serpent, loves Lycius, a
+young Corinthian. In order to win him she prays to Hermes, who
+answers her appeal by transforming her into a lovely maiden.
+Lycius meets her in the wood, is smitten with love for her and
+goes with her to her enchanted palace, where the wedding is
+celebrated with great splendour. But suddenly Apollonius the
+magician appears; he reveals the magic. Lamia again assumes the
+form of a serpent, the enchanted palace vanishes, and Lycius is
+found lifeless._
+
+The music commences with a sinister theme, _Lento misterioso, con
+tristezza_, given out by bassoon and celli, accompanied by a soft
+drum roll. This motive is the main one of the work, and may be
+regarded as that of Lamia. After some impassioned development,
+the music leads quietly into an _Allegro con fuoco_. This opens
+with a strong tune, having a distinctly Teutonic flavour. It is
+announced by the horns _con sordini_, accompanied very softly by
+held notes in the strings, except viola, _pizzicato_ in the
+celli, and tympani. From now onwards the music is graphic, and
+contains some passages of unmistakable dramatic power. The
+presence of the sinister opening theme is frequently felt. Near
+the end the whole sinks away, a plaintive little clarinet solo,
+_Lento_, indicating the death of Lycius. This is followed by a
+short and vigorous conclusion.
+
+
+
+OPUS 30. TWO FRAGMENTS, THE SARACENS AND THE LOVELY ALDA, FOR
+ORCHESTRA.
+
+_Composed, Wiesbaden, about_ 1887-8. _First Performed, November,_
+1891, _at Boston, U.S.A., by Listemann and the Boston Philharmonic
+Orchestra. First Published_, 1891 (Breitkopf & Härtel).
+
+These two orchestral pieces have their poetic basis in _The Song
+of Roland_, and were at first intended by the composer to form
+movements, or at least important parts, of a symphony on the same
+subject. The description, _Fragments_, under which MacDowell
+published them, after his plan for a symphony had been abandoned,
+is a very modest one for two such fine pieces of orchestral tone
+poetry. _The Saracens_ is a piece of great power, dramatic and
+wild in spirit and vivid in harmonic and instrumental colouring.
+It represents the scene in which the traitor, Ganelon, determines
+on the deed that results in the death of Roland. The whole
+passage is vividly suggested by the music.
+
+_The Lovely Alda_ is a very beautiful and human piece. Aldâ was
+Roland's bethrothed and the music aims at suggesting her
+loveliness and her mourning for her lover. There are passages of
+intensely impressive melancholy in the _Fragment_ and its human
+feeling is typical of MacDowell. Altogether the two pieces are
+music on a high plane and worth attention for their own intrinsic
+value, quite apart from their connection with the symphony that
+never materialised. They bear a stamp of seriousness of effort
+and a conscious responsibility that only the really great
+composer is able to indicate.
+
+
+
+OPUS 31. SIX POEMS AFTER HEINE, FOR PIANOFORTE.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1887 (J. Hainauer.
+Revised Edition--Arthur P. Schmidt. British Empire--Winthrop
+Rogers, Ltd.).
+
+  1. _We Sat by the Fisherman's Cottage._
+
+  2. _Far Away, on the Rock-coast of Scotland._ (Scotch poem.)
+
+  3. _My Child, We Were Once Children._
+
+  4. _We Travelled Alone in the Gloomy Post-chaise._
+
+  5. _Shepherd Boy's a King._
+
+  6. _Death Nothing is but Cooling Night._ (_Poeme érotique_.)
+
+Certain of these pieces, in the edition revised by the composer,
+are rather good, and are full of suggestive effort. They have,
+too, a touch of the composer's individuality about them, although
+not of his greater kind. The pianoforte writing is well done and
+effective, but lacks the sweep of line and power of the later
+works. As a whole, however, the _Six Poems after Heine_ are quite
+creditable and self contained pieces, each number bearing some
+Heine verses indicating its poetic basis.
+
+The first piece is contemplative and contains some distinctly
+MacDowell-like harmonic touches.
+
+The second graphically depicts the raging sea of the rocky coast
+of Scotland, a grey old castle and a beautiful, but ailing, woman
+harpist, whose gloomy song goes out into the storm. The music is
+powerful and picturesque in the storm passages, while the sad
+Scottish song of the woman adds vivid local colour to the whole.
+
+The third number is rather poor and devoid of any real interest.
+
+The journey in the post-chaise is told fairly graphically in the
+fourth piece. The music is not very interesting, although its
+hurried progress suggests the monotony of travel in a rumbling
+vehicle on a night journey.
+
+The fifth piece is lovely and tender, but not particularly
+expressive. The last of the set opens with a noble, half-sad
+melody that is typical of MacDowell. Its agitated middle section
+provides a good contrast.
+
+Two of the poems were played in orchestral garb for the first
+time in England at a London Queen's Hall Promenade Concert on
+October 3rd, 1916. They were No. 6, _Poeme érotique_, and No. 2,
+_Scotch Poem_.
+
+
+
+OPUS 32. FOUR LITTLE POEMS, FOR PIANOFORTE.
+
+_Composed, Wiesbaden, about_ 1888. _Revised by the Composer_,
+1906. _Copyrighted_ 1894 _and_ 1906 (Breitkopf & Härtel).
+
+  1. _The Eagle._
+
+  2. _The Brook._
+
+  3. _Moonshine._
+
+  4. _Winter._
+
+These pieces are, in their revised version, more individual and
+more worth playing than any of the preceding small pianoforte
+works by MacDowell. They have his true ring and stamp, although
+even here not in its most highly-developed form, and they
+exemplify his already unerring power to create atmospheres of
+far-reaching significance, even in tiny spaces, for all four
+poems are but two-page pieces, and the most striking, _The
+Eagle_, is but twenty-six bars in length.
+
+1. _The Eagle_ is a tone picture of Tennyson's lines:--
+
+  _He clasps the crag with crooked hands;
+  Close to the sun in lonely lands,
+  Ring'd with the azure world, he stands.
+
+  The wrinkled sea beneath him crawls;
+  He watches from his mountain walls,
+  And like a thunderbolt he falls._
+
+The opening high, wind-swept chords; the succeeding
+softly-breathed, high chromatics, with the deep-voiced bass,
+creating an atmosphere of the vast loneliness of wild mountain
+heights; the gradual descent to spell-binding silence and then
+the startling shriek and swoop down of the eagle--all these are
+suggested in this tiny piece with unmistakable power. _The Eagle_
+is remarkable for its programme music aspect in the light of
+MacDowell's later works, for in these it is perfected suggestion
+and not realism that we find.
+
+2. _The Brook_ is a clever little piece, delicate and refined. It
+begins with lovable simplicity, which is broken for a time by an
+expressive and characteristic passage marked _sotto voce_. The
+piece as a whole has for its motto Bulwer's lines:--
+
+  _Gay below the cowslip bank, see the billow dances;
+  There I lay, beguiling time--when I liv'd romances;
+  Dropping pebbles in the wave, fancies into fancies._
+
+3. _Moonshine_ opens softly with a broad and dignified melody. The
+expression soon becomes tender, but is interspersed with jocular
+little passages. MacDowell illustrates in his characteristic
+manner a lonely tramp at night, with the grotesque streaks of the
+moonlight breaking quaintly into the pedestrian's contemplative
+mood. The music is curiously lonely and suggestive of a quiet
+moonlight night in the country. Particularly lovable are the soft,
+characteristic chord progressions, followed by lonely silence, on
+the second page, just before the opening melody returns. The
+piece ends with the moon kissing the traveller good-night.
+
+4. _Winter_ is a piece of deep feeling, quite haunting in its
+expression of lonely grief. Its motto is taken from some lines by
+Shelley:--
+
+  _A widow bird sate mourning for her love
+  Upon a wintry bough;
+  The frozen wind crept on above,
+  The freezing stream below.
+
+  There was no leaf upon the forest bare,
+  No flower upon the ground,
+  And little motion in the air
+  Except the mill-wheel's round._
+
+The music is of the kind that remains in the memory for a long
+time and is of a quality as moving in its sadness as anything
+MacDowell ever composed. Its suggested scene seems to be the
+bleak and icy winter of North America.
+
+
+
+OPUS 33. THREE SONGS, FOR TENOR OR SOPRANO AND PIANOFORTE.
+
+_Composed, Wiesbaden_, 1888. _First Published_, 1894 (J.
+Hainauer. Revised Edition of Nos. 2 & 3--Arthur P. Schmidt).
+
+  1. _Prayer._
+
+  2. _Cradle Hymn._
+
+  3. _Idyl._
+
+These songs are rather beautiful, and sincerely, although not
+grandly, inspired. They are probably the least known in America
+and England of MacDowell's songs, but they do not lack a fine,
+spiritual outlook.
+
+
+
+OPUS 34. TWO SONGS, FOR VOICE AND PIANOFORTE.
+
+_Composed_, 1888. _First Published_, 1889 (Arthur P. Schmidt).
+
+  1. _Menie._
+
+  2. _My Jean._
+
+These two songs are full of freshness and charm of expression.
+_Menie_ is a beautiful song; _My Jean_ is, however, the more
+important of the two, it is inspired and characteristically human
+in spirit. Neither of these songs, however, can be compared for
+spontaneous beauty and expression with MacDowell's later groups.
+
+
+
+OPUS 35. ROMANCE, FOR VIOLONCELLO AND ORCHESTRA.
+
+_Composed, Wiesbaden_, 1888. _First Published_, 1888 (J.
+Hainauer).
+
+_Dedicated to David Popper._
+
+This is an outwardly charming and melodious work, but strangely
+alien to MacDowell's general high tone. The usual significant
+poetic matter is absent, but unlike the pianoforte concertos
+(_Ops._ 15 and 23), which are also abstract works, the piece is
+altogether inferior in artistic value, even if we look upon it as
+an early attempt, for preceding pieces are, at least, more
+sincere. The two following numbers, 36 (_Etude de Concert for
+Pianoforte_) and 37 (_Les Orientales for Pianoforte_), and this
+_Romance for Violoncello and Orchestra_ present a sequence of
+creative work unworthy of MacDowell, a falling off common to most
+composers of standing at some time or other. The technical side
+of the work is fair, the tone quality of the violoncello having
+been evidently considered. The piece is dedicated to Popper,
+whose name is familiar to all 'cello players.
+
+
+
+OPUS 36. ETUDE DE CONCERT, IN F SHARP, FOR PIANOFORTE.
+
+_Composed, Boston, U.S.A._, 1889. _First Published_, 1889 (Arthur
+P. Schmidt).
+
+"Don't put that dreadful thing on your programme," was the burden
+of a telegram MacDowell once despatched to Teresa Carreño when he
+heard she was to play the _Etude de Concert in F sharp_, so we
+know that the composer himself came, later on, to recognise the
+inferior quality of this work. It is good enough for the salon
+composer and the show pianist, but as coming from MacDowell's pen
+it made a poor start as practically the first thing he composed
+on his return to his native country in 1888, especially as he had
+been preceded there by his good European reputation. The
+brilliant pianistic effect of the piece, however, is undeniable.
+
+
+
+OPUS 37. LES ORIENTALES, FOR PIANOFORTE.
+
+_Composed, Boston_, 1889. _First Published_, 1889 (Arthur P.
+Schmidt).
+
+  1. _Clair de Lune._
+
+  2. _Dans le Hamac._
+
+  3. _Danse Andalouse._
+
+The first work produced by MacDowell in Boston, _Etude de
+Concert, Op. 36_, was followed by music of equally poor quality,
+in the composer's opinion. The pieces under notice are after
+Hugo's _Les Orientales_, and although tolerably suggestive of
+their titles, are of such poor inspiration that they have little
+or no musical value outside the salon type of compositions that
+the composer himself abhorred. Even the pretty _Clair de Lune_ is
+shallow stuff, although it has attained some popularity as a
+melodious solo, both in its original version and in its
+arrangement for violin and pianoforte.
+
+
+
+OPUS 38. EIGHT (formerly Six) LITTLE PIECES, MARIONETTES, FOR
+PIANOFORTE.
+
+_Composed about_ 1888. _Revised and rearranged by the Composer_,
+1901. _First Published_, 1888 (J. Hainauer. Revised Version,
+1901--Arthur P. Schmidt).
+
+_Dedicated to Miss Nina Nevins._
+
+ORIGINAL VERSION:        REVISED VERSION:
+
+  1. _Soubrette._          1. _Prologue._
+
+  2. _Lover._              2. _Soubrette._
+
+  3. _Villain._            3. _Lover._
+
+  4. _Lady-Love._          4. _Witch._
+
+  5. _Clown._              5. _Clown._
+
+  6. _Witch._              6. _Villain._
+
+                           7. _Sweetheart._
+
+                           8. _Epilogue._
+
+These little pieces are quite notable and extremely interesting
+both in their original and revised versions. Although the
+subjects they portray are the stiff-moving and grotesque figures
+of Marionettes, their general effect is often intensely human.
+The set as a whole may be viewed as a half serious, half
+whimsical study of characters in human life, issued under the
+disguise of jointed and painted dummies. Beneath the quaint,
+stiff movement of the music there is just that touch of
+seriousness, a sort of droll sadness, that makes of it something
+more than a doll's play. The revised edition of _Marionettes_ is
+the best and most characteristic, and in the United States is the
+accepted one. In England, however, the original edition,
+published at Breslau in 1888 by Julius Hainauer, is still being
+sold.
+
+_Soubrette_ is a stiff, but bright little piece. In places it has
+a wistfulness that seems to suggest that the human counterpart of
+the character has feelings, not being merely an emotionless
+puppet for public amusement.
+
+_Lover_ has much the same stiff movement as the preceding piece,
+but is more tender and subdued, dying softly away in the final
+bars. There is much human feeling in this number.
+
+_Villain_ is a realistic Marionette piece, with a quaint,
+foreboding and sardonic spirit, the little climax being quite
+villainous.
+
+_Lady-love_ brings a gentle and charming study to view, the
+typical quaint movement of the pieces as a whole being here
+considerably softened and made more flowing and graceful.
+
+_Clown_ makes a jolly number, but beneath its outward dummy-like
+comicalness there runs a strain of human feeling that towards the
+end comes uppermost, the music becoming quite subdued, growing
+fainter and fainter until nothing is left but a few little final
+jerks.
+
+_Witch_ has a grotesque and mechanical jauntiness. There are some
+powerful and sinister passages in it, the final gesture, with its
+sudden tonic minor chord, capping the realism of the piece.
+
+In the revised version of _Marionettes_ the character drawing is
+more skilful, and we incidentally notice the illuminating and
+characteristic English used in the works of MacDowell's mature
+period instead of the conventional Italian musical terms. The
+little comedy-drama is opened by a _Prologue_, in which jovial,
+wistful and sardonic motives variously indicate the types of
+characters in the play, and is rounded off by an _Epilogue_,
+which is one of the most beautiful of MacDowell's smaller pieces,
+being full of tender feeling, and indicating unmistakably the
+deeper and human significance of the composer's Marionette
+studies. The whole album comprises one of MacDowell's most
+interesting portrayals of everyday human nature, standing quite
+alone in its droll half-amusing, half-pathetic mode of expression.
+It is something quite apart from the more specialised romantic
+and heroic figures of the three symphonic poems, _Hamlet and
+Ophelia, Op. 22_, _Lancelot and Elaine, Op. 25_, and _Lamia,
+Op. 29_; the three last pianoforte sonatas, _Eroica, Op. 50_,
+_Norse, Op. 57_, and _Keltic, Op. 59_; or of the noble _"Indian"
+Suite, Op. 48_.
+
+
+
+OPUS 39. TWELVE ETUDES FOR THE DEVELOPMENT OF TECHNIQUE AND
+STYLE, FOR PIANOFORTE.
+
+_Composed, about_ 1889-90. _First Published_, 1890 (Arthur P.
+Schmidt).
+
+BOOK I:
+
+  1. _Hunting Song_.
+
+  2. _Alla Tarantella_.
+
+  3. _Romance_.
+
+  4. _Arabeske_.
+
+  5. _In the Forest_.
+
+  6. _Dance of the Gnomes_.
+
+
+BOOK II:
+
+  1. _Idyl_.
+
+  2. _Shadow Dance_.
+
+  3. _Intermezzo_.
+
+  4. _Melody_.
+
+  5. _Scherzino_.
+
+  6. _Hungarian_.
+
+
+These pieces have as their chief object the development of
+pianoforte technique, but are quite interesting as poetical
+music. In his technical instruction, whether through musical
+examples or verbally, MacDowell inspired his subject with the
+idealism and vivid thought of the true poet. The poetry of these
+studies is not of the composer's finest inspiration, but it is of
+a quality sufficient to prevent their being viewed solely as
+technical exercises. Generally, they do not require advanced
+executive ability to play.
+
+_Hunting Song _(_Allegretto_) is a study for accent and grace,
+but not particularly interesting as music.
+
+_Alla Tarantella _(_Prestissimo_) is a fairly effective study for
+speed and lightness of touch. It is not very difficult to play,
+having convenient three-note phrases.
+
+_Romance_ (_Andantino_) is fairly tuneful, but not particularly
+interesting. It is a study for the development of the singing
+touch.
+
+_Arabeske_ (_Allegro scherzando_) is a sparkling wrist study.
+
+_In the Forest_ (_Allegretto con moto_) is suggestive enough, but
+not in MacDowell's finest style. It does not compare favourably
+with the forest pieces in his delightful _Woodland Sketches, Op.
+51, or with the deeply inspired and mature _New England Idyls,
+Op. 62_. Its technical object is the development of delicate
+rhythmical playing.
+
+_Dance of the Gnomes_ (_Prestissimo confuoco_), the last study of
+Book I, is another piece of imperfectly realised suggestive tone
+poetry. It is difficult to play, requiring great crispness of
+finger action combined with perfect control of tone volume.
+
+_Idyl_ (_Allegretto_) is No. I of Book II, and has a certain
+charm and lyrical beauty, although not one of the composer's best
+efforts. It is a study for the cultivation of delicacy, singing
+tone and grace.
+
+_Shadow Dance_ (_Allegrissimo_) has just that touch of fanciful
+romanticism that MacDowell knew how to infuse into a piece, thus
+heightening its interest. The piece is one of the most popular of
+MacDowell's shorter pieces and makes a fine solo. From a
+technical point of view, it is a valuable study for development
+of finger agility combined with lightness of touch.
+
+_Intermezzo_ (_Allegretto_) is tuneful and pleasing, but does not
+reach a very high level of poetic writing. It is, however, a
+useful exercise for development of independent action of the two
+middle fingers of the hand.
+
+_Melodie_ (_Andantino_) is a melodious exercise for cultivating
+independence of fingers.
+
+_Scherzino_ (_Allegro_) is a tuneful study for double note
+playing with the right hand.
+
+_Hungarian_ (_Presto con fuoco_) has the characteristic fire and
+syncopated rhythm of a Brahms' Hungarian Dance, and is a study
+for the development of dash, speed and virtuoso playing.
+
+
+
+OPUS 40. SIX LOVE SONGS, FOR VOICE AND PIANOFORTE.
+
+_Composed_, 1890. _First Published_, 1890 (Arthur P. Schmidt).
+
+  1. _Sweet Blue-Eyed Maid_.
+
+  2. _Sweetheart, Tell Me_.
+
+  3. _Thy Beaming Eyes_.
+
+  4. _For Sweet Love's Sake_.
+
+  5. _O Lovely Rose_.
+
+  6. _I Ask But This_.
+
+These songs, although not absolutely of the composer's best, have
+a charm, tenderness of feeling and beauty of expression that is
+often irresistible. They are essentially the love songs of a
+romantic, but refined and gifted poet. As a whole they are
+singularly free from sexual sensuousness, which is so often a
+trait in songs of their type. There is an idealism, wonderfully
+fresh and pure, about them, that is antagonistic to the
+composer's own assertion that verse often becomes doggerel when
+harnessed to music in song form.
+
+_Sweet Blue-Eyed Maid._ (_Daintily, not too sentimentally._) The
+spirit of this song is happy and it is beautifully, although
+simply, expressed.
+
+_Sweetheart, Tell Me._ (_Softly, tenderly_.) The ability of
+MacDowell to suggest a definite mood in music is clearly
+demonstrated in this song, which has a simple melody of wonderful
+appeal and tenderness.
+
+_Thy Beaming Eyes._ (_With sentiment, passionately._) This is the
+most widely known of all MacDowell's songs. The composer himself
+thought it too sentimental and was not pleased with the
+popularity it gained. There is no mistaking its passionate
+feeling, however, and it strikes the human note frankly and
+spontaneously, without becoming commonplace. The song is at least
+sincere, and its popularity can do no harm to its composer's
+deeper music, which is less easily understood.
+
+Gramophone records of _Thy Beaming Eyes_ have been made for
+"Columbia" by Charles W. Clarke, baritone, and for "His Master's
+Voice" by Sophie Breslau, contralto.
+
+_For Sweet Love's Sake_. (_Simply, with feeling_.) This song is
+not a very successful alliance of words and music. The former are
+of tender content, while the latter is after the style of a
+pleasant lullaby. The music does not in the least reflect the
+spirit of the words.
+
+_O Lovely Rose_. (_Slowly, with great simplicity_.) This is the
+pure lyric gem of the _Six Love Songs_ by MacDowell. It is very
+short, but has a rare charm and fragrance.
+
+_I Ask But This_. (_Moderately fast, almost banteringly_.) There
+is an attractive piquancy and lightness about this song that
+makes it distinct from its companions. It suggests light-hearted
+love, and its demure ending, as the lovers part, was a happy
+thought on the part of the composer.
+
+
+
+OPUS 41. TWO PART-SONGS, FOR MALE CHORUS.
+
+_Composed_, 1890. _First Published_, 1890 (Arthur P. Schmidt).
+
+  1. _Cradle Song_.
+
+  2. _Dance of the Gnomes_.
+
+These two part-songs are effectively written and sharply
+contrasted. Their contrast furnishes good reason why both should
+be sung in the order given, and not robbed of their natural
+companionship.
+
+
+
+OPUS 42. FIRST SUITE, IN A MINOR, FOR FULL ORCHESTRA.
+
+_Composed, about_ 1890-91. _First Performed, September,_ 1891,
+_at the Worcester, U.S.A., Musical Festival. First, Second,
+Fourth and Fifth Movements First Published_, 1891. _Third
+Movement First Published_, 1893 (Complete--Arthur P. Schmidt).
+
+  1. _In a Haunted Forest_.
+
+  2. _Summer Idyl_.
+
+  3. _In October_.
+
+  4. _The Song of the Shepherdess_.
+
+  5. _Forest Spirits_.
+
+This suite, although reminiscent of the nineteenth century German
+romanticism amongst which MacDowell was educated, has an
+atmosphere of its own that at once distinguishes it as an example
+of the highly sensitive and suggestive tone poetry peculiar to
+its composer. The work is very skilfully written and is
+remarkable for its freshness and buoyancy of spirit. The scoring
+is exquisite and always illustrative of the poetical subjects of
+the suite. Each of the pieces has in its title a suggestion of a
+scene of Nature, the first and last having also the fanciful and
+imaginative atmosphere of folk-lore; this provided MacDowell with
+a task in tone painting such as he loved. In _In a Haunted
+Forest_ and _Forest Spirits_ we have examples of the romantic and
+fanciful sort of tone poetry characteristic of the composer. In
+the _Summer Idyl_, in the fine, mellow beauty of _In October_ and
+in the lovely _Song of the Shepherdess_ we have MacDowell
+composing in his beloved Nature style, although not in a manner
+quite comparable with the pianoforte pieces, _Woodland Sketches,
+Op. 51_, and _New England Idyls, Op. 62_. As a whole, the _First
+Suite for Orchestra_ is not the finest of MacDowell's orchestral
+works up to this stage, but it stands alone in the style of its
+poetic subject matter. It has not the same bearing as _Hamlet and
+Ophelia, Op. 22_, Lancelot and Elaine, Op. 25_, _Lamia, Op. 29_,
+or _The Saracens and the Lovely Alda, Op. 30_, which all have an
+historical or romantic outlook, but it possesses instead the
+wonderful spirit of mysterious Nature. Even the noble _Second
+(Indian) Suite for Orchestra_, the grandest of MacDowell's
+orchestral works, cannot alter the position of this first suite,
+which has an interest entirely its own. In performance the work
+is notable for its fresh and finely-coloured material, and makes
+a fine item in a concert because of its brilliancy and the
+charmingly interesting suggestions of its poetic sub-titles.
+
+
+
+OPUS 43. TWO NORTHERN PART-SONGS, FOR MIXED CHORUS.
+
+_Composed_, 1891. _First Published_, 1891 (Arthur P. Schmidt).
+
+  1. _The Brook_.
+
+  2. _Slumber Song_.
+
+These are well written and effective part-songs, making lovely
+unaccompanied choral numbers. They have been undeservedly
+overshadowed by the composer's instrumental and solo songs. Both
+should be sung together for the sake of the intentional contrast.
+
+
+
+OPUS 44. BARCAROLLE, FOR MIXED CHORUS AND ACCOMPANIMENT FOR
+PIANOFORTE DUET.
+
+_First Appeared_, 1892 (Arthur P. Schmidt).
+
+This is a meritorious choral piece, skilfully written. The
+somewhat elaborate accompaniment for pianoforte requires two
+players.
+
+
+
+OPUS 45. FIRST SONATA, TRAGICA, IN G MINOR, FOR PIANOFORTE.
+
+_Composed_, 1892-3. _Third Movement First Publicly Played, March
+18th_, 1892, _at Checkering Hall, Boston, U.S.A., by the
+Composer. First Public Complete Performance, March_, 1893, _at a
+Kneisal Quartet Concert at Chickering Hall, Boston. Played by the
+Composer. First Published_, 1893 (Breitkopf & Härtel).
+
+  1. _Largo maestoso--Allegro risoluto_.
+
+  2. _Molto allegro, vivace_.
+
+  3. _Largo con maesta_.
+
+  4. _Allegro eroico_.
+
+Huneker, the celebrated American writer on music, described this
+sonata, soon after its appearance, as "the most marked contribution
+to solo sonata literature since Brahms' F minor piano sonata." The
+work is chiefly notable for its general boldness and strength,
+punctuated by passages of intimate tenderness and deepness of
+expression, and its slow movement is one of MacDowell's most
+inspired efforts. The great demerit of the sonata, however, is its
+lack of cohesive thought. As a whole it suggests the spectacle of
+a highly gifted poet, full of emotional ardour and desire for self
+expression, but lacking the requisite skill to bind long continued
+effort into a cohesive whole; and who makes the mistake of trying
+to cramp his undoubtedly beautiful ideas by compressing them into
+a set form. The _Sonata Tragica_ is more of a traditional sonata
+than its successors, the _Eroica, Op. 50_, the _Norse, Op. 57_, and
+the _Keltic, Op. 59_, but as a work of art is less successful. Its
+subjects are quite fine, showing, individually, great strength of
+character and tender feeling, but they often appear to have no
+definite connection with each other. In the first movement
+especially we find this defect, for the second subject, with its
+lovely tenderness, contrasts awkwardly with the boldness and
+strength of the first. The cause of this would seem to be that a
+quieter second subject is demanded by the form of the sonata, but
+its effect on the movement as a whole is patchy and illogical.
+MacDowell evidently made some efforts to effect cohesion,
+transferring ideas from one movement to another in the process,
+but the attempts generally are not successful. He tries to write
+in the traditional form, and only succeeds in drawing the
+student's attention to the futility of it. Later, in the _Norse_
+and the _Keltic_ sonatas, he threw form overboard when it suited
+him; and wrote far greater works in doing so. There is no
+doubting the quality of the music in the _Sonata Tragica_,
+however, for it contains passages of dramatic fire, breadth and
+sweep of line, beauty of expression and a strength of character
+that can only be the work of a great tone poet. The work was
+undoubtedly written at a white heat of inspiration, for at the
+time MacDowell was not only grieved over the death of his old
+master and friend, Joachim Raff, but was also harrassed by the
+drudgery and struggle of his own existence. He poured out his
+passionate feelings into the sonata, which is largely a
+reflection of the hopeless outlook of his own care-laden life.
+
+1. The introductory _Largo maestoso_ opens with a figure of
+striking aspect, like a clenched, upraised fist. Immediately
+following this comes a quieter, more serious strain, but only to
+be succeeded by loud chords again, now punctuated by rushing
+ascents in scale and arpeggio figures, the whole culminating in a
+tremendous descent of double octaves bringing almost the whole
+range of the pianoforte keyboard into action. After a pause, the
+_Allegro risoluto_ enters _ppp_. Its bearing is strong and proud
+and has much that is akin to the nervous, resolute martial energy
+of Elgar. The second subject, _Dolce con tenerezza_, is
+exquisitely tender and contemplative, but it follows the first
+awkwardly, and the two as MacDowell left them are like detached
+scraps having no relation to one another. As we proceed the music
+becomes mysterious and restless until a more solid chord passage
+appears. The whole is soon interrupted by the arresting figure of
+the introduction, now appearing softly, with foreboding
+seriousness. With the resumption of the _Allegro risoluto_ the
+striving commences again and is even more restless than before.
+From now onwards the music becomes increasingly significant,
+graduating in tone power from a shadowy _ppp_ to solid and virile
+loud chords. The first and second subjects formally reappear and
+the end comes with a short coda, the feature of which is its
+powerful upward expansion, culminating in chords of great
+strength, the striking opening figure being again heard.
+
+2. The scherzo-like second movement is inferior in quality to the
+rest of the sonata, and apart from some ejaculations suggesting
+the dramatic opening of the first movement, does not appear to
+have any connection with the work as a whole. Its themes are not
+distinguished, although there are touches of strength in many
+places, and the movement savours generally of Teutonic romantic
+influence and probably only exists at all as a concession to
+form.
+
+3. The _Largo con maesta_ is the outstanding movement of the
+sonata, remaining to this day one of MacDowell's most impressive
+creations. It is full of deep feeling and gravity, contrasted
+with passages of tender contemplation and the impassioned poetry
+of despair. The whole aspect of the movement is lofty in thought,
+vast in tonality and altogether indicative of power and of
+genius. MacDowell was harassed by drudgery and care when he wrote
+it and the tragic note is sounded from its first bars. After
+exhausting itself in intense expression, the opening theme makes
+way for a mood of quiet, although still despairing, contemplation.
+This wanders on, until the music becomes impassioned and more
+intricate. Rushing ascending scale passages add to the restless
+movement of the whole, culminating in a tumultuous and despairing
+utterance of the contemplative theme. This gradually dies down
+and soon the impressive strains of the first theme are heard, now
+softly breathed and portraying a deep and broken sadness in place
+of the clenched fist attitude of their first appearance. The
+music becomes more and more subdued, finally becoming extinct in
+_pppp_ chords. The whole of this last page is one of the most
+impressive and soul-stirring things in contemporary pianoforte
+music.
+
+4. The final movement, _Allegro eroico_, opens with a bold,
+heroic theme in spread chords, followed by a quieter subject. The
+music goes triumphantly on with increasing brilliance, complexity
+and heroic ardour. At length a great final version of the heroic
+theme is heard, _Maestoso_, and soon we come to the dramatic
+moment of the whole sonata. At the very height of exaltation we
+are overwhelmed by a shattering descent of double octaves,
+_precipitate_. The heroism and self-confident ardour so carefully
+built up are swept away and the significant strains of the
+introduction to the work are heard, now augmented in time value.
+The music bursts into fury and the sonata ends with immensely
+powerful and ringing chords, but it is the shout of tragedy and
+not of victory. Thus closes a work that may well stand to-day as
+a musical representation of the composer's own life story. The
+sonata was first played in London on February 25th, 1902, by
+Lucie Mawson.
+
+
+
+OPUS 46. TWELVE VIRTUOSO STUDIES, FOR PIANOFORTE.
+
+_Composed_, 1893-94. _First Published_, 1894 (Breitkopf &
+Härtel).
+
+  1. _Novelette_.
+
+  2. _Moto Perpetuo_.
+
+  3. _Wild Chase_.
+
+  4. _Improvisation_.
+
+  5. _Elfin Dance_.
+
+  6. _Valse Triste_.
+
+  7. _Burlesque_.
+
+  8. _Bluette_.
+
+  9. _Traumerei_.
+
+ 10. _March Wind_.
+
+ 11. _Impromptu_.
+
+ 12. _Polonaise_.
+
+These studies, while indicated by the composer as requiring
+advanced technique for performance, are full of poetical thought
+and tonal beauty that make them worthy of study. Many of them
+possess that Nature tone painting, that mystic, subtle romanticism
+of whispering tree-tops and elfin glades, that freshness and open
+air spirit which distinguish MacDowell's later short pieces.
+
+_Novelette_ is an attractive study and full of the composer's own
+individual spirit. It is considered to be one of the best of the
+set.
+
+_Moto Perpetuo_ is cleverly written and musical.
+
+_Wild Chase_ is one of those exhilarating, imaginative pieces so
+characteristic of MacDowell. It is full of outdoor poetry and
+suggestive of a wild and glorious ride over the great American
+prairies, or of a dream gallop full of breathless fancy.
+
+_Improvisation_ exhibits the composer's finer poetry and mastery
+of his art.
+
+_Elfin Dance_ is suggestive and imaginative.
+
+_Valse Triste_ is expressive and interesting, although not one of
+the most distinguished of the set.
+
+_Burlesque_ is a musical number, bright in spirit and free from
+commonplace.
+
+_Bluette_ is a beautiful piece of tone painting.
+
+_Traumerei_ has a certain beauty of its own, indicating the
+composer's capacity for deep expression.
+
+_March Wind_ is full of the wild open-air breeziness associated
+in our thoughts with the subject of its inspiration, and captures
+the imagination. For a minute or so we can escape the heavy
+atmosphere confined within four walls and rush with the sweeping
+wind, high above cities and out over the broad, rolling country
+beyond. The study has a background of spaciousness that suggests
+American scenery.
+
+_Impromptu_ is interesting and musical.
+
+_Polonaise_ has brilliance and is well and effectively conceived
+for big pianoforte tone production.
+
+
+
+OPUS 47. EIGHT SONGS, FOR VOICE AND PIANOFORTE.
+
+_Composed_, 1893. _First Published_, 1893 (Breitkopf & Härtel).
+
+  1. _The Robin Sings in the Apple Tree._
+
+  2. _Midsummer Lullaby._
+
+  3. _Folk Song._
+
+  4. _Confidence._
+
+  5. _The West Wind Croons in the Cedar Trees._
+
+  6. _In the Woods._
+
+  7. _The Sea._
+
+  8. _Through the Meadow._
+
+With the composition of these songs, MacDowell fairly entered
+into his finest and most mature period. They are beautiful,
+characteristic, and full of that engaging romance, piquancy and
+poetic charm that distinguishes his best lyrical work.
+
+_The Robin Sings in the Apple Tree_ is written to the composer's
+own words, which may be found in the published book of his
+verses. The song is infinitely tender and tinged with that
+wistfulness that he so often infused into his music. Particularly
+beautiful is the spirit of the last verse:--
+
+  _O robin, and thou blackbird brave,
+  My songs of love have died;
+  How can you sing as in byegone days,
+  When she was at my side._
+
+_Midsummer Lullaby_ has much charm and grace in its refined and
+sensitive verse inspiration.
+
+_Folk Song_ is characteristic and melodious.
+
+_Confidence_ shows a lyric power of unusual quality and although
+the music is not always in sympathy with the verse, the true
+spirit of poetry is there.
+
+_The West Wind Croons in the Cedar Trees_ is written to the lines
+of MacDowell's little poem entitled, _To Maud_. This song is
+beautiful and full of feeling, and tells in its three verses of
+Love's expectation, doubt and disappointment. The music is allied
+with perfect sympathy to the words.
+
+_In the Woods_ was written to the composer's lines after Goethe.
+This song is a pure lyric, touched with just enough romance to
+deepen its significance.
+
+_The Sea_ is well written, showing some of the power and
+healthiness of the true MacDowell open-air spirit.
+
+_Through the Meadow_ makes an exquisite vocal piece, thoroughly
+attractive in its freshness. It is a song of the true nature-poet,
+breathing the atmosphere of its title in the most delightful and
+sensitive manner.
+
+
+
+OPUS 48. SECOND SUITE (INDIAN), FOR FULL ORCHESTRA.
+
+_First Performed, January_, 1896, _by the Boston Symphony
+Orchestra, in New York. First Performance in England, October
+23rd,_ 1901, _at a London Queen's Hall Promenade Concert.
+Conductor, Sir (then Mr.) Henry J. Wood. First Published,_ 1897
+(Breitkopf and Härtel).
+
+_Dedicated to Emil Paur and the Boston Symphony Orchestra._
+
+_Optional Titles to Movements, Furnished by the Composer._
+
+  1. _Legend._
+
+  2. _Love-Song._
+
+  3. _In War Time._
+
+  4. _Dirge._
+
+  5. _Village Festival._
+
+In the _Indian Suite_ we have one of the most graphic examples of
+MacDowell's power of creating atmospheres and impressions of big
+subjects. It is the finest and most mature of his orchestral
+works, thoroughly individual and without a trace of the
+nineteenth century German romanticism that is found in his
+earlier productions. Its musical declamation is commanding and
+infinitely noble. The atmosphere of the great rolling plains,
+mighty forests, and vast and lonely retreats is unerringly
+created. The notes of wildness and an indescribably touching
+spirit of far away romance are sounded, telling of a forgotten
+and dying elemental race. In the _Suite_ the lodges of the Red
+men rise again before our eyes; their old legends, savage war
+dances, love romances, their sorrows, joys and festivities live
+once more. MacDowell has caught the spirit of the days when the
+rude, but curiously interesting aborigines of America lived; of
+days that are now but treasured legends that still stir the
+hearts of the young in many lands. He conveyed a feeling of this
+atmosphere in his music with an unerring touch, the effect of
+which is heightened by the use of material derived from the
+native tunes of the North American Indians. The _Indian Suite_ is
+undoubtedly one of the most noble and impressive works that
+MacDowell ever composed, containing in the _Dirge_ movement one
+of his most striking utterances. In his last days he expressed a
+preference for this above anything else he had composed. The
+_Suite_ is full of stirring strength, vast tonalities, depth of
+feeling and elemental greatness, and is scored with a mastery of
+orchestral tone colour used solely and unerringly to enhance the
+poetic suggestiveness of the whole. It was fully sketched between
+three and four years before its first appearance, as the composer
+spent much time in becoming more closely acquainted with Red
+Indian tunes.
+
+1. _Legend_ (_Not fast. With much dignity and character_). This
+opens with a romantic horn-call of the plains that is significant
+of the whole _Suite_:--
+
+[Music.]
+
+It is heard again at the end of the last movement. Indescribable
+is the effect of the paused note, the silence, and then the far
+away answer. The call is elaborated with rich effect, but the
+atmosphere of vastness and loneliness is preserved. The
+suggestiveness of this introduction is wonderfully vivid, for in
+a moment we are transported from the civilisation of to-day to
+the wildness and romance of the old days on the plains of the
+great West. The introduction finished, the movement proper begins
+(_Twice as fast. With decision._) with a long tremolo on the note
+B. At the fifth bar a harvest song of the Iroquois Indians
+appears:--
+
+[Music.]
+
+Vivid in effect is the following striving figure:--
+
+[Music.]
+
+The Indian theme is now elaborated at some length with much richness,
+and is wild in effect. After this a tender MacDowell-like second
+subject appears:--
+
+[Music.]
+
+This contemplative atmosphere is soon broken as the influence of
+the native theme is felt, and the striving figure is also heard.
+The music grows more and more wild and intricate, working up to a
+tearing intensity and then dying away until only a few deep
+murmurs remain. The striving figure is heard twice, and then
+follows a small bridge to a repetition of the tender second
+subject, now heard pianissimo under a swaying, chord accompaniment.
+After a time it grows in intensity and imperceptibly merges into
+the romantic call of the introduction, the influence of which,
+however, is at once felt. The music now mounts to a tremendous
+pose of strength, double _fortissimo_, the final bars striking the
+same attitude in a deeper and more stolid form. There is little in
+music of such iron-like force as the conclusion of this _Legend_.
+The thundering tremolos and chords are not intricate or beautiful,
+their very splendour lying in their stark, magnificent elemental
+power.
+
+2. _Love-Song_ (_Not fast. Tenderly_). This opens with the tune
+of a love song of the Iowa Indians:--
+
+[Music.]
+
+This little after thought brings a touch of romance:--
+
+[Music.]
+
+A new and equally tender theme follows:--
+
+[Music.]
+
+Although not of great importance, this little episode is notable
+for its poetic suggestion of the Red Indian atmosphere:--
+
+[Music.]
+
+The music now goes on its way, rich in harmonic and instrumental
+colour, but always clear, now soft and lulling, now approaching
+the passionate. The first theme is heard again, and the
+_Love-Song_ is then concluded by the little after thought.
+
+3. _In War Time_ (_With rough vigour, almost savagely_). A rude
+war song of the Iroquois Indians opens this movement:--
+
+[Music.]
+
+The rhythm of its continuation is afterwards made much of,
+particularly the active semiquaver figure:--
+
+[Music.]
+
+The opening theme is now repeated with the implied harmonies, the
+whole progressing with increasing intensity, the figure of the
+second illustration being prominent. The music surges wildly,
+undulating in a manner that suggests a Redskin scalp dance, the
+hideous, painted figures now bending low, now holding their
+weapons high above their heads. At length the fury of the war
+dance reaches an elan that exhausts it, the barbaric figure
+referred to in our second illustration becoming more and more
+prominent, then sinking lower and lower until it is nothing more
+than a series of thudding accents, broken by periods of silence
+of increasing length. The effect is one of horses galloping
+further and further away into the distance. After this the whole
+atmosphere changes, and a mournful, lonely cry is heard:--
+
+[Music.]
+
+We may find the significance of this in the fact that it is a
+prominent figure of the _Dirge_, No. 4 of the suite. The active
+figure is now heard again, deep and almost inaudible, softly
+ushering in the barbaric opening theme, now heard in the bass.
+The warriors appear to be returning as the music once more grows
+in volume. Wilder and wilder it grows--a moment's silence--only
+to begin again faster and faster. Still faster does it become
+until it is almost a scream, the conclusion coming in a
+magnificent series of reiterated chords thundered out with the
+full strength of the orchestra employed. There is no doubt that
+this piece is one of the most vividly imaginative and brilliant
+in the whole range of orchestral music, although it is rarely
+performed with the skill and insight it requires.
+
+4. _Dirge_ (_Dirge-like, mournfully_). "Of all my music," said
+MacDowell after his last music had been published, "the _Dirge_
+in the _Indian Suite_ pleases me most. It affects me deeply and
+did when I was writing it. In it an Indian woman laments the
+death of her son; but to me, as I wrote it, it seemed to express
+a world-sorrow rather than a particularised grief." The piece is
+undoubtedly one of its composer's most melancholy utterances.
+Under a long series of reiterated key notes of the tonic minor,
+the wailing phrase heard in _In War Time_ (No. 3 of the suite)
+appears:--
+
+[Music.]
+
+It goes on at some length with increasing sadness and richer
+harmonic and instrumental colouring (indescribable is the effect
+of a muted horn heard off the platform). Soon comes a deep and
+solemn bass uttering, heart-shaking in its grief. We give it with
+the passage leading up to it:--
+
+
+[Music.]
+
+After a while the music rises with the same lonely mournfulness
+to an outburst of despair:--
+
+[Music.]
+
+The sad opening phase follows and after this the solemn bass
+figure. The close is mysterious but piercing in its sobbing,
+inconsolable grief.
+
+[Music.]
+
+This _Dirge_ is indisputably the cry of a great soul, and there
+is little in music which expresses grief so effectively. The
+sense it gives of loneliness and sombreness has never been quite
+equalled by any other composer. The piece is not a funeral
+oration weighed down with pomp, but the spontaneous grief of
+elemental humanity. The scene is of a mother mourning for her
+son; its significance is of a world sorrow. The music would
+honour any composer, living or dead.
+
+5. _Village Festival_ (_Swift and light_). This number is the
+longest of the Suite. It opens with the tune of a squaws' dance
+of the Iroquois Indians:--
+
+[Music.]
+
+This is soon followed by another of festivity:--
+
+[Music.]
+
+The music proceeds, rich in harmonic and instrumental colouring,
+and vividly suggesting the wild orgies of the village festivities
+of the Red Indians. The whole works up to frenzied power until
+exhaustion comes and it dies down again. Indicated as _slightly
+broader_, the opening tune is now heard softly over mysterious
+tremolos. Particularly subdued is the wild and sombre after
+thought:--
+
+[Music.]
+
+After a time, the striving figure first heard early in the first
+number of this suite, _Legend_, appears. The thumping accents of
+the festal dance are now heard again, softly, and soon we hear
+the opening tune. The wild excitement begins to return, growing
+to a frenzy in which a reminiscence of the first theme of the
+_Legend_ may be noticed. Soon the music sinks down again, but
+never losing its strongly-marked accents, and now hastening its
+course. The second festive theme is heard softly, high in the
+scale. Faster and faster, but still subdued, grows the music, the
+striving figure of the _Legend_ being prominent. A broadening out
+then comes and with it a magnificent, raw strength, in which is
+heard the romantic call that opens the whole work in the
+introduction to the first movement. The bare tonic is now struck
+with a gesture of great force. A roll of sound follows. Again the
+bare note is sounded, and again the roll of sound succeeds. The
+last dozen bars thunder solely on the tonic note, with a rude,
+but stern and manly elemental absence of harmonic colouring,
+typifying with undeniable dignity the savage, but often
+impressive and noble figure of the Red Man, forgotten now that
+his great race has been succeeded by the greatest and most
+striking nation of the white races--the Republic of the West.
+
+The _Indian Suite_ is obtainable in pianoforte score.
+
+
+
+OPUS 49. AIR AND RIGAUDON, FOR PIANOFORTE.
+
+_First Published_, 1894 (Breitkopf & Härtel).
+
+This work has been curiously neglected. It comes just at the
+beginning of MacDowell's more mature period, but nobody seems to
+know much about it. It is true that it lacks the definitely
+indicated poetic basis that is a feature of the composer's finest
+work, but it is a well written and melodious composition. It is
+at least more deserving of attention than the popular _Hexentanz,
+Op. 17_, and the _Etude de Concert in F sharp, Op. 36_, but these
+two owe their popularity to the virtuoso pianist. Grove's
+_Dictionary of Music and Musicians_ refers to _Op. 49_ as "some
+dances published in a Boston collection."
+
+
+
+OPUS 50. SECOND SONATA, EROICA, IN G MINOR, FOR PIANOFORTE.
+
+_First Published_, 1895 (Breitkopf & Härtel).
+
+_Dedicated to William Mason._
+
+"_Flos regum Arthurus._"
+
+  1. _Slow, with nobility_--_Fast, passionately, etc._
+
+  2. _Elf-like, as light and swift as possible._
+
+  3. _Tenderly, longingly, yet with passion._
+
+  4. _Fiercely, very fast._
+
+The _Sonata Eroica_ is perhaps the most beautiful and noble,
+although not the grandest or most stirring, of MacDowell's four
+pianoforte sonatas. It has not the weight and power of the
+_Sonata Tragica, Op. 45_, but in its beauty and noble dignity it
+is infinitely more impressive. The whole work was inspired by the
+Arthurian legends that MacDowell, with his love of ancient
+chivalry and romance, loved to idealise. In the sonata he has
+illuminated his subject with compelling nobleness of thought and
+beauty of effect, freely adapting the traditional musical form to
+the needs of his poetic purpose. The work requires a considerable
+amount of study for its finished performance, as well as a
+knowledge and understanding of its source of inspiration. Heard
+at its best it is a magnificent solo piece, only surpassed by the
+composer's own two later sonatas, the _Norse, Op. 57_, and the
+_Keltic, Op. 59_.
+
+1. The first movement is notable for its variety of _tempo_ and
+expression, every page containing new indications as to these in
+the illuminating and characteristic English of the composer. He
+has told us that the movement as a whole typifies the coming of
+Arthur, and as such we may leave it. The traditional sonata form
+is freely adapted to the poetic requirements of the movement, but
+the result is rather ragged. The music itself, however, is deeply
+inspired and full of fire. The simple, yet pathetic second
+subject is recalled again in the slow movement.
+
+2. The fanciful and "elf-like" _scherzo_ movement was suggested
+to the composer by Doré's picture of a knight in a wood,
+surrounded by mythological forest folk. The music is imaginative
+and cleverly written, but MacDowell afterwards considered the
+movement as a whole to be "an aside" from the general content of
+the sonata. The present writer thinks that this _scherzo_ may be
+omitted by a performer who satisfies himself that it is not an
+essential part of the Arthurian concept of the whole. If the
+sonata is played simply as programme music, however, it benefits
+by the inclusion of this movement.
+
+3. This movement is headed, _Tenderly, longingly, yet with
+passion_, and is considered by many of the composer's admirers to
+be one of his most beautiful inspirations. It is, according to
+MacDowell himself, a musical representation of Guinevere,
+Arthur's lovely queen. Quite independent of the rest of the
+sonata, the movement is a tone poem of rare beauty, expressiveness
+and passion, although the melody entering at its eleventh bar
+connects it with the preceding movement.
+
+4. The last movement represents the passing of Arthur. It is
+strikingly suggestive of the closing days of the Arthurian drama,
+the tragic note being often impressively struck, although not so
+definitely as in the _Sonata Tragica_. The import of the movement
+is satisfying to those who believe that the days of romance and
+chivalry closed with the fall of Arthur and his knights, despite
+the attempts in the Middle Ages to revive the past. The movement
+as a whole is physically exhausting, except to the very strong.
+The great climax arrives some way before the end of the work, the
+music seeming gradually to ebb away after it as though it were
+but recounting the last scenes of Arthur's death. The two final
+pages sadly recall the opening theme of the first movement,
+typifying the coming of Arthur. The coda is of moving tenderness,
+indicating the tragedy of Guinevere. A final and elevated
+outburst is heard and then the sonata ends with a prolonged
+chord. Altogether there is something very noble and beautiful
+about this sonata, from which the magnificence and surpassing
+power and beauty of the two later ones do not detract.
+
+
+
+OPUS 51. WOODLAND SKETCHES, FOR PIANOFORTE.
+
+_First Published_, 1896 (P.L. Jung. Assigned, 1899 to Arthur P.
+Schmidt).
+
+  1. _To a Wild Rose._
+
+  2. _Will o' the Wisp._
+
+  3. _At an Old Trysting-place._
+
+  4. _In Autumn._
+
+  5. _From an Indian Lodge._
+
+  6. _To a Water-lily._
+
+  7. _From Uncle Remus._
+
+  8. _A Deserted Farm._
+
+  9. _By a Meadow Brook._
+
+ 10. _Told at Sunset._
+
+These widely known pieces were composed during the last part of
+MacDowell's residence at Boston, just before he left for New York
+to take up his duties as professor of music at Columbia
+University. In these _Woodland Sketches_ we come for the first
+time to the point at which his pianoforte poems are absolutely
+responsive to elemental moods, unaffected in style and yet
+distinguished, free from commonplace, speaking with a personal
+note that is inimitable. They are, as a whole, mature Nature
+poems of an exquisite and charming order, beautiful not only for
+their outward manifestations, but for the deeper significance
+they give to their sources of inspiration.
+
+1. _To a Wild Rose_ (_with simple tenderness_). This is one of
+the most charming and well known of MacDowell's small pieces. It
+is founded on a simple melody of the Brotherton Indians, and has
+a poise of the most refined and beautiful order. The composer was
+always afraid of the less intelligent music lovers "tearing it up
+by the roots." A vocal arrangement has been made by Herman
+Hagedorn, but the words are sickly and commonplace in sentiment,
+and so unnaturally cramped, that the song is artistically
+worthless.
+
+2. _Will o' the Wisp_ (_Swift and light; fancifully_). This is a
+very imaginative piece, full of mysterious and shadowy lightness,
+and swift of movement. It seems to just float over the keys and
+in its general effect is fascinating and spirit-like, with
+dancing little lights flickering in the shadows.
+
+3. _At an Old Trysting-place_ (_Somewhat quaintly; not too
+sentimentally_). This is the shortest piece of the set, and is
+only thirty bars long. It is cramped into one page in the current
+edition of the sketches. The melody is tender, undulating and
+expressive and is supported by full but always clear chords, with
+typical modulations. The broadness of the chord writing, together
+with the general tone of the piece as a whole, seems to call for
+orchestral colouring and foreshadows MacDowell's most advanced
+period. As a whole, it is contemplative, expressing the
+wistfulness of one who stands at a quiet place, musing on bygone
+meetings there.
+
+4. _In Autumn_ (_Buoyantly, almost exuberantly_). MacDowell threw
+an irresistible joyous excitement into this piece (as he did
+later in the superb _The Joy of Autumn_, from _New England Idyls,
+Op. 62_). _In Autumn_ opens with a brisk staccato theme, followed
+by little chromatic runs which seem to suggest the whistling of
+the wind through the tree-tops. A middle section brings a
+complete change of mood, as if questioning the elements. A
+mysterious and fanciful little passage leads to a resumption of
+the opening joy of existence. In short, this piece is most
+exhilarating, and pulsates with life and with an exuberance that
+is most infectious.
+
+5. _From an Indian Lodge_ (_Sternly, with great emphasis_). This
+is as strong and impressive a piece as MacDowell ever composed
+for the pianoforte. From the first bar the note of the stern
+stolidity of the Red man is struck. The rude, elemental power of
+the bare octaves of the introductory bars is unmistakable. The
+ensuing stolid oration, punctuated by emotionless grunts, is an
+ingenious musical sketch of a pow-wow scene in an Indian wigwam.
+The piece closes with a reminiscence of the last part of the
+introduction, first softly and then very loudly, the final chords
+being of orchestral-like sonority. The whole composition is one
+of the best in the set for showing MacDowell's ability to create
+atmosphere. The scene of the Indian lodge is unmistakable.
+
+6. _To a Water-lily_ (_In dreamy, swaying rhythm_). This is a
+remarkable little piece of lyrical tone painting. It is in the
+key of F sharp major, and is mostly played on the black keys. Its
+chords are rich and, except in the short middle section, scored
+on three staves, yet always with an effect of the utmost
+lightness of poise. The piece is vividly suggestive of a
+water-lily floating delicately on quiet water, but in the
+questioning little middle section something seems to disturb the
+water, and for a moment the flower rocks uneasily. The opening
+theme returns and the piece ends with the utmost delicacy of
+effect. _To a Water-lily_ is generally admitted to be one of the
+most exquisite and perfect lyrics MacDowell ever composed for the
+pianoforte.
+
+7. _From Uncle Remus_ (_With much humour; joyously_). American
+youngsters delight in the negro tales of "Uncle Remus," and this
+piece opens with an unbridled joviality that continues to the
+end. There is a wealth of jolly humour that is delightfully frank
+and infectious without being commonplace. It is rich and real,
+with a breadth that was a captivating feature of MacDowell's
+personal sense of humour.
+
+8. _A Deserted Farm_ (_With deep feeling_). A deeper note is
+struck in this piece, the opening theme being very grave. Later a
+wistful tenderness comes over the whole, but the grave melody
+returns and in this mood the piece ends. The whole atmosphere of
+it is one of loneliness, and, except for a sonorous bar or two,
+its expression is subdued. It gives an impression of the quiet
+that hangs around an old country home long since deserted, where
+human life once existed with all its joys and sorrows.
+
+9. _By a Meadow Brook_ (_Gracefully, merrily_). This goes
+bubbling and sparkling along, now swirling round a little rock,
+now running over a little waterfall, but always going merrily on
+until softer and softer grows the tonality, finally vanishing
+from musical sight. The piece is purely a play of tone, but never
+shallow, for it suggests not only a particular type of Nature
+scene, but the significance of the beauty and goodness it
+symbolises.
+
+10. _Told at Sunset_ (_With pathos_). This piece is of some
+importance from the fact that it contains thematic allusions to
+two of the preceding numbers. It opens with a sad, reflective
+theme that is reminiscent of _A Deserted Farm_. It proceeds for
+nineteen bars, dying softly away high in the scale. After a
+moment's silence, a softly breathed, but firmly emphasised
+marching tune appears, marked _Faster sturdily_. It grows
+gradually louder until it is thundered out in its full strength,
+with something of the nervous accentuation peculiar to Elgar's
+music. It dies gradually away again, until nothing is left but a
+few last faint references to its sturdy quality. The grave theme
+of _A Deserted Farm_ (_No._ 8) is now introduced (transposed a
+semitone lower than the original to F minor), freely altered, and
+infused with more intense expressiveness. The conclusion is
+dramatic, for after twenty-four bars of deep and tender
+contemplation comes an impressive silence--and then the stern and
+solemn chords of the latter part of the introduction to _From an
+Indian Lodge_ are heard, first softly and then with virile
+orchestral _fortissimo_, and with this the piece closes.
+
+
+
+OPUS 52. THREE CHORUSES, FOR MALE VOICES.
+
+_First Published_, 1897 (Arthur P. Schmidt).
+
+  1. _Hush, hush!_
+
+  2. _A Voice from the Sea._
+
+  3. _The Crusaders._
+
+These part-songs are finely written and full of suggestiveness.
+_Hush, hush!_ creates the atmosphere suggested by its title. _A
+Voice from the Sea_ and _The Crusaders_ are settings of some of
+the composer's own verses. The sea song tells of the north wind's
+wrath, the roaring sea on the rugged shore and of a woman with a
+torch, looking out into the darkness, moaning: "Thy will be
+done." The whole song graphically suggests the dangers of the
+sea. The third chorus is heroic and strong, not treating of the
+forces of nature, as does the preceding number, but with the
+bold, adventurous daring, fired with religious zeal, of the old
+Crusaders. The music of _The Crusaders_ is worthy of its theme.
+
+
+
+OPUS 53. TWO CHORUSES, FOR MALE VOICES.
+
+_First Published_, 1898 (Arthur P. Schmidt).
+
+  1. _Bonnie Ann._
+
+  2. _The Collier Lassie._
+
+These are charming part-songs, and bear the composer's individual
+stamp. The groups of male voice choruses of Ops. 52, 53 and 54,
+present a fine aspect of MacDowell's work, although they are not
+of his most important output. Presumably a good reason why they
+are so seldom performed in Europe is that they are little known
+here; it is certainly not because their inspiration or effect is
+poor. The composer was conductor of the Mendelssohn Glee Club, an
+old-established American Male Voice Choir, about the date when
+these part-songs were written.
+
+
+
+OPUS 54. TWO CHORUSES, FOR MALE VOICES.
+
+_First Published_, 1898 (Arthur P. Schmidt).
+
+  1. _A Ballad of Charles the Bold._
+
+  2. _Midsummer Clouds._
+
+These two choruses are some of the finest of MacDowell's little
+known part-songs for male voices, and are both written to his own
+lines. The first is a stirring ballad of olden times:--
+
+  _Duke Charles rode forth at early dawn
+  Through drifting morning mists,
+  His armour frosted by the dew
+  Gleamed sullenly defiance....
+
+  ... All day long the battle raged.
+  And spirits mingled with the mist
+  That wreathed the warring knights...._
+
+Charles, although his charger is led by Death against the foe,
+himself falls a victim to the tireless Reaper.
+
+The second chorus, _Midsummer Clouds_, is in pleasant contrast to
+the blood and war spirit of the first. In it we have the
+imaginative charm and beauty of lines like the following:--
+
+  _Through the clear meadow blue
+  Wander fleecy white lambs...._
+
+There is a certain depth about the song, however, as if the
+scenic suggestion is only a symbol of something greater and more
+human, and this feeling is increased by the last verse:--
+
+  _And the light dies away
+  As the silent dim shapes
+  Sail on through the gloaming,
+  Towards dreamland's gates._
+
+
+
+OPUS 55. SEA PIECES, FOR PIANOFORTE.
+
+_First Published_, 1898 (P.L. Jung. Assigned 1899 to Arthur P.
+Schmidt).
+
+  1. _To the Sea._
+
+  2. _From a Wandering Iceberg._
+
+  3. _A.D. 1620._
+
+  4. _Starlight._
+
+  5. _Song._
+
+  6. _From the Depths._
+
+  7. _Nautilus._
+
+  8. _In Mid-Ocean._
+
+The _Sea Pieces_ contain some of the finest of MacDowell's
+suggestive tone poetry. They are chiefly remarkable for their
+exhibiting the composer's ability to suggest a big scene, or a
+dramatic or emotional content of far-reaching significance, in an
+incredibly small space. The power and breadth of some of the
+pieces is great, while their beauty of tone, displaying the
+powers of the pianoforte from _pppp_ to _fff_, is rich and full
+in its harmonic construction. Although the chords seem to call
+for orchestral colouring, the effect is always clear and ringing
+on the pianoforte, whilst the melodies are some of the most noble
+and dignified of MacDowell's short pieces. As a contrast to the
+strength of some of the numbers in the set, others are of an
+exquisite and quiet beauty. Altogether the _Sea Pieces_ make up
+one of the most superb pianoforte albums in existence, for they
+are tone poems of unsurpassed beauty, strength of character,
+nobleness of thought and unerring atmospheric suggestion,
+touching the high water mark of the composer's inspirations. Each
+piece is headed by a verse of the composer's own writing, except
+the first, sixth and seventh, which have single lines only. The
+poems are included in the published book of his verse.
+
+1. _To the Sea_ (_With dignity and breadth_). This is headed:--
+
+  _Ocean, thou mighty monster_,
+
+and is a tone poem of remarkable power. It is but thirty-one bars
+in length and yet it contains more solid material, breadth and
+perfectly concentrated splendour than many an orchestral tone
+poem of symphonic proportions. The graduations of tone found in
+the piece are very fine and could only have been written by one
+who knew intimately the tonal resources of the modern pianoforte.
+The chord writing spreads over a wide area of the keyboard, but
+is remarkable for its clarity. It is indeed extremely difficult
+to call to mind any other composer who could have painted a tone
+picture so big in outlook and so complete in itself, in such a
+small space as MacDowell has done here.
+
+2. _From a Wandering Iceberg_ (_Serenely_). This piece suggests a
+towering iceberg gradually approaching, passing by in all its
+splendour, and going on toward _realms of burning light_. The
+tone variety ranges from _as soft and smooth as possible_ to a
+virile, orchestral _fff_. The melody of the piece is very
+beautiful and the whole thing has a curious icy clearness about
+it that is remarkably realistic. The last seven bars contain
+music as tender and serene as anything MacDowell ever composed.
+
+3. _A.D. 1620_ (_In unbroken rolling rhythm_). This represents
+the voyage of the pilgrim fathers and is a four-page piece, about
+double the length of the preceding two. Its character is
+generally stern, and the rolling of the lumbering ship is vividly
+suggested. The middle portion consists of a magnificent song
+marked _Sturdily and sternly, but without change of rhythm_. The
+tune is not beautiful, but it is strong and inspiring, and in
+these respects it is unique. Its power is remarkable even for
+MacDowell. As the preceding part gradually led up to the song, so
+in its repetition it gradually dies away, as if the ship had
+approached and passed by, bearing its load of the men, women and
+children who were to found the great Republic of the West.
+
+4. _Starlight_ (_Tenderly_). This is a tender and beautiful
+little inspiration. It has a melodic and harmonic outlook of the
+exquisite poise that marks MacDowell's finest work. The light and
+shade of the piece call for perfect control of tone production on
+the part of the performer. It is lighter and more finely
+conceived than the preceding pieces in this set, and is a very
+perfect tone suggestion of the loveliness of a quiet, starlit
+sea.
+
+5. _Song_ (_In changing moods_). This opens softly with a cheery
+song which has a rough and hearty chorus. A deeper emotion is
+sounded where the music is marked _passionately_, and after this
+comes a passage of wistful tenderness. The song is resumed,
+together with its chorus, but near the end the tender portion is
+recalled, and the piece ends with a subdued and thoughtful
+reminiscence of the air.
+
+6. _From the Depths_ (_In languid swaying rhythm_).This is one of
+MacDowell's greater inspirations and is headed:--
+
+  _And who shall sound the mystery of the seas._
+
+This is a magnificent tone poem. We first have a picture of the
+sea, calm, but sinister, and then we see it working up to its
+full power and fury in a storm. The gradations of tone range from
+a sombre, mysterious _ppp_ to an _fff_ of furious power. The
+writing is very full and rich, and there are passages of a
+stupendous strength and magnificence of effect seldom found
+outside MacDowell's own music.
+
+7. _Nautilus_ (_Delicately, gracefully_). This is headed:--
+
+  _A fairy sail and a fairy boat_
+
+and is the gem of the set. The writing is of exquisite
+gracefulness and charm. The scenery, as the little voyage
+proceeds, is of fresh loveliness and constantly changing, while
+the curious, indecisive rhythm is unmistakably suggestive of an
+uncanny boat trip in quiet water. The whole piece is one of
+perpetual charm and delight to the ear.
+
+8. _In Mid-Ocean_ (_With deep feeling_). Here we find the deeper
+note struck again:--
+
+  _Inexorable! Thou straight line of eternal fate...._
+
+The music of this piece is transporting in its majestic nobility
+and magnificent, sweeping strength. It is one of the most superb
+of MacDowell's short pieces. From the deep and sonorous opening
+bars, through passionately mounting fury, to the sombre and
+mysterious close--in all of it we are confronted with the work of
+an unmistakably inspired master. With this fitting, unsurpassed
+picture, not of the outward might of the sea alone, but of the
+mysterious, relentless and terrible beauty of its significance as
+Fate, MacDowell concluded his _Sea Pieces_--Tone poems of
+artistic supremacy, of inimitable strength and loveliness of
+expression, that will live as long as there are men and women who
+are stirred by the deep power of music to give expression to
+God's Creation.
+
+
+
+OPUS 56. FOUR SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1898 (P.L. Jung. Later assigned to Arthur P.
+Schmidt).
+
+  1. _Long Ago, Sweetheart Mine._
+
+  2. _The Swan Bent Low to the Lily._
+
+  3. _A Maid Sings Light._
+
+  4. _As the Gloaming Shadows Creep._
+
+This is a very beautiful group of songs, made from the best of
+the composer's artistic material. They are of pure and uncommonly
+high quality, expressing happiness, tenderness and irresistible
+charm. The verses of each are the composer's own, those of the
+last number being after Frauenlob.
+
+1. _Long Ago_ (_Simply, with pathos_). This song has a sadness
+and tenderness which, together with its words, give it an
+irresistible appeal. The scene it suggests is that of an elderly
+couple, for whom life is drawing to a close, recalling the
+far-off days when their undying love for each other commenced.
+The expression of the music is very human and free from any
+commonplace sentiment.
+
+2. _The Swan Bent Low to the Lily_ (_With much feeling_). This
+song is an exquisite and charming little lyric.
+
+3. _A Maid Sings Light_ (_Brightly, archly_). This song has a
+captivating delightfulness and warns off a lad, lest he lose his
+heart to the fair maid who not only sings light, but loves light.
+
+4. _As the Gloaming Shadows Creep_ (_Tenderly_). This is one of
+MacDowell's finest songs. The words are "after Frauenlob," and
+were used previously by the composer in _As the Gloaming Shadows
+Creep_ in _Songs from the Thirteenth Century_ (without opus
+number) _for Male Chorus_. The music is very tender and beautiful
+in expression, and these qualities atone for the fact that the
+song does not always show a perfect alliance between words and
+music; its chief merit is in the outstanding quality of the
+latter.
+
+_Long Ago_ and _A Maid Sings Light_ form one of the gramophone
+records made for "His Master's Voice" series by Alma Gluck. This
+lyric soprano has sung the two MacDowell songs with sympathy and
+perfect phrasing. The accompaniments were played by a Mr.
+Bourdon, who unfortunately disregarded the composer's tone and
+legato indications.
+
+
+
+OPUS 57. THIRD SONATA, NORSE, IN D MINOR, FOR PIANOFORTE.
+
+_First Published_, 1900 (Arthur P. Schmidt).
+
+  1. _Impressively; at times with impetuous vigour._
+
+  2. _Mournfully, yet with great tenderness._
+
+  3. _With much character and fire._
+
+The two last sonatas, the _Norse, Op. 57_, and, the _Keltic, Op.
+59_, are MacDowell's most superb achievements, banishing for ever
+the mistaken and ignorant assertion that he was only a miniaturist
+in composition. The _Norse_ sonata is separated by a wide gulf of
+progress from its predecessor, the _Sonata Eroica_, being greater
+in outlook, freer in form and altogether more strongly determined
+and personal in character. It has a more mature strength, nobleness
+and dignity, together with an inspiring and magnificent beauty and
+splendour of tone power. The subject of the work was one that
+MacDowell loved to dwell upon--the stirring tales of love and
+mighty heroism told in the ancient Norse sagas. The barbaric, but
+undoubtedly splendid spirit of those dim days seized upon his
+imagination as it did upon that of the English composer, Elgar,
+when he wrote his _Scenes from the Sagas of King Olaf_. The writing
+in the _Norse_ sonata is of tremendous breadth and sweep of line,
+only surpassed by that of the _Keltic_ sonata, (_Op. 59_), often
+calling forth the utmost power of which the modern pianoforte is
+capable and altogether ignoring the stretch of one pair of hands,
+which have to leap the huge chordal stretches very smartly.
+Notwithstanding this fullness of writing, however, the effect is
+always ringing and clear. The third and fourth of MacDowell's
+sonatas were dedicated by him to Grieg, but the printed copies of
+the former do not bear the inscription, though those of the _Keltic_
+do so.
+
+1. The first movement opens darkly and sombrely, suggesting the
+lines of the verse that heads the sonata as a whole, telling of
+the great rafters in the hall at night, flashing crimson in the
+flickering light of a dying log fire. The strong voice of a bard
+rings out, and through this medium the tales of battles, love and
+heroic valour is told. The movement has passages of tremendous
+vigour, passion and depth, all painted with the unerring skill of
+the composer. The final bars are of fierce and elemental power.
+
+2. The second movement opens with a theme of tender beauty. It
+develops into passionate strength, involving much intricacy of
+writing and wide spread chordal work.
+
+3. The third and last movement (it will be noted that MacDowell
+abandons the scherzo movement in this sonata, as it had proved an
+_aside_ in the two earlier ones) is impetuous and, as it
+proceeds, becomes increasingly difficult to play. The theme of
+the second movement is recalled in a passage of extreme pathos.
+The final coda is most impressive, beginning _Dirge-like_--_very
+heavy and somber_; five bars from the end there is a moment's
+silence, and then the opening theme of the first movement rings
+out and the sonata ends with the utmost breadth and strength.
+
+
+
+OPUS 58. THREE SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1899 (Arthur P. Schmidt).
+
+  1. _Constancy_ (_New England, A.D. 1899_).
+
+  2. _Sunrise._
+
+  3. _Merry Maiden Spring._
+
+The verses of these songs are MacDowell's own, and both words and
+music here go to make up song writing of an order that is rare in
+its beauty of expression, tender thought and pure lyricism.
+
+In _Constancy_ (_New England, A.D. 1899_), indicated _Simply, but
+with deep feeling_, we have one of MacDowell's best songs. It has
+a tenderness and wistfulness about it that is irresistible, and
+sung in the spirit of its words, which tell of an empty house and
+neglected garden, it is a very beautiful thing.
+
+_Sunrise_, marked _With power and authority_, is short and tells
+of the sorrowful spectacle of a wrecked and broken ship. The
+actual scene, however, seems secondary to its own significance as
+a symbol of human life. The music is heavy after the style of
+certain of the composer's pianoforte _Sea Pieces_ (_Op_. 55).
+
+The third and last song, _Merry Maiden Spring_, is charming, with
+a singularly bright and captivating freshness. It is indicated to
+be sung _Lightly, gracefully_.
+
+
+
+OPUS 59. FOURTH SONATA, KELTIC, IN E MINOR, FOR PIANOFORTE.
+
+_First Published_, 1901 (Arthur P. Schmidt).
+
+_Dedicated to Edvard Grieg_.
+
+  1. _With great power and dignity_.
+
+  2. _With naive tenderness_.
+
+  3. _Very swift and fierce_.
+
+The _Keltic Sonata_ is generally considered MacDowell's supreme
+achievement, the great culmination of his evolution toward
+musical expression of immense and rare power. The sonata is a
+work of great breadth and vitality, and has a sweep of line and
+noble beauty of expression that is only equalled in the supreme
+efforts of genius, such as Beethoven's _Appassionata_ sonata for
+instance. It is a most superb poetical romance, full of the
+passion and heroic fervour of the Celtic strain in MacDowell's
+own nature. It searched out his finest and deepest inspiration
+when he wrote it and it grew to be part of his very being
+afterwards. The whole thing is a reflection of the heroic and
+stirring romances in Celtic legend. It is full of a wild beauty
+and sorrow, and carries us back to those far-off days when men
+lived the lives that now to us seem mythical. The graduations of
+tone in the sonata range from _pppp_ to _ffff_, and although its
+technical difficulties are considerable, they are worth
+conquering, which is more than can be said of many things over
+which the modern pianist takes infinite pains. The virtuoso
+aspect of the _Keltic_ sonata, however, is always lost in the
+magnificent spirit of the music. All MacDowell's finest works
+require not mechanical technique only, but deep intellectual and
+poetical thought to bring out their finest qualities.
+
+1. From the first bars the majesty of the work becomes apparent.
+The first movement as a whole is full of the fire of Celtic
+inspiration, tinged with a wild and piercing sorrow. The final
+page of it contains music of stupendous power, and the limit of
+extremity of tone contrast is reached in the two last bars, one
+of which is to be played _pppp_ and the other _ffff_.
+
+2. The second movement opens with a tender and exquisite beauty,
+but the music soon becomes impassioned, the dominant mood being
+that wild sorrow we have already referred to.
+
+3. The final movement is generally dark and fierce, moving
+swiftly and of great technical difficulty. Near the end we notice
+the direction, _Gradually increasing in violence and intensity_,
+and later an unforgettable passage occurs _With tragic pathos_.
+The sonata ends with a fierce rush, of enormous and elemental
+power. The key to the meaning of the _Keltic_ sonata is given in
+some lines of his own which MacDowell placed at its head, but
+they are only part of all that he expressed in it. They should be
+read together with the lines entitled _Cuchullin_ in the book of
+his verses. _Cuchullin_ was considered unconquerable and even his
+form, when at last frozen in death, awed all who saw it; and it
+is of the might and tragedy of this old figure in Celtic legend
+that the sonata seems to tell. The final pages of the last
+movement may be considered as a vivid expression of the scene
+which Standish O'Grady, whose work MacDowell loved, has so
+superbly described:--"Cuculain sprang forth, but as he sprang,
+Lewy MacConroi pierced him through the bowels. Then fell the
+great hero of Gael. Thereat the sun darkened, and the earth
+trembled ... when, with a crash, fell that pillar of heroism, and
+that flame of the warlike valour of Erin was extinguished." The
+stricken warrior made his way painfully to a tall pillar, the
+grave of some bygone fighter, and tied himself to it, dying with
+his sword in his hand and his terrifying helmet flashing in the
+sun. In O'Grady's words:--"So stood Cuculain, even in death-pangs,
+a terror to his enemies, for a deep spring of stern valour was
+opened in his soul, and the might of his unfathomable spirit
+sustained him. Thus perished Cuculain." ... Superb as these lines
+are, they are equalled in expression by the music of MacDowell's
+_Keltic_ sonata.
+
+
+
+OPUS 60. THREE SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1902 (Arthur P. Schmidt).
+
+  1. _Tyrant Love._
+
+  2. _Fair Springtide._
+
+  3. _To the Golden-rod._
+
+This is the last song group that MacDowell published. It contains
+music of great charm and poetic beauty, with a grave tenderness
+that was ever his own. The verses are all from his pen and show
+his unusual literary gifts.
+
+_Tyrant Love_ (_Lightly, yet with tenderness_). This is the least
+fine of the three, and yet in itself it is a song of rare quality
+and far above the commonplace. The music is beautiful, although
+not free from distortion of the words.
+
+_Fair Springtide_ (_Very slow, with pathos_). This is one of the
+best and most mature of MacDowell's songs. It makes a lovely
+solo, full of sweet and tender sadness, seldom failing to move
+its hearers. Both as regards words and music, it comes straight
+from the soul of its composer.
+
+_To the Golden-rod_ (_With tender grace_). This is a pure and
+delectable piece of lyrical work, in MacDowell's most delightful
+style. The verse tells of a lissom maid whose wayward grace
+neither sturdy Autumn nor the frown of Winter can ever efface.
+The words are obviously fanciful, but the song has a graceful
+charm and fragrance.
+
+
+
+OPUS 61. FIRESIDE TALES, FOR PIANOFORTE.
+
+_First Published_, 1902 (Arthur P. Schmidt).
+
+_Dedicated to Mrs. Seth Low_.
+
+  1. _An Old Love Story._
+
+  2. _Of Br'er Rabbit._
+
+  3. _Of Salamanders._
+
+  4. _A Haunted House._
+
+  5. _By Smouldering Embers._
+
+These pieces show a significant change in the voice of MacDowell.
+A certain strange, farawayness of thought is apparent, and a
+grave tenderness that is not quite like anything he had
+previously written. The fine beauty of the previous short pieces
+here gives way to a new kind of serious and even sombre aspect,
+and indeed the composer seems to have entered on a new period.
+Unfortunately the next work after these _Fireside Tales_ is the
+last music he published, and so the certainty of the commencement
+of a new period cannot definitely be established. The writing is
+much more masterly than in any of the earlier short pieces,
+including the _Sea Pieces_, even though these have greater
+spirit.
+
+1. _An Old Love Story (Simply and tenderly)._ This opens with the
+familiar flowing type of MacDowell melody, but with the
+succeeding section in D flat major, marked _ppp_, comes in a new
+and earnest expressiveness. After this the opening theme returns
+and the piece ends tenderly and subdued. _An Old Love Story_ is,
+on the whole, quite characteristic, and certainly very beautiful.
+It seems to bring with it an atmosphere of fading, but still
+cherished, bygone happiness, and its thought is tender and
+wistful.
+
+2. _Of Br'er Rabbit (With much spirit and humour--lightly)._ This
+opens with a roguish and catching tune which is brilliantly
+worked out with much variety, droll humour, and masterly skill.
+The piece has, of course, an affinity with _From Uncle Remus
+(Woodland Sketches, Op. 51_), since Br'er Rabbit is Uncle Remus'
+chief hero; but the maturity and masterly handling of the
+material in _Of Br'er Rabbit_ is unquestionably finer than
+anything in the earlier piece. MacDowell had much affection for
+his _Br'er Rabbit_ creation, and it is certainly one of the most
+delightful of all his brighter compositions; the humour is so
+droll and so characteristic of himself.
+
+3. _Of Salamanders (As delicately as possible)._ This is a
+fanciful, intricate piece, but very delicate in effect. It is
+technically difficult to play, requiring an absolute control of
+finger work. It was rather a favourite with the composer. 4. _A
+Haunted House (Mysteriously)._ This is one of the most imaginative
+and realistic of MacDowell's smaller pianoforte pieces. It opens
+_very dark and sombre_, developing into a wild and eerie
+_fortissimo_. The middle section requires swiftness of finger work
+to suggest the nervous expectancy aroused by the preceding
+mysteriousness. The ghost-like effect returns, then gradually
+recedes again into impenetrable gloom.
+
+6. _By Smouldering Embers (Musingly)._ This opens with a quiet,
+tender theme after the style of _An Old Love Story_. The piece is
+quite short, but displays a mastery both of harmony and
+counterpoint. The music is grave and deep, but very tender. The
+little middle section stands out in its almost passionate, but
+sonorous and controlled emotion. Toward the end, the music
+becomes very moving and subdued, dying away with careful and
+sensitive tone reduction. The impression left by this piece, and
+by the _Fireside Tales_ as a whole, is that the composer was
+conscious of a heavy responsibility in his work; that he felt, as
+Elgar has explained, that "the creative artist suffers in
+creating, or in contemplating the unending influence of his
+creation ... for even the highest ecstacy of 'Making' is mixed
+with the consciousness of the sombre dignity of the eternity of
+the artist's responsibility."
+
+
+
+OPUS 62. NEW ENGLAND IDYLS, FOR PIANOFORTE.
+
+_First Published_, 1902 (Arthur P. Schmidt).
+
+  1. _An Old Garden_.
+
+  2. _Mid-Summer_.
+
+  3. _Mid-Winter_.
+
+  4. _With Sweet Lavender_.
+
+  5. _In Deep Woods_.
+
+  6. _Indian Idyl_.
+
+  7. _To an Old White Pine_.
+
+  8. _From Puritan Days_.
+
+  9. _From a Log Cabin_.
+
+ 10. _The Joy of Autumn_.
+
+This album is the last work MacDowell published. It contains, not
+only some of his most beautiful and advanced lyrical tone poems,
+but, in _Mid-Winter_ and _From a Log Cabin_, two of the most
+significant and inspired of all his shorter pieces. In the _New
+England Idyls_ as a whole, we have the eloquence and poetry of
+MacDowell in its fullest maturity. The American atmosphere is
+strong in these pieces, the scene suggested by each one belonging
+unmistakably to New England. In addition to the expressive and
+suggestive power of these idyls, they possess a fragrance and
+freshness that are rare in music. Each piece is headed by a verse
+of the composer's, and it should also be noted that he has
+dropped his English directions as to expression, etc., and gone
+back to Italian. There is no great gain in this, for the terms he
+uses, although in the language traditionally employed for the
+purpose, are by no means always the actual terms of traditional
+standing; he simply took the unnecessary trouble to translate his
+English-thought directions into a foreign language. His Italian
+is not always that generally used in music.
+
+1. _An Old Garden_ (_Semplice, teneramente_). This opens with an
+expressive and tender little theme. In the middle part a
+beautifully formed lyricism appears. The opening theme eventually
+reappears and the piece ends with quiet, but rich and sonorous
+chords.
+
+2. _Mid-Summer_ (_Come in sogno_). This is a tone impression of a
+drowsy summer's day:--
+
+  ... _Above, the lazy cloudlets drift,
+  Below, the swaying wheat_....
+
+It is exquisitely done, with the composer's usual unerring
+instinct for creating atmosphere. The technical mastery is finer
+than that shown in the _Woodland Sketches_, and the tonality
+ranges in the thirty-six bars of its length from _fortissimo_ to
+softly breathed _ppp_, and at the end even _pppp_.
+
+3. _Mid-Winter_ (_Lento_). Here we find a piece of dramatic
+significance and great power. Its deeper meaning is expressed in
+the verses that head it:--
+
+  _In shrouded awe the world is wrapped,
+  The sullen wind doth groan,
+  'Neath winding-sheet the earth is stone,
+  The wraiths of snow have flown_.
+
+  _And lo! a thread of fate is snapped,
+  A breaking heart makes moan;
+  A virgin cold doth rule alone
+  From old Mid-winter's throne_.
+
+The piece opens with an impressive theme uttered _ppp_. The whole
+atmosphere soon becomes one of vast and solemn content, rising to
+an intense short outburst. Soon a new and rather bleak theme is
+heard with mournful, clashing harmonies; the whole effect is
+vividly recalled in _From a Log Cabin_, No. 9 of these idyls, the
+only piece in the set to equal this one in force. After some
+commentary, a series of three rushing, ascending scale passages
+are introduced, beginning _pppp_, then gradually becoming louder
+until they culminate on high and powerful chords. The opening
+theme reappears at the height of the climax and is expressed with
+passionate intensity. Gradually the music dies solemnly away
+again. The whole of this piece appears very different to anything
+of MacDowell's earlier work; its deep and almost fateful
+significance, together with its problematical character, is a bid
+for something even greater than the _Sea Pieces_ (_Op_. 55).
+
+ 4. _With Sweet Lavender_ (_Molto tenero e delicato_). This piece
+opens with a tender and expressive theme, which is one of the
+most beautiful of the composer's inspirations. The passage marked
+_la melodia con molto_ introduces that new and deeper note which
+is a feature in MacDowell's last two pianoforte albums. It breaks
+out presently into passionate longing, but the return of the
+sweet opening theme, _ppp motto delicato_, brings the feeling of
+quiet wistful contemplation back again. The verses at the head of
+the piece attribute its mood to the reading of a packet of old
+love letters.
+
+ 5. _In Deep Woods_ (_Largo impressivo_). This opens with loud
+and resounding chords, expressive of the majesty and beauty of
+American forests. At the eleventh bar a lovely theme enters, and
+the music from now onwards is written on four staves, but is
+always clear and fresh. As the full grandeur of the woods is
+felt, the theme takes on a splendid exultation, gradually sinking
+away as:--
+
+  ... _The mystery of immortal things
+  Broods o'er the woods at eve_.
+
+The piece was one of the composer's favourites; he inscribed its
+opening bar on a portrait of himself which he gave to Mr. W.W.A.
+Elkin, his London publisher and friend.
+
+6. _Indian Idyl_ (_Leggiero, ingenuo_). This is a lovely tone
+poem, opening with a characteristic little figure reminiscent of
+the opening of the _Love-Song_ in the _Indian Suite for
+Orchestra_ (_Op_. 48). The theme is punctuated by little
+flute-like embellishments. The middle section, _poco piu lento_,
+is idyllic, with a perfectly balanced, swaying rhythm. In playing
+this portion, the left hand should describe an equal series of
+semicircles as it alights first on the low chord, and then on the
+single note two octaves higher. The opening theme returns with
+the flute-like embellishments prominent, but all heard softly, as
+from
+
+  ... _afar through the summer night
+  Sigh the wooing flutes' soft strains_.
+
+ 7. _To an Old White Pine_ (_Gravemente con dignità_). The
+characteristic feature of this piece is its sense of alternate
+mounting and declining strength. At about the middle of the
+movement a deeper solemnity is noticed, in a passage suggesting
+the _swaying, gentle forest trees_ that whisper at the feet of
+the huge old pines of an American forest. Some expressive and
+ingenious little woodland touches are included in the quiet
+concluding bars.
+
+ 8. _From Puritan Days_. "_In Nomine Domini_" (_Con enfasi
+smisurata_). A stern theme opens this piece, while a passage
+marked _implorando_ seems to suggest the pious attitude of the
+immortal founders of the New England States. Soon the music
+becomes hurried and more impassioned, the pious, despairing
+motive being prominent. The opening theme is now thundered out
+_fortissimo_ and the piece ends with a sense of stern and
+rock-like strength of character.
+
+ 9. _From a Log Cabin_ (_Con profondo espressione_). This piece,
+which should be played with great expression, stands on a level
+with _Mid-Winter_, No. 3 in this album. It strikes the new and
+sombre note already referred to and carries with it a sense of
+deep and vast import. The composer's unerring feeling for
+atmosphere is given full play. The piece as a whole is deep and
+problematic. The lines at its head:
+
+  _A house of dreams untold_,
+  _It looks out over the whispering tree-tops
+  And faces the setting sun_.
+
+refer to MacDowell's log-cabin in which he used to compose, and
+they are the same that are inscribed over his grave. _From a Log
+Cabin_ opens quietly, with a grave theme and a clashing
+accompaniment that produces a different effect to that of any of
+the composer's earlier work, but recalls vividly the bleak second
+theme of _Mid-Winter_. Some powerful though small climaxes may be
+noticed, and then a new theme is heard softly, _con tenerezza,
+pensieroso_, over a florid accompaniment. After this has run its
+course, it is followed by intensely passionate outbursts of
+sorrow, the whole culminating in a thunderous repetition of the
+first theme. This reappears with great solemnity, which is
+emphasized by tolling, drum-like strokes, in the bass. The close
+is mysterious and impressive; the widespread chords, the wailing,
+clashing discords in the final bar but one, and the far away last
+chord, _pppp_, all tend to increase the depth and mystery of the
+piece. _From a Log Cabin_ is an inspired tone poem suggesting the
+atmosphere of a quiet evening in the woods, with the slow setting
+of the sun in the Golden West; a scene by which Nature often
+creates the sense of the mysterious more impressively and truly
+than any man-made attempts can equal. This view of declining day,
+the gradual shutting off of light and life, was strangely
+prophetic when MacDowell wrote it, for his own end came by a
+similar process in the form of an ever deepening gloom fatalling
+obscuring his mental light.
+
+10. _The Joy of Autumn_ (_Allegro vivace_). This is a splendidly
+exhilarating piece and the longest by far of the set. The music
+leaps along with the sheer joy of living, the themes being
+singularly fresh and bright. The whole number is written in a
+brilliant and masterly manner, requiring a polished pianoforte
+technique to secure its full effect, especially in the exultant
+whirl and rush in the final page. A comparison of this piece with
+the _In Autumn_ of the _Woodland Sketches_ (_Op_. 51) makes the
+great advancement of MacDowell in the technique of composition
+obvious even to the tyro. _The Joy of Autumn_ is one of the most
+brilliant and spontaneous things in modern music; it is never
+commonplace, it is always MacDowel-like in spirit and artistic
+worth, and shows its author at the height of his maturity. With
+this joyous and beautiful piece, MacDowell bade farewell to his
+God-given creative art. Happily he did not know at the time that
+_From a Log Cabin_ was to prove a truer-expression of his future;
+a prophetic description of the tragic end of his life.
+
+
+
+
+
+WORKS WITHOUT OPUS NUMBERS
+
+SIX LITTLE PIECES ON SKETCHES FOR PIANOFORTE, BY J.S. BACH,
+
+Published by Arthur P. Schmidt.
+
+  1. _Courante_.
+
+  2. _Menuet_.
+
+  3. _Gigue_.
+
+  4. _Menuet_.
+
+  5. _Menuet_.
+
+  6. _Marche_.
+
+These are illuminating little MacDowell-like adaptations of some
+sketches by "one of the world's mightiest tone poets," as
+MacDowell described J.S. Bach. They are charmingly and cleverly
+written, although not always satisfying, it is to be feared, to
+the strict purist.
+
+
+
+
+
+FROM THE EIGHTEENTH CENTURY (TRANSCRIPTIONS FOR PIANOFORTE OF
+HARPSICHORD AND CLAVICHORD PIECES).
+
+Published by Arthur P. Schmidt.
+
+
+BOOK I:
+
+  1. _Courante_ (_Rameau_).
+
+  2. _Sarabande_ (_Rameau_).
+
+  3. _Tempo di Minuetto_ (_Grazioli_).
+
+  4. _Le Bavolet Flottant_ (_The Waving Scarf_)(_Couperin_).
+
+  5. _Gigue_ (_Mattheson_).
+
+  6. _Sarabande_ (_Loeilly_).
+
+
+
+BOOK II:
+
+  7. _Gigue_ (_Loeilly_).
+
+  8. _La Bersan_ (_Couperin_).
+
+  9. _L'Ausonienne_ (_Couperin_).
+
+ 10. _Aria from Handel's_ "_Susanna_" (_Lavignac_).
+
+ 11. _Gigue_ (_Graun_).
+
+These pieces were much used by MacDowell in his lessons, as
+illustrations of eighteenth century music, and were published in
+two books about a dozen years after his death. They have not met
+with unanimous approval, for his transcriptions of the old pieces
+for the harpsichord and clavichord, in a manner suited to the
+modern pianoforte, is considered by many purists to be too free.
+The fact is that in their original form they are quite unsuitable
+for the modern pianoforte, being far too slight. MacDowell has,
+for many of us, done the right thing by filling in their implied
+harmonies and otherwise bringing out their qualities, so that
+they may be done justice under present-day keyboard conditions.
+
+
+
+
+TWO SONGS FROM THE THIRTEENTH CENTURY, FOR MALE CHORUS.
+
+_First Published_, 1897 (Arthur P. Schmidt).
+
+ 1. _Winter Wraps his Grimmest Spell_.
+
+ 2. _As the Gloaming Shadows Creep_.
+
+These are two effective male-voice choruses. The first number
+being a setting of MacDowell's lines after Nithart, and the
+second of verses by the composer, inspired by Frauenlob. These
+latter beautiful lines were also used in number four of the _Four
+Songs, Op. 56_.
+
+MacDowell composed three part-songs for Female-Voice Choir. They
+have no opus numbers and are entitled:--
+
+_Summer Wind_.
+_Two College Songs:
+
+  1. Alma Mater.
+
+  2. At Parting_.
+
+They are well written and effective, the _College Songs_ being
+particularly interesting, while _Summer Wind_ has one of the
+composer's beloved nature subjects as its inspiration. Published
+by Arthur P. Schmidt.
+
+
+In addition to the _Six Little Sketches_ on pieces by Bach, and
+the pieces contained in the albums entitled _From the Eighteenth
+Century_, MacDowell also revised and edited for the pianoforte
+the following compositions:--
+
+  Alkan-MacDowell,   _Perpetual Motion_.
+  Cui,               _Cradle Song_.
+  Dubois,            _Sketch_.
+  Geisler,           _Episode_.
+  Geisler,           _Pastorale_.
+  Geisler,           _The Princess Ilse_.
+  Glinka-Balakirev,  _The Lark_.
+  Huber,             _Intermezzo_.
+  Lacombe,           _Etude_.
+  Liszt,             _Eclogue_.
+  Liszt,             _Impromptu_.
+  Martucci,          _Improviso_.
+  Moszkowski,        _Air de Ballet_.
+  Moszkowski,        _Etincelles_.
+  Pierné,            _Allegro Scherzando_.
+  Pierné,            _Cradle Song_.
+  Pierné,            _Improvista_.
+  Reinhold,          _Impromptu_.
+  Rimsky-Korsakov,   _Romance in A flat_.
+  Stcherbatcheff,    _Orientate_.
+  Ten Brink,         _Gavotte in E minor_.
+  Van Westerhout,    _Gavotte in A_.
+  Van Westerhout,    _Momenta Capriccioso_.
+
+All Published by Arthur P. Schmidt.
+
+
+The following compositions were arranged for Male-Voice Choir by
+MacDowell:--
+
+  Beines,            _Spring Song_.
+  Borodine,          _Serenade_.
+  Filke,             _The Brook and the Nightingale_.
+  Moniuszko,         _The Cossack_.
+  Rimsky-Korsakov,   _Folk Song_.
+  Sokolow,           _Spring_.
+  Sokolow,           _From Siberia_.
+  Von Holstein,      _Bonnie Katrine_.
+  Von Woss,          _Under Flowering Branches_.
+
+All Published by Arthur P. Schmidt.
+
+
+MacDowell also wrote _Technical Exercises for the Pianoforte_ (_2
+Books_), in addition to the Studies comprising Ops. 39 and 46.
+They were at one time obtainable from Arthur P. Schmidt.
+
+
+
+
+
+TRANSCRIPTIONS.
+
+
+A number of well-known MacDowell pianoforte pieces have been
+transcribed for other instruments. The transcriptions are all
+published by Arthur P. Schmidt, and are as follows:--
+
+
+
+ORGAN.
+
+SIX TRANSCRIPTIONS, SERIES 1.
+
+By Frederick N. Shackley.
+
+  _Idylle_ (_Starlight, _Op. 55, No. 4_).
+
+  _Pastorale_ (_To a Wild Rose, _Op. 51, No. 1_).
+
+  _Romance_ (_At an Old Trysting Place, _Op. 51, No. 3_).
+
+  _Legend_ (_A Deserted Farm, _Op. 51, No. 8_).
+
+  _Reverie_ (_With Sweet Lavender, _Op. 62, No. 4_).
+
+  _Maestoso_ (_A.D. 1620, _Op. 55, No. 3_).
+
+
+
+SIX TRANSCRIPTIONS, SERIES 2.
+
+By C. Charlton Palmer.
+
+  _Nautilus_ (_Op. 55, No. 7_).
+
+  _Andantino_ (_Romance, _Op. 39, No. 3_).
+
+  _Sea Song_ (_Song, _Op. 55, No. 5_).
+
+  _Meditation_ (_By Smouldering Embers, _Op. 61, No. 6_).
+
+  _Mélodie_ (_To a Water Lily, _Op. 51, No. 6_).
+
+  _In Nomine Domini_ (_From Puritan Days, _Op. 62, No. 8_).
+
+
+
+VIOLIN AND PIANOFORTE.
+
+  _To a Humming Bird_ (_From Six Fancies_).
+
+  _To a Wild Rose_ (_From _Op. 51_). Original and simplified
+editions.
+
+  _Clair de Lune_ (_From _Op. 37_).
+
+  _With Sweet Lavender_ (_From _Op. 62_).
+
+
+
+VIOLONCELLO AND PIANOFORTE.
+
+WOODLAND SKETCHES. _Op. 51.
+
+Arranged by Julius Klengel.
+
+  _To a Wild Rose_.
+
+  _At an Old Trysting Place_.
+
+  _To a Water-Lily._
+
+  _A Deserted Farm_.
+
+  _Told at Sunset_.
+
+
+
+SELECTED ALBUMS.
+
+Useful albums for those who desire an introduction to MacDowell's
+music are as follows:--
+
+IN PASSING MOODS.
+
+Album of selected Pianoforte Pieces.
+
+  1. _Prologue_.
+
+  2. _Alia Tarantella_.
+
+  3. _An Old Love Story_.
+
+  4. _Melody_.
+
+  5. _The Song of the Shepherdess_.
+
+  6. _A Deserted Farm_.
+
+  7. _To the Sea_.
+
+  8. _Danse Andalouse_.
+
+  9. _From a Log Cabin_.
+
+ 10. _Epilogue_.
+
+
+
+ALBUM OF SELECTED SONGS.
+
+(Low or High Voice.)
+
+ 1. _Thy Beaming Eyes_.
+
+ 2. _The Swan Bent Low_.
+
+ 3. _O Lovely Rose_.
+
+ 4. _Deserted_.
+
+ 5. _Slumber Song_.
+
+ 6. _A Maid Sings Light_.
+
+ 7. _To a Wild Rose_.
+
+
+
+
+
+MACDOWELL LITERATURE.
+
+
+MacDowell's _Critical and Historical Essays_ (_Lectures delivered
+at Columbia University_), referred to earlier in this book, are
+published in America by Arthur P. Schmidt and in England by
+Macmillan & Co., Ltd. His _Verses_, a book of beautiful poetic
+inspirations, is published solely by Arthur P. Schmidt. An
+enthusiastic study of MacDowell, by Lawrence Gilman, an American
+musical critic, is published by John Lane & Co., in New York and
+London. Arthur P. Schmidt & Elkin & Co. stock all three books.
+
+
+
+EDGAR THORN PIECES.
+
+
+The following pieces were published by MacDowell under the
+pseudonym of _Edgar Thorn_. He stipulated that the royalties
+resulting from their sale should be paid to a nurse who was at
+one time needed in his household. They are mature pieces,
+although slight in form.
+
+
+
+AMOURETTE, FOR PIANOFORTE.
+
+This is a charming piece, published separately. It is
+characteristic, although not deeply inspired.
+
+
+FORGOTTEN FAIRY TALES, FOR PIANOFORTE.
+
+_First Published_, 1897 (P. L. Jung). Assigned, 1899, to Arthur
+P. Schmidt,
+
+  1._Sung Outside the Prince's Door_.
+
+  2. _Of a Tailor and a Bear_.
+
+  3. _Beauty in the Rose-Garden._
+
+  4. _From Dwarf-land._
+
+These trifles are of a refined and genuinely poetical order,
+possessing all the composer's suggestive tone poetry in a light
+garb.
+
+1. _Sung Outside the Prince's Door (Softly, wistfully)._ This
+opens with a tender and expressive theme. The middle section,
+_Pleadingly_, is described by this indication. Altogether, the
+piece is a little gem, full of sweet and wistful expressiveness.
+
+2. _Of a Tailor and a Bear (Gaily, pertly)._ This is a fanciful
+little piece, the antics of the bear being happily suggested. The
+tunes are lively and the whole thing has a delightful old-world
+atmosphere about it. Some of the marks of expression are very
+characteristic, including, _Growlingly, clumsily_, etc.
+
+3._Beauty in the Rose-Garden (Not fast;_ _sweetly and simply)._ A
+pleading little theme opens this number. The middle section,
+indicated _Well marked, almost roughly_, has a touch of passion
+in its feeling. The resumption of the opening tune is marked
+_Sadly_, and the piece concludes rather beautifully, with great
+tenderness.
+
+4. _From Dwarf-land (Merrily, quaintly)._ This opens with a merry
+theme, and is full of quaint and delightful little touches.
+
+
+
+TWO PIECES, IN LILTING RHYTHM, FOR PIANOFORTE.
+
+These two pieces are explained by their titles and are of little
+importance.
+
+
+
+SIX FANCIES, FOR PIANOFORTE.
+
+_First Published_, 1898 (P.L. Jung). Assigned 1899, to Arthur P.
+Schmidt.
+
+ 1. _A Tin Soldier's Love_.
+
+ 2 ._To a Humming Bird_.
+
+ 3. _Summer Song_.
+
+ 4. _Across Fields_.
+
+ 5. _Bluette_.
+
+ 6. _An Elfin Round_.
+
+This is a characteristic album, the pieces in it being
+imaginative and suggestive, in tone poetry, of their subjects,
+although not of the composer's deepest inspiration.
+
+1._A Tin Soldier's Love (Gently, with Feeling)._ This little
+piece opens with a sweet and simple theme, followed by a toy-like
+march tune, and these make up the material of the piece.
+
+2. _To a Humming Bird (As fast and light as possible)._ There is
+nothing very striking about this piece. It is imaginative, and
+when played at the required speed, with lightness of touch, is
+effective. It has been arranged as a violin solo with pianoforte
+accompaniment.
+
+3. _Summer Song (Not fast)._ This is characteristic of MacDowell
+in its clear-sounding harmonies, and has a certain charm and
+fragrance of its own.
+
+4. _Across Fields (Lightly and joyously)._ This piece opens with
+a happy and characteristic tune. The whole atmosphere suggested
+in its two pages is singularly bright, sunny and fresh.
+
+5. _Bluette (Gracefully)._ This is the most MacDowell-like piece
+of the _Six Fancies_, some of its rich harmonies and characteristic
+key transitions being reminiscent of the composer's finer work.
+
+6. _An Elfin Round (Very swift and light)._ The full effect of
+this piece can only be felt if it is played at a great speed,
+with extreme lightness of touch. The feeling is not very deep, as
+the occasion does not demand it, but it is a fanciful and
+suggestive little creation.
+
+
+
+PART-SONGS.
+
+(Published under the Pseudonym of Edgar Thorn.)
+
+  _The Witch_.
+
+  _War Song_.
+
+  _The Rose and the Gardener_.
+
+  _Love and Time_.
+
+All Published by Arthur P. Schmidt.
+
+These part-songs are extremely interesting and effective,
+particularly in the MacDowell-like manner in which they convey
+musical suggestions of their literary content.
+
+
+
+
+
+ALPHABETICAL INDEX TO MACDOWELL'S WORKS
+
+
+The works of MacDowell are reviewed in this book in order of
+_opus_ number, and the following index will enable the reader to
+find the account of any piece of which he knows the title, but
+not the number. Works without opus numbers are dealt with after
+those having one.
+
+
+TITLE:                                             OPUS NO.
+
+ORCHESTRAL WORKS:
+
+First Symphonic Poem, Hamlet and Ophelia,              22
+
+Second Symphonic Poem, Lancelot and Elaine,            25
+
+Third Symphonic Poem, Lamia,                           29
+
+First Suite, in A minor,                               42
+  _In a Haunted Forest_
+  _Summer Idyl_
+  _In October_
+  _The Song of the Shepherdess_
+  _Forest Spirits_
+
+Second Suite, Indian                                   48
+  _Legend_
+  _Love-Song_
+  _In War Time_.
+  _Dirge_
+  _Village Festival_
+
+Two Fragments, The Saracens and the Lovely Alda        30
+
+
+
+PART-SONGS:
+
+Barcarolle (Mixed chorus and Piano duet)               44
+
+Summer Wind (Female Voices)                          none
+
+Three Choruses (Male Voices)                           52
+  _Hush, hush_!
+  _A Voice from the Sea_
+  _The Crusaders_
+
+Three Part-songs (Male Chorus)                         27
+  _In the Starry Sky Above Us_
+  _Springtime_
+  _The Fisherboy_
+
+Two Choruses (Male Voices)                             53
+  _Bonnie Ann_
+  _The Collier Lassie_
+
+Two Choruses (Male Voices)                             54
+  _A Ballad of Charles the Bold_
+  _Midsummer Clouds_
+
+Two College Songs (Female Voices)                    none
+  _Alma Mater_
+  _At Parting_
+
+Two Northern Part-songs (Mixed Chorus)                 43
+  _The Brook_
+  _Slumber Song_
+
+Two Part-songs (Male Chorus)                           41
+  _Cradle Song_
+  _Dance of the Gnomes_
+Two Songs from the Thirteenth Century (Male Chorus)  none
+  _Winter Wraps his Grimmest Spell_
+  _As the Gloaming Shadows Creep_
+
+Published under the Pseudonym of Edgar Thorn         none
+  _The Witch_
+  _War Song_
+  _The Rose and the Gardener_
+  _Love and Time_
+
+
+
+PIANOFORTE WORKS:
+
+Air and Rigaudon                                       49
+Amourette                                            none
+Etude de Concert, in F sharp                           36
+
+Fireside Tales                                         61
+  _An Old Love Story_
+  _Of Br'er Rabbit_
+  _From a German Forest_
+  _Of Salamanders_
+  _A Haunted House_
+  _By Smouldering Embers_
+
+First Concerto, in A minor (With Orchestra)            15
+
+First Modern Suite                                     10
+  _Praeludium_
+  _Presto_
+  _Andantino and Allegretto_
+  _Intermezzo_
+  _Rhapsody_
+  _Fugue_
+
+First Sonata, Tragica                                  45
+
+Forest Idyls                                           19
+  _Forest Stillness_
+  _Play of the Nymphs_
+  _Rêverie_
+  _Dance of the Dryads_
+
+Forgotten Fairy Tales (_Published under the
+  Pseudonym of Edgar Thorn_)                         none
+  _Sung Outside the Prince's Door_
+  _Of a Tailor and a Bear_
+  _Beauty in the Rose Garden_
+  _From Dwarf-land_
+
+Four Little Poems,                                     32
+  _The Eagle_
+  _The Brook_
+  _Moonshine_
+  _Winter_
+
+Four Pieces,                                           24
+  _Humoresque_
+  _March_
+  _Cradle Song_
+  _Czardas_
+
+Fourth Sonata, Keltic,                                 59
+
+From the Eighteenth Century (Transcriptions
+for Pianoforte of Harpsichord and Clavichord
+pieces),                                             none
+
+In Lilting Rhythm (Two Pieces) (_Published
+under the Pseudonym of Edgar Thorn)_,                none
+
+Les Orientales,                                        37
+  _Clair de Lune_
+  _Dans le Hamac_
+  _Danse Andalouse_
+
+Marionettes,                                           38
+  _Prologue_
+  _Soubrette_
+  _Lover_
+  _Witch_
+  _Clown_
+  _Villain_
+  _Sweetheart_
+  _Epilogue_
+
+Moon Pictures (Duets),                                 21
+  _The Hindoo Maiden_
+  _Stork's Story_
+  _In Tyrol_
+  _The Swan_
+  _Visit of the Bear_
+
+New England Idyls,                                     62
+  _An Old Garden_
+  _Mid-Summer_
+  _Mid-Winter_
+  _With Sweet Lavender_
+  _In Deep Woods_
+  _Indian Idyl_
+  _To an Old White Pine_
+  _From Puritan Days_
+  _From a Log Cabin_
+  _The Joy of Autumn_
+
+Prelude and Fugue,                                     13
+
+Sea Pieces,                                            55
+  _To the Sea_
+  _From a Wandering Iceberg_
+  _A.D. 1620_
+  _Starlight_
+  _Song_
+  _From the Depths_
+  _Nautilus_
+  _In Mid-Ocean_
+
+Second Concerto, in D minor (With Orchestra),          23
+
+Second Modern Suite,                                   14
+  _Præludium_
+  _Fugato_
+  _Rhapsody_
+  _Scherzino_
+  _March_
+  _Fantastic Dance_
+
+Second Sonata, Eroica,                                 50
+
+Serenata,                                              16
+
+Six Fancies (_Published under the Pseudonym of
+Edgar Thorn_), none
+
+  _A Tin Soldier's Love_
+  _To a Humming Bird_
+  _Summer Song_
+  _Across Fields_
+  _Bluette_
+  _An Elfin Round_
+
+Six Idyls (after Goethe),                              28
+  _In the Woods_
+  _Siesta_
+  _To the Moonlight_
+  _Silver Clouds_
+  _Flute Idyls_
+  _Bluebell_
+
+Six Little Pieces on Sketches by J.S. Bach,          none
+  _Courante_
+  _Menuet_
+  _Gigue_
+  _Menuet_
+  _Menuet_
+  _Marche_
+
+Six Poems after Heine including,                       31
+  _Scotch Poem_
+  _Poeme érotique_
+
+Technical Exercises for the Pianoforte,              none
+
+Third Sonata, Norse,                                   57
+
+Three Poems (Duets),                                   20
+  _Nights at Sea_
+  _Tale of the Knights_
+  _Ballade_
+
+Twelve Studies for the Development of Technique and
+Style,                                                 39
+  _Hunting Song_
+  _Alla Tarantella_
+  _Romance_
+  _Arabeske_
+  _In the Forest_
+  _Dance of the Gnomes_
+  _Idyl_
+  _Shadow Dance_
+  _Intermezzo_
+  _Melody_
+  _Scherzino_
+  _Hungarian_
+
+Twelve Virtuoso Studies                                46
+  _Novelette_
+  _Moto Perpetuo_
+  _Wild Chase_
+  _Improvisation_
+  _Elfin Dance_
+  _Valse Triste_
+  _Burlesque_
+  _Bluette_
+  _Traumerei_
+  _March Wind_
+  _Impromptu_
+  _Polonaise_
+
+Two Fantastic Pieces                                   17
+  _Legend Witches' Dance (Hexentanz_)
+
+Two Pieces                                             18
+  _Barcarolle Humoresque_
+
+Woodland Sketches                                      51
+  _To a Wild Rose_
+  _Will o' the Wisp_
+  _At an Old Trysting Place_
+  _In Autumn_
+  _From an Indian Lodge_
+  _To a Water-lily_
+  _From Uncle Remus_
+  _A Deserted Farm_
+  _By a Meadow Brook_
+  _Told at Sunset_
+
+
+
+SONGS:
+
+Eight Songs_                                           47
+  _The Robin Sings in the Apple Tree_
+  _Midsummer Lullaby_
+  _Folk Song_
+  _Confidence_
+  _The West Wind Croons in the Cedar_
+  _Trees_
+  _In the Woods_
+  _The Sea_
+  _Through the Meadow_
+
+Five Songs _                                      10 & 11
+  _My Love and I_
+  _You Love Me Not_!
+  _In the Sky, where Stars are Glowing_
+  _Night Song_
+  _The Chain of Roses_
+
+Four Songs
+  _Long Ago, Sweetheart Mine_
+  _The Swan Bent Low to the Lily_
+  _A Maid Sings Light_
+  _As the Gloaming Shadows Creep_
+
+From an Old Garden                                     26
+  _The Pansy_
+  _The Myrtle_
+  _The Clover_
+  _The Yellow Daisy_
+  _The Bluebell_
+  _The Mignonette_
+
+Six Love Songs                                         40
+  _Sweet Blue-Eyed Maid_
+  _Sweetheart, Tell Me_
+  _Thy Beaming Eyes_
+  _For Sweet Love's Sake_
+  _0, Lovely Rose_
+  _I Ask But This_
+
+Three Songs                                            33
+  _Prayer_
+  _Cradle Hymn_
+  _Idyl_
+
+Three Songs                                            58
+  _Constancy_
+  _Sunrise_
+  _Merry Maiden Spring_
+
+Three Songs                                            60
+  _Tyrant Love_
+  _Fair Springtide_
+  _To the Golden-rod_
+
+Two Old Songs                                           9
+  _Deserted_
+  _Slumber Song_
+
+Two Songs                                              34
+  _Menie_
+  _My Jean_
+
+
+
+VIOLONCELLO AND ORCHESTRA:
+
+Romance                                                35
+
+
+
+
+
+Printed in Great Britain at The Devonshire Press, Torquay.
+
+*** END OF THE PROJECT GUTENBERG EBOOK 14185 ***
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+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
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+
+No investigation has been made concerning possible copyrights in
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+status under the laws that apply to them.
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #14185 (https://www.gutenberg.org/ebooks/14185)
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+The Project Gutenberg eBook, Edward MacDowell, by John F. Porte
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Edward MacDowell
+
+Author: John F. Porte
+
+Release Date: November 28, 2004  [eBook #14185]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK EDWARD MACDOWELL***
+
+
+E-text prepared by David Newman, Keith M. Eckrich, and the Project
+Gutenberg Online Distributed Proofreading Team
+
+
+
+EDWARD MACDOWELL
+
+A Great American Tone Poet, His Life and Music
+
+by
+
+JOHN F. PORTE
+
+Author of _Edward Elgar_, _Sir Charles V. Stanford_, etc.
+
+With a Portrait of Edward MacDowell and Musical Illustrations in
+the Text
+
+New York:
+E.P. Dutton & Company
+681 Fifth Avenue
+
+1922
+
+
+
+
+
+
+
+_I do like the works of the American composer MacDowell! What a
+musician! He is sincere and personal--what a poet--what exquisite
+harmonies!--Jules Massenet._
+
+
+_I consider MacDowell the ideally endowed composer.--Edvard
+Grieg._
+
+
+
+[Illustration]
+
+
+
+
+FROM MACDOWELL'S COLUMBIA UNIVERSITY LECTURES.
+
+(Published as _Critical and Historical Essays_).
+
+
+_For it is in the nature of the spiritual part of mankind to
+shrink from the earth, to aspire to something higher; a bird
+soaring in the blue above us has something of the ethereal; we
+give wings to our angels. On the other hand, a serpent impresses
+us as something sinister. Trees, with their strange fight against
+all the laws of gravity, striving upward unceasingly, bring us
+something of hope and faith; the sight of them cheers us. A land
+without trees is depressing and gloomy.
+
+In spite of the strange twistings of ultra modern music, a simple
+melody still embodies the same pathos for us that it did for our
+grandparents.
+
+We put our guest, the poetic thought, that comes to us like a
+homing bird from out the mystery of the blue sky--we put this
+confiding stranger straightway into that iron bed, the "sonata
+form," or perhaps even the third rondo form, for we have quite an
+assortment. Should the idea survive and grow too large for the
+bed, and if we have learned to love it too much to cut off its
+feet and thus make it fit (as did that old robber of Attica), why
+we run the risk of having some critic wise in his theoretical
+knowledge, say, as was and is said of Chopin, "He is weak in
+sonata form!"
+
+In art our opinions must, in all cases, rest directly on the
+thing under consideration and not on what is written about it.
+Without a thorough knowledge of music, including its history and
+development, and, above all, musical "sympathy," individual
+criticism is, of course, valueless; at the same time the
+acquirement of this knowledge and sympathy is not difficult, and
+I hope that we may yet have a public in America that shall be
+capable of forming its own ideas, and not be influenced by
+tradition, criticism, or fashion.
+
+Every person with even the very smallest love and sympathy for art
+possesses ideas which are valuable to that art. From the tiniest
+seeds sometimes the greatest trees are grown. Why, therefore,
+allow these tender germs of individualism to be smothered by that
+flourishing, arrogant bay tree of tradition--fashion, authority,
+convention, etc.
+
+No art form is so fleeting and so subject to the dictates of
+fashion as opera. It has always been the plaything of fashion,
+and suffers from its changes.
+
+Always respectable in his forms, no one else could have made
+music popular among the cultured classes as could Mendelssohn.
+This also had its danger; for if Mendelssohn had written an opera
+(the lack of which was so bewailed by the Philistines), it would
+have taken root all over Germany, and put Wagner back many years.
+
+Handel's great achievement (besides being a fine composer) was to
+crush all life out of the then promising school of English music,
+the foundation of which had been so well laid by Purcell, Byrd,
+Morley, etc._
+
+(On Mozart). _His later symphonies and operas show us the man at
+his best. His piano works and early operas show the effect of the
+"virtuoso" style, with all its empty concessions to technical
+display and commonplace, ear-catching melody ... He possessed a
+certain simple charm of expression which, in its directness, has
+an element of pathos lacking in the comparatively jolly
+light-heartedness of Haydn.
+
+Music can invariably heighten the poignancy of spoken words
+(which mean nothing in themselves), but words can but rarely, in
+fact I doubt whether they can ever, heighten the effect of
+musical declamation.
+
+To hear and enjoy music seems sufficient to many persons, and an
+investigation as to the causes of this enjoyment seems to them
+superfluous. And yet, unless the public comes into closer touch
+with the tone poet than the objective state which accepts with
+the ears what is intended for the spirit, which hears the sounds
+and is deaf to their import, unless the public can separate the
+physical pleasure of music from its ideal significance, our art,
+in my opinion, cannot stand on a sound basis.
+
+Music contains certain elements which affect the nerves of the
+mind and body, and thus possesses the power of direct appeal to
+the public--a power to a great extent denied to the other arts.
+This sensuous influence over the hearer is often mistaken for the
+aim and end of all music.... In declaring that the sensation of
+hearing music was pleasant to him, and that to produce that
+sensation was the entire mission of music, a certain English
+Bishop placed our art on a level with good things to eat and
+drink. Many colleges and universities of America consider music
+as a kind of boutonnière.... Low as it is, there is a possibility
+of building on such an estimate. Could such persons be made to
+recognize the existence of decidedly unpleasant music, it would
+be the first step toward a proper appreciation of the art and its
+various phases.
+
+In my opinion, Johann Sebastian Bach, one of the world's
+mightiest tone poets, accomplished his mission, not by means of
+the contrapuntal fashion of his age, but in spite of it. The laws
+of canon and fugue are based upon as prosaic a foundation as
+those of the rondo and sonata form; I find it impossible to
+imagine their ever having been a spur or an incentive to poetic
+musical speech.
+
+Overwhelmed by the new-found powers of suggestion in tonal tint
+and the riot of hitherto undreamed of orchestral combinations, we
+are forgetting that permanence in music depends upon melodic
+speech._
+
+
+
+
+PREFACE
+
+
+Owing to the high cost of book production at the present time,
+the use of illustrations, both musical and photographic, has been
+restricted in this book. It was decided only to fully illustrate
+the analysis of MacDowell's "Indian" Suite for Orchestra, _Op.
+48_, this being a work less accessible to the general reader than
+the composer's well known pianoforte pieces.
+
+The author gratefully acknowledges the help of:--
+
+Mrs. MacDowell--Information and gift of MacDowell portraits, an
+original letter and a piece of MS. of the composer.
+
+Mr. W.W.A. Elkin--Information and loan of scores.
+
+Mr. Charlton Keith--Loan of _D minor Pianoforte Concerto_.
+
+Messrs. J. and W. Chester, Ltd.--Information.
+
+
+
+
+CONTENTS
+
+
+
+
+BIOGRAPHICAL SKETCH
+
+MACDOWELL AS COMPOSER
+
+MACDOWELL THE MAN
+
+THE MACDOWELL COLONY
+
+REPRODUCTION OF A MACDOWELL LETTER
+
+THE MUSIC:
+
+  WORKS WITH OPUS NUMBERS
+
+  WORKS WITHOUT OPUS NUMBERS
+
+ALPHABETICAL INDEX TO MACDOWELL'S WORKS
+
+
+
+
+
+EDWARD MACDOWELL
+
+BIOGRAPHICAL SKETCH
+
+
+EDWARD ALEXANDER MACDOWELL was born in New York City, U.S.A., on
+December 18th, 1861, of American parents descended from a Quaker
+family of Scotch-Irish extraction who emigrated to America about
+the middle of the 18th Century. He was their third son. As a boy
+he studied the pianoforte with Juan Buitrago, a South American,
+Pablo Desvernine, a Cuban, and for a short time with the famous
+Venezuelan pianist, Teresa Carreño. He also indulged in childish
+composition on his own account. He was not a "wonderful" pupil
+and did not like the drudgery of practising "exercises."
+
+When he was fourteen years of age he went to France, accompanied
+by his mother, to study pianoforte playing and the theory of
+music at the Paris Conservatoire under Marmontel and Savard
+respectively. Here one of his fellow students was Debussy, even
+then looked upon as having curious and unconventional ideas on
+his art.
+
+MacDowell had also to learn the French language, and the person
+who taught him French discovered that the young American had a
+decided gift for drawing. He showed one of the boy's sketches to
+a teacher at the School of Fine Arts, who offered to take the boy
+as a pupil for three years free of charge, and to be responsible
+for his maintenance during that time.
+
+With his striking imaginative powers and love of Nature, and his
+appreciation of Historical and Legendary lore, it is very
+probable that MacDowell might have become distinguished as a
+painter had he applied himself to painting, for he was a born
+artist and very fond of sketching, but he refused the offer on
+the advice of his music teachers, and continued his studies at
+the Conservatoire.
+
+After persevering for a couple of years he grew dissatisfied with
+the tuition he was receiving, and upon hearing Nicholas
+Rubinstein play, he determined to go elsewhere.
+
+Careful discussion with his mother resulted in their selection of
+Stuttgart, Germany, whither they accordingly removed, MacDowell
+entering the Conservatorium there. Here he was soon convinced,
+however, that the instruction given there was of no use to him,
+and after having studied under Lebert and Louis Ehlert and having
+been refused a hearing by Hans von Büllow, he left Stuttgart and
+entered the Frankfort Conservatorium, where his teachers were
+Raff, the Principal, for composition, and Carl Heymann for
+pianoforte playing. Raff was kind and encouraging to the young
+American, and once said to him, "Your music will be played when
+mine is forgotten." The influence of Raff's teaching is evident
+in a number of MacDowell's early compositions, especially the
+_Forest Idyls, Op. 19_, and the _First Suite for Orchestra, Op.
+42_.
+
+In 1881 Heyman resigned and nominated MacDowell as his successor,
+a proposal seconded by Raff. The gifted American, however,
+possessed the criminal fault, in the eyes of jealous and
+intolerant old men, of being young; the fact that he was quite
+capable of filling the vacant post was, to them, a secondary
+consideration, and he was rejected.
+
+He now began to take private pupils, and among them was an
+American girl, Marian Nevins, who was to become his wife about
+three years afterwards; the _Forest Idyls, Op. 19_, are dedicated
+to her. Although he had failed to obtain the vacant professorship
+at Stuttgart, MacDowell was appointed head teacher of the
+pianoforte at the Conservatorium in the neighbouring town of
+Darmstadt. His work here was soul-killing in its drudgery and he
+soon relinquished it.
+
+Apart from his teaching labours, MacDowell had, in the meantime,
+been composing steadily, and had also been appearing at local
+orchestral concerts as solo pianist, and in 1882 Raff sent him to
+Liszt armed with his _First Pianoforte Concerto, Op. 15_. The
+mighty old Hungarian praised the work highly and also seemed
+impressed with MacDowell's playing. He was kind to the struggling
+young American, eventually accepted the dedication of the
+concerto, and recommended the performance and publication of some
+of MacDowell's earlier compositions, notably the _First Modern
+Suite, Op. 10_, and the _Second Modern Suite, Op. 14_.
+
+Composition now became more and more the dominating feature in
+the development of MacDowell's musical genius, although he was
+still obliged to teach for his living.
+
+He was fortunate in being able to persuade local conductors to
+try over his orchestral works, a thing that was practically
+impossible in his own country, as he afterwards found. In June,
+1884, he returned to the United States, and in the following
+month (July 21st) he married his former pianoforte pupil, Marian
+Nevins, in whom he was to find complete happiness and a devoted
+companion and sympathiser. In the same year Mr. and Mrs.
+MacDowell returned to Frankfort, after having visited England.
+
+In 1885 MacDowell applied for a professorship at the English
+Royal Academy of Music, but Lady Macfarren, wife of the
+Principal, was instrumental in securing his rejection on account
+of his youth, nationality and friendship with Liszt, who, in
+English Victorian academic eyes, was too "modern."
+
+In 1887 MacDowell and his wife, they having returned to Germany,
+bought a little cottage in the woods some distance from
+Wiesbaden. They were very friendly with Templeton Strong, another
+American composer, some of whose works have been played at the
+Queen's Hall Promenade Concerts in London.
+
+In September, 1888, the MacDowells sold their German cottage and
+returned to their native country, electing to make their home in
+Boston, Mass.
+
+MacDowell found that his European reputation and his music had
+preceded him to America, and he was well received on the occasion
+of his first concert in his native country. Most notable were his
+successes when he played his _Second Pianoforte Concerto, in D
+minor_ (_Op_. 23), at important orchestral concerts in New York
+and Boston.
+
+In 1889 MacDowell played his D minor concerto in Paris, where
+more than twelve years before he had been a student, and it was
+after his return from this visit to France that his fame as a
+pianist and composer began to spread freely in America. In 1890
+his _Second Symphonic Poem, Lancelot and Elaine_ (_Op_. 25), was
+played under Nikisch at Boston.
+
+The year 1891 was a successful one for MacDowell, for it saw two
+performances of a large orchestral work, _First Suite, in A
+minor_, he had just completed; the production of his symphonic
+_Fragments_ (_Op_. 30); and his first pianoforte recital in
+America.
+
+MacDowell's prestige continued to grow steadily. He was
+invariably received with enthusiasm on the numerous occasions of
+his public appearances as a pianist, while each new composition
+he issued was remarkably well received by the public and the
+newspaper musical critics. The Boston Symphony Orchestra was
+especially encouraging to him, placing both his _"Indian" Suite,
+Op. 48_, and his _First Concerto, in A minor, Op. 15_, on the
+programme of one of its New York concerts. Teresa Carreño, the
+famous pianist from whom he had had a few lessons when a boy,
+played some of his music at most of her recitals. She was also
+instrumental, with the ready help of Sir (then Mr.) Henry J.
+Wood, in making MacDowell's D minor concerto known in England.
+The popular London Queen's Hall conductor was impressed with the
+work, and has ever since recommended it to budding young pianists
+as a concerto worth studying.
+
+The occasion of MacDowell's performance of his D minor concerto
+with the Philharmonic Society of New York on December 14th, 1894,
+is worthy of note. He then achieved one of the most conspicuous
+triumphs of his career. His playing was described by Henry T.
+Finck, the distinguished American musical critic, as being of
+"that splendid kind of virtuosity which makes one forget the
+technique." MacDowell received a tremendous ovation such as was
+accorded only to a popular prima donna at the opera, or to a
+famous virtuoso of international reputation. The musical critics
+generally agreed that the fine feeling and the power of the
+concerto was as responsible for his remarkable success before the
+critical Philharmonic audience as his playing of it. The
+conductor was Anton Seidl.
+
+A few months after the above event, MacDowell created a deep
+impression in the same city by his playing of his _Sonata
+Tragica, Op. 45_, and some smaller pieces.
+
+In 1896 he bought some land near Peterboro, in the south of the
+state of New Hampshire. In addition to a music room connected by
+a passage with the house, he built a log cabin in the woods near
+by, where he could compose in the solitude that was needed for
+the transcribing of his dreams and inspirations into permanent
+music form.
+
+In the same year (1896) it was decided to found a department of
+music at Columbia University, New York, and MacDowell, described
+by the committee formed to appoint a Professor of Music as "the
+greatest musical genius America has produced," was offered the
+distinguished, but as it proved, laborious task of organising the
+new department. After some hesitation he accepted the post, as it
+would afford him an income free from the precariousness of
+private teaching.
+
+In a letter to the writer, Mrs. MacDowell says: "In taking the
+position of Professor of Music at Columbia University, Mr.
+MacDowell went into an environment quite different from anything
+he had ever experienced before. He had no University training, no
+knowledge of its methods, and brought to his work an enthusiasm
+and freshness which eventually meant overcrowded class rooms."
+
+During his vacation from the University in 1902-3, he undertook a
+great concert tour of the United States, going as far west as San
+Francisco. In 1903 he visited England, and on May 14th played his
+D minor pianoforte concerto at a concert of the Royal Philharmonic
+Society in Queen's Hall, London.
+
+In 1904 he resigned from Columbia because of a disagreement with
+the faculty concerning the proper position of music and the fine
+arts in the curriculum. His plans for a freer and greater
+relationship between University teaching and liberal public
+culture were considered impracticable and the authorities
+rejected them. MacDowell's attitude in the matter was criticised,
+misunderstood and misrepresented at the time. He was even accused
+of neglecting the duties of the position he held, whereas, as it
+afterwards transpired, he had laboured ungrudgingly at his task.
+It is pleasant to know that his students were among the first to
+uphold his character. His patience, his droll criticisms, and the
+illuminating quality of his teaching endeared him to all who
+studied under him.
+
+MacDowell was bitterly disappointed and hurt at the unfavourable
+reception of his reforming plans, but until the beginning of his
+fatal illness shortly afterwards, he continued his teaching
+privately, even giving free lessons to deserving students in
+whose talent he had faith.
+
+His lectures at Columbia University are preserved in permanent
+form under the title of _Critical and Historical Essays_. In a
+letter to the writer, Mrs. MacDowell says of the volume, "I think
+my husband would have felt that just such a title implies a more
+finished product than one finds, but after his death the demand
+was very great among his old students that these notes might be
+preserved in permanent form ... Mr. MacDowell had an extraordinary
+memory, and seldom had more than mere notes in delivering his
+lectures. Occasionally in preparing the lectures, without quite
+realising it, he dictated far more than he had intended, not
+always using this material in his class room. These Essays
+represent the result of what he dictated to me as he walked up
+and down his music room trying to crystallize his ideas; they were
+printed unedited. I sometimes think one reads in between the lines
+of these Essays a good deal of what the man was himself."
+
+Although the time at his command was restricted, the eight years
+of MacDowell's Columbia professorship saw the composition of most
+of his finest works. For two years he was conductor of the
+Mendelssohn Glee Club, one of the oldest and best Male-voice
+choruses in the United States, and was also, for a short time,
+President of the Manuscript Society, an association of American
+composers. Princeton University and the University of Pennsylvania
+conferred on him the honorary degree of Doctor of Music.
+
+In the spring of 1905, MacDowell began to suffer from nervous
+exhaustion. Overwork and morbid worry over disagreeable
+experiences, especially in connection with his resignation from
+Columbia, brought on insomnia. A quiet summer on his Peterboro
+property brought no improvement in his condition, and the eminent
+medical specialists who attended him soon pronounced his case to
+be a hopeless one of cerebral collapse. He should have rested
+earlier from both his crowded teaching and his composing.
+
+Slowly, but with terrible sureness, his brainpower was beginning
+to crumble away and his mind became as that of a little child.
+Day after day he would sit near a window, turning over the pages
+of one of his beloved books of fairy-tales, an infinitely moving
+and tragic figure.
+
+Time went by and the delicately poised intellect grew more and
+more dimmed, until at last he hardly recognised his dearest
+friends. A few months before the end his physical strength,
+hitherto well preserved, began to fail, until at last he sank
+rapidly, dying at 9 o'clock in the evening of January 23rd, 1908,
+at the age of forty-six, in the Westminster Hotel, New York, in
+the presence of his devoted wife.
+
+A simple service was later held at St. George's Episcopal Church,
+and he was buried on the Sunday following his death. His grave is
+on an open hilltop of his Peterboro property that he loved, and
+is marked by a granite boulder on which is a simple bronze tablet
+bearing the lines inscribed at the head of one of his last
+pieces, _From a Log Cabin_ (_Op_. 62, _No_. 9), an unconscious
+prophesy of his own tragic end:--
+
+  _A house of dreams untold,
+  It looks out over the whispering tree-tops
+  And faces the setting sun_.
+
+The last music that MacDowell published appeared in 1902, and
+indicated the beginning of a new and deeper note in his creative
+voice. He felt, too, that he was growing away from pianoforte
+work and had he lived there would have been further and more
+representative symphonic poems and at least one symphony from his
+pen, three movements of the latter being among his unfinished
+manuscripts. He had hoped for ultimate leisure in which to
+compose, free from the drudgery of earning his living by
+teaching, and his last great concert tour was undertaken with the
+idea of gathering money for the realisation of his dream.
+
+The death of MacDowell completed the blow which his failing
+brain-power had dealt to American music and his many sympathisers,
+between two and three years before. His spirit lives, however, in
+his music and in the wonderful MacDowell Colony at Peterboro, New
+Hampshire. The latter is an amazing realisation of the composer's
+dream of an ideal environment for creative work in Music, Art and
+Literature. A chapter describing the Colony will be found further
+on in this book. In addition to the central organisation, now
+known as _The Edward MacDowell Association, Incorporated_, there
+are springing up in many American cities offshoots known as
+MacDowell Clubs, which contribute towards the expenses of the
+Colony.
+
+
+
+
+MACDOWELL AS COMPOSER
+
+
+Macdowell's position to-day in creative musical art remains the
+same as it was twenty years ago--one of unassailable independence
+and individualism. Although these two factors, whether assailable
+or not, must be a feature of any composer who lays claim to
+greatness, in MacDowell's case they are so marked as to form the
+strongest bulwark of his natural position among great music
+makers. His tone poetry is of a quality and power that is not
+quite like that of any other composer, and in the portraying, or
+suggesting, as he preferred to call it, of Natural, Historical
+and Legendary subjects he stands alone. Superbly gifted as a
+lyrical poet both in the literary and the musical sense, and with
+a most refined and keen feeling for the dramatic, he spoke with a
+voice of singular eloquence and power. Probably his greatest
+achievement was his remarkable, unerring ability to create
+atmospheres of widely varied kinds in his music, and in this
+respect there is no composer quite his equal. The soft beauty,
+grandeur, vastness and might of Nature; the joys and sorrows of
+Humanity; the romance of History and imaginative Legend; the
+buoyancy of sunshine and wind; the mysteriousness of enchanted
+woods; all these he translated with inimitable vividness into
+music. He could suggest with as definite and unmistakable a
+musical atmosphere, the simple beauty of a little wild flower, as
+the might of the sea; as well the fanciful and imaginative scenes
+of fairy tale as the wild and lonely vastness of the great
+American prairies; as well the joviality and humour of his
+countrymen as the elemental strength, and rude, stern manliness
+of the North American Indian, and the heroic, stirring atmosphere
+of the ancient bards.
+
+That MacDowell was greater than is generally recognised in
+England is an opinion that increasingly forces itself on all who
+study and become closely acquainted with his best work. He is
+generally admitted to be great in small, lyrical forms, but it is
+insufficient to regard him merely as a miniaturist. The form of
+the well-known _Sea Pieces_ (_Op_. 55) for pianoforte is small,
+for example, and yet the material is big and grand enough for
+symphonic work. The equally well-known _Woodland Sketches, Op.
+51_, contain pieces of charming and delicate conception, as well
+as broader writing, and can hardly be considered as the products
+of a restricted inspiration. The poetry is so unmistakably fresh
+and individual, and the atmosphere so vividly suggested, that the
+ability of the composer to condense his material into such small
+compass is remarkable to even the most casual observer. Far from
+shewing weakness, the small form of MacDowell's compositions is a
+proof of his strength, for few other composers have been able to
+suggest such big scenes, often of far-reaching and wide
+significance, on such small canvasses as those on which he
+painted his tone poems.
+
+The outstanding reason for his preference for writing albums of
+short pieces (partly due, no doubt, to lack of time for more
+extended work) was that he loved to seize a passing impression or
+inspiration and to express it in music before it faded from his
+mind. Nearly all his small pieces are musical photographs of the
+fancies of an impressionable and sensitive imagination.
+
+The criticism sometimes heard that he was only good in small
+forms is, however, based on a fallacy due to an imperfect
+acquaintance with his work and is completely shattered by the
+indisputable greatness of his two concertos, of his four
+pianoforte sonatas and of the _"Indian" Suite_ for orchestra. The
+sonatas, although not all of equal value, comprise some of the
+finest pianoforte music in existence. They are notable for their
+passion, breadth of style, massive momentum, dramatic power and
+eloquence of expression. Admirers think them only equalled by
+such creations as Beethoven's _Sonata Appassionata_. It is
+curious that MacDowell's sonatas are infrequently performed, for
+they bring the resources of the modern pianoforte into full and
+sonorous play, sweeping the whole of the keyboard with their
+stirring expressions. It is possible that as they are not in
+general demand, the average virtuoso does not consider their
+technical difficulties worth conquering. Nay, it is even doubtful
+whether the pianist's mind could always rise to the heights of
+fervent poetry and imagination whither MacDowell was often
+carried and the memories of which are embodied in his finest
+music.
+
+As a tone poet MacDowell has none of the sensuous emotionalism
+that wins popularity in the drawing room and at the musical
+recitals of popular pianists. He is never sentimental and his
+strength and passion is always finely controlled, never feverish.
+His music is singularly free from the emotionalisms of sex, the
+love-impulse with him is always noble and restrained. In all his
+moods there is a human spirit and some definitely suggested
+content, the most notable purist exceptions being the two
+pianoforte concertos. His tone colourings are never used densely
+or oppressively, but only serve to heighten the suggestiveness of
+the whole. He loved the pianoforte as an instrument for personal
+melodic and harmonic expression, and understood the range of its
+tonal resources. His biggest music for it is written with very
+broad and extended chords, strong in character, but always
+wonderfully clear and ringing, and eminently suited for
+pianoforte sonority. His tone nuances range from a shadowy,
+mysterious _pppp_ to a virile, massive _ffff_.
+
+MacDowell's best orchestral composition is his _Second (Indian)
+Suite, Op_. 48. This is one of his most noble works, scored with
+masterly skill and vividly suggesting the great plains and
+forests, the wild and lonely retreats, the festivals, sorrows,
+rejoicings, and romances and also the stern, rude manliness of
+the North American Indians, whose pathetic annals form such a
+stirring page in American history. MacDowell also wrote three
+symphonic poems for orchestra, another suite, and some symphonic
+sketches.
+
+The songs of MacDowell make an important section of the catalogue
+of his works, and are chiefly notable for their beauty and
+tenderness of expression, and he was at his very best when
+writing in the pure lyric form. His efforts comprising Ops. 56,
+58 and 60 are of a rare and expressive order. He also composed a
+number of fine part-songs for male-voice choruses. Most of his
+best vocal works are set to his own verses, as he could seldom
+satisfy himself that words ally themselves naturally with music.
+
+Poetry furnishes a composer with inspiration for expression
+which, MacDowell felt, could not be clearly demonstrated in a
+small space, and that the music therefore is apt to distort the
+words if they are harnessed to it in song form. Most of
+MacDowell's finest pianoforte pieces bear verses in addition to
+titles, thus definitely indicating what the music is intended to
+suggest. His verses are of an uncommon and gifted order, for he
+was a true poet in both the literary and the musical sense. His
+poems were collected some years after his death and published
+under the title of _Book of Verses, by Edward MacDowell_. They
+are valuable for their own sake, quite apart from their
+connection with his music, and make very beautiful reading. A
+number of his wonderfully illuminating Columbia University
+lectures, to which we have referred more fully in the preceding
+chapter, were collected and edited by W.J. Baltzell and published
+in 1912 under the title of _Critical and Historical Essays
+(Lectures delivered at Columbia University) by Edward MacDowell_.
+
+MacDowell's work is of the kind that appeals intimately to those
+only who understand and feel the significance of things musical.
+His compositions are seldom mentioned in those terms of effusive
+adoration so often applied to the works of many well-known
+composers, neither do they figure largely in the recitals of
+popular pianists, for minds saturated with sensuous sentiment and
+the worship of tradition cannot easily follow his pure idealism
+and the significance of the things which he loved and expressed
+in his music. His compositions are "modern" in outlook, but
+remarkably free in spirit and never savour of the type of
+modernism that is little more than gilded pedanticism.
+
+Mention must be made of MacDowell as a pianist. He was capable of
+playing with remarkable swiftness of finger action, and his tone
+production ranged from the most delicate refinement to overwhelming
+floods of orchestral-like strength. In playing his larger works, he
+loved to make his music sweep in great waves, and to introduce the
+most wonderful contrasts and varieties of tone colour. At his
+recitals he played other music besides his own, and became
+distinguished as a pianist, although his interpretations were
+always more personal than traditional.
+
+
+
+
+MACDOWELL THE MAN
+
+
+The whole nature of MacDowell was singularly impressionable,
+imaginative, idealistic and romantic. He loved the beauty,
+grandeur and solemnity of Nature not only for its outward aspect,
+but for what he thought it symbolised. His sensitive character
+made him extremely sympathetic towards human nature, although he
+never used his understanding of his fellow men to cultivate by
+trickery or device their favour and praise. He loved and
+idealised the ancient days of romance and chivalry, when men
+lived the wonderful tales of heroism that are now discredited and
+fading before the materialism of modern civilisation, and in this
+respect he had an affinity with the English composer, Elgar. He
+derived enjoyment from fairy tales and folk-lore, and these were
+his apparent consolation in his tragic last years. He was a man
+of rare qualities, noble, sincere and unselfish to an extreme. He
+hated insincerity in any form, and if he had been more tolerant
+in this respect his path would have often been easier. He had a
+curious and charming love for the growing things and creatures of
+the woods, and although an excellent shot, he could never enjoy
+hunting or shooting, as it hurt him to kill birds or animals. He
+abhorred the copying, by Americans, of European aristocratic
+"sport," for the nobleness of his nature could not descend to the
+vicious customs of those only noble by assumption or in title.
+His intellectual bearing, his catholicity of tastes and his
+learning presented a striking contrast to the narrow outlook and
+brainlessness of the average high-brow type of musician, and in
+this respect again he was like Elgar.
+
+He dipped deeply into literature, both ancient and contemporary,
+and was always working out aesthetic and philosophic problems
+concerning music. His knowledge of his art would have done
+justice to a learned academician, though this he certainly was
+not, and he always held shrewdly formed opinions typical of his
+countrymen, on subjects that interested him. He had a healthy
+dislike of fashionable "at-homes" and dinner parties where music
+is "adored" and "loved" by those who may have a good knowledge of
+social matters, but who have little or no ability to comprehend
+the deeper significance and power of the art. In fact one
+suspects that they adopt high-class music chiefly in an attempt
+to indicate an intellectual status they do not possess. For
+sincere and able criticism, however, MacDowell always had respect
+and interest, and he was always touched by what he thought was
+honest praise and admiration. In quiet conversation he was the
+most charming of men, but in social gatherings he was ill at
+ease, and unable to take part in the tactful conversation and
+studied courtesies of society that make for success. His
+convictions were passionately idealistic, and he often stated
+them with a bluntness and utter lack of diplomacy that would have
+made Beethoven claim him as a brother; although MacDowell felt
+none of that old giant's bitterness towards Society. Where
+Beethoven felt contempt for even the praise of those he knew were
+not great enough to understand him, MacDowell was merely
+uncomfortable; both because he hated insincere attentions and
+because his modesty would seldom allow him to believe that he
+deserved even honest congratulations.[Note: When in London in
+1903, MacDowell was asked to give some recitals from his
+compositions, after the Philharmonic performance of his _D minor
+Piano Concerto_, but on seeing the heavy recital list at Wigmore
+(then Bechstein) Hall, he characteristically decided that nobody
+would want to hear his music after all the other pianists had
+played. His London publisher, Mr. W. Elkin. however, asked him to
+come the following year, which he promised to do, but his fatal
+illness intervened and he never saw England again.]
+
+He was often sarcastic, with the humour of his countrymen, but
+never bitter, and even when he was so cruelly misunderstood and
+misrepresented about his Columbia resignation, he was more hurt
+and disappointed than angry.
+
+In his private life MacDowell's was a healthy, manly and robust
+figure. He was fond of outdoor life, of riding and walking, and
+of the homely hobbies of gardening, photography and carpentry. He
+was fairly tall, broad-shouldered and powerfully built. His
+features were strong and intellectual, but a captivating twinkle
+and humour in his eyes and a frequent sweetness of expression
+prevented his being stern or forbidding. He had a natural, noble
+bearing and an unassuming, thoughtful dignity that often gave him
+a look of command.
+
+In short, MacDowell was as fine as a man as he was as a composer.
+He loved the traditions of the great Republic whose born citizen
+he was, and was hopeful of her future in all things, and for her art
+he worked nobly and unselfishly. He suffered from discouragement in
+an acute form, but worked steadily on with a simple, unshakable
+faith in his divine gifts. At the height of his fame he was never
+unapproachable, but always had a kindly thought for the struggling
+student of limited means; and although his plans at Columbia
+University were defeated, he gave free private lessons to poor
+students of talent. His noble and unselfish action in this regard
+has not often been equalled among past and present successful
+musicians. MacDowell was very modest about his work, but he was
+quite conscious of the greatness of his gifts, and he had the
+ambition to make a name, not merely for his own sake, but also that
+America might be able to hold up her head as proudly in music as she
+does in other things.
+
+The idea of purely personal fame seldom entered his head and when
+it did it made him rather uncomfortable, but his belief that he
+was gifted and destined to make a name for his country, sustained
+him in the struggle against the endless drudgery that always
+dogged the free use of his talents.
+
+One of MacDowell's dearest wishes was that America should have a
+musical public capable of judging in an intellectual, educated and
+sincere manner the merits of music and musicians, uninfluenced by
+traditions and reputations introduced from other countries. He
+wanted Americans to encourage their own men in Music, Art and
+Literature and not to respect a third-rate artist simply because
+he came from a foreign country having traditions of culture. He
+insisted on the American composer being treated on absolutely equal
+terms with the foreigner and according to his merits.
+
+
+
+
+THE MACDOWELL COLONY
+
+
+This account of that remarkable haven for creative artists known
+as the "MacDowell Colony," situated at Peterboro', New Hampshire,
+U.S.A., about three hours from Boston, is a reprint of the
+prospectus of the "Edward MacDowell Association." The Colony owes
+a great debt to the untiring enthusiasm and energy of Mrs.
+MacDowell, who also finds time to give frequent recitals in
+various American cities of her late husband's music. In the
+opinion of many who know of her work, she is only comparable to
+Madame Schumann, in her practical devotion to her great husband's
+music and to the realisation of his ideals.
+
+
+
+A DREAM COME TRUE
+
+
+Speaking of nationalism in music--and the remark holds true of
+nationalism in all the arts--Edward MacDowell once said: "Before
+a people can find a musical writer to echo its genius, it must
+first possess men who truly represent the people, that is to say,
+men who, being part of the people, love the country for itself,
+and put into their music what the nation has put into its life."
+
+When MacDowell defined the essentials of a characteristic
+national culture, he did not know that his name would one day be
+associated with an enterprise ideally fitted to supply these
+essentials. MacDowell had a dream which he hoped might be
+converted into reality. This dream was shaped by influences from
+two different sources--an abandoned farm in New Hampshire and the
+American Academy at Rome.
+
+He was one of the trustees of the American Academy at Rome. In
+this capacity he met intimately a remarkable group of men--John
+W. Alexander, Augustus St. Gaudens, Richard Watson Gilder,
+Charles McKim, and Frank D. Millet. Contact with these men proved
+an inspiration to MacDowell and convinced him that there was
+nothing more broadening to the worker in one art than affiliation
+with workers in the other arts.
+
+In 1895 MacDowell purchased an old farm in Peterborough. In the
+deep woods, about ten minutes from the little farmhouse he built
+a log cabin:
+
+  "A house of dreams untold
+  It looks out over the whispering tree-tops
+  And faces the setting sun."
+
+There he did much of his best work and there he liked to dream of
+a day when other artists could work in just such beautiful and
+peaceful surroundings. This is the dream that has come true.
+
+Until MacDowell went to Peterborough he had worked under the
+usual difficult conditions. During the winter he lived in the
+city amidst noisy surroundings; in the summer he went the rounds
+of country hotels and boarding-houses. Even the comparative
+independence of his own house never gave him the quiet and
+isolation that he craved at times, for there is no household
+whose wheels can be instantly adjusted to the needs of one
+member. For years MacDowell tried one makeshift after another
+until at last in the Log Cabin he found exactly what he needed.
+
+During the last year of MacDowell's life a society was
+incorporated under the name of the Edward MacDowell Memorial
+Association. The purpose of the society was to establish in
+America a fitting memorial to the work and life of the American
+composer along lines of MacDowell's own suggestion. A sum of
+about thirty thousand dollars had been raised for MacDowell's
+benefit. This amount was entrusted to the Association. Mrs.
+MacDowell deeded to the Association the farm at Peterborough and
+the contents of MacDowell's home. The Association at once
+undertook the development of what has since become known as the
+"Peterborough idea" and before MacDowell's death had actually
+established, in a modest way, a Colony for Creative Artists.
+
+
+
+LIFE IN THE COLONY
+
+
+In an article in the North American Review, Edwin Arlington
+Robinson writes: "It is practically impossible for me to say,
+even to myself, just what there is about this place that compels
+a man to work out the best that there is in him and to be
+discontented if he fails to do so. The abrupt and somewhat
+humiliating sense of isolation, liberty, and opportunity which
+overtakes one each morning has something to do with it, but this
+sense of opportunity does not in itself explain everything ...
+The MacDowell Colony is in all probabilities about the worst
+place in which to conceal one's lack of a creative faculty."
+
+There is nothing camp-like about the place either in appearance
+or in manner of life. There are comfortable living houses for the
+men and women with all the conveniences of running water,
+electric light, and telephone. A common dining room is in Colony
+Hall. Here good wholesome food is served as it would be in any
+well-managed household. This much for the creature comforts. For
+the other and the more important side of Colony life there are
+fifteen individual studios scattered here and there through the
+woods.
+
+The daily routine of life in the Colony is somewhat as follows:
+After breakfast there is a quick scattering of the residents as
+each one hurries off to his studio. It may be recalled here what
+an important place MacDowell's Log Cabin plays in this scheme,
+and how the idea has been to reproduce for as many people as
+might be in the Colony conditions similar to those MacDowell
+enjoyed--a comfortable home and an isolated workshop. Each one of
+the fifteen studios is out of sound and sight of the others. In
+order that the writer or painter may not be disturbed by the
+sound of a piano, the composers' studios are as isolated as
+possible. All the studios have open fireplaces and pleasant
+verandahs and are furnished simply but always attractively. Each
+studio has been planned for its own particular site. Some are
+hidden in the woods, some command views of Monadnock or East
+Mountain, and some long vistas through the trees.
+
+In order that the working day may be long and uninterrupted, at
+noon a basket lunch is left at each studio. Dinner is the time
+for relaxation and social intercourse. Long pleasant evenings are
+passed in the big living room of Colony Hall which is also the
+library, or in the Regina Watson Studio which is near Colony Hall
+and in the evening is used as a general music room, or in
+leisurely walks to the village.
+
+It should perhaps be added that daily life in the Colony is not
+the cut and dried affair that this quick resume might seem to
+imply. No one, of course, is required to stay in his studio all
+day. No one is required to do anything. These artists are
+independent men and women, not supervised students, and to all
+intents they are as free as the wind. There are only two rules to
+which every one must conform. One is that the studios, with the
+one exception of the music-room, shall not be used at night. The
+reason for this rule is the danger of fire. The other rule is that
+no one shall visit another's studio without invitation. The purpose
+of this rule is protection against unexpected interruptions. In all
+other ways the colonist is free to do as he pleases--free except
+for that irresistible compulsion to work which nobody who lives in
+the Colony can escape. For, as Mr. Robinson says, the Colony is
+"the worst loafing place in the world."
+
+
+
+THE TRIUMPH OF EFFORT
+
+
+A curious distrust of idealistic enterprises prevails in the
+world even among people whose own life work is idealistic. This
+distrust the MacDowell Colony has had to fight from the start. It
+has had to prove that its ideals are practical. It has had to
+demonstrate this to the very workers for whom it was founded and
+who should from their own experience have clearly understood the
+advantages it offers.
+
+Gradually, in the face of discouraging skepticism and in spite of
+inadequate equipment, it has won recognition and support. Its
+triumph over initial obstacles is best illustrated by the extent
+to which it has grown and by the number of earnest art workers
+who have availed themselves of its opportunities.
+
+Starting with MacDowell's home, his Log Cabin, and two hundred
+acres of land, the Colony now has five hundred acres of land,
+including three hundred and fifty acres of forest and a farm in
+good cultivation, well equipped farm buildings, fifteen studios,
+and five dwelling houses. There is also Colony Hall, a very large
+barn which through the generosity of Mrs. Benjamin Prince is
+being converted into a beautiful building. Colony Hall is the
+social centre of the Colony. The John W. Alexander Memorial
+Building, to be used for summer exhibitions of paintings and
+sculptures, is now under construction and will soon be completed.
+The Colony has also amassed equipment of another sort including
+the splendid Cora Dow library of some three thousand volumes and
+a most valuable collection of scores and costumes. Furthermore a
+superb open air theatre for outdoor festivals of music and drama
+has lately been completed. The beautiful stadium seats of this
+theatre are a gift from the National Federation of Musical Clubs.
+
+Such growth in the physical plant of any enterprise is evidence
+enough of an actual, tangible success. The number of artists who
+have availed themselves of the advantages offered by the Colony
+are proof of another kind of success.
+
+
+
+A SOCIAL ASSET
+
+
+It should be clearly understood that the MacDowell Colony is in
+no sense a philanthropic enterprise. Although it does strive as
+far as possible to lower the barriers which lack of means so
+often places in the path of talent, yet it is not intended
+primarily for the impecunious. The qualification for admission to
+the Colony is talent. A prospective colonist must either have
+some fine achievement to his credit, or be possessed of a talent
+for which two recognized artists in his own field are willing to
+vouch.
+
+The directors of the Association consider that it is a sound
+economic policy to offer the advantages of the Colony at a
+nominal price. They look upon the amount paid by the residents
+for board and lodging as the directors of a university look upon
+the tuition fees paid by the students. These fees are as much as
+the students can be expected to pay, yet they do not go far
+toward defraying the entire expenses of the university. The real
+return to be made by the student is that later contribution to
+society which in all likelihood will be more important on account
+of his years of study in the university. Similarly the directors
+of the Association are carrying on their undertaking for the
+enrichment of American Art and Letters. Like the university, the
+Colony must have either public or private support.
+
+In a civilization like ours where the social significance of
+creative art is not yet popularly recognized, support for an
+enterprise like the MacDowell Colony cannot be expected from the
+government. Such support must come from individuals.
+
+This is the reason why the directors of the MacDowell Association
+are appealing at this time to the friends and patrons of American
+art to help them raise an endowment of two hundred thousand
+dollars. Up to the present most of the necessary funds have been
+raised through the personal efforts of Mrs. MacDowell. The
+Directors feel that the time has come when her strength, never
+very great, must be more carefully conserved by lifting from her
+shoulders this very heavy financial burden. The Colony has had an
+amazing twelve years of life. Shall its future be threatened by
+lack of permanent income?
+
+
+
+A CHANGE IN NAME
+
+
+The name of the Edward MacDowell Memorial Association has been
+changed to the Edward MacDowell Association, Incorporated. The
+use of the word _Memorial_ has sometimes given people the
+mistaken idea that the work of the Association was in the nature
+of propaganda for the MacDowell music. MacDowell's work is
+finished.
+
+His music has long since spoken for itself and has gained
+whatever hearing it deserves. The concern of the Association is
+for contemporary work and for the future of American art in all
+its branches--this and nothing else.
+
+[Illustration: Handwritten Letter.]
+
+To the Hof-Capellmeister Dr. Haase, Darmstadt,
+
+19th Oct., 1885.
+
+DEAR MR. HOF-CAPELLMEISTER,
+
+I permit myself to address you in the hope that you may perhaps
+feel inclined to have a little work of mine listed on a
+convenient occasion at a theatre. The Opus would take _at most_
+15-20 minutes in performance. Tune and scores are throughout
+clearly and correctly copied.
+
+You would infinitely oblige me if you would have the great
+kindness to grant my request.
+
+In the hope of receiving your early and favourable answer,
+
+I am,
+
+With great respect,
+
+Yours gratefully,
+
+E.A. MACDOWELL.
+
+
+
+
+THE MUSIC
+
+
+
+ANALYTICAL AND DESCRIPTIVE NOTES ON MACDOWELL'S COMPOSITIONS IN
+ORDER OF OPUS NUMBER. WORKS UNNUMBERED FOLLOW ON
+
+
+_NOTE_.--_In the British Empire, the more important of
+MacDowell's pianoforte pieces and songs published in America by
+Arthur P. Schmidt are obtainable from Elkin & Co., Ltd_., 8 & 10,
+_Beak Street, London, W.I., who issue a list of the composer's
+works they sell. Other MacDowell compositions are mostly
+obtainable through J. & W. Chester, Ltd_., II _Great Marlborough
+Street, London, W.I. Ops_. 24, 28 & 31 _are issued by Winthrop
+Rogers, Ltd_., 18, _Berners Street, London, W.I. In America,
+Arthur P. Schmidt for all MacDowell works_.
+
+
+OPUS 1 TO OPUS 8.
+
+Destroyed by the Composer.
+
+
+
+OPUS 9. TWO OLD SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1894. (Arthur P. Schmidt).
+
+  1. _Deserted_.
+
+  2. _Slumber Song_.
+
+The _Two Old Songs, Op. 9_, head the list of MacDowell's
+published works with opus numbers. Their position in it, however,
+is somewhat misleading to the casual observer of the composer's
+artistic development, for they are the fruits of a mature period
+and were given the opus number they bear only as a matter of
+convenience. They were composed about ten or eleven years after
+the songs of Ops. 11 and 12, which in comparison with the _Two
+Old, Songs_ are weak and devoid of individuality and originality.
+The _Two Old Songs_ are very beautiful and expressive, exhibiting
+the composer's melodic gift.
+
+_Deserted_ is a setting of Robert Burns's lines, "Ye banks and
+braes o' bonnie Doon." It is one of the most expressive of
+MacDowell's songs, being full of deep and very human pathos. The
+melody is one of the most poignant he set down, but it is
+subjected to repetition that becomes monotonous. The song is
+expressively indicated _Slow: With pathos, yet simply_.
+
+_Slumber Song_ is a setting of some of the composer's own lines,
+"Dearest, sleep sound." The song presents a fairly good mating of
+words and music, and its expression is a lovable one, inimitably
+MacDowell-like in effect.
+
+
+
+OPUS 10. FIRST MODERN SUITE, FOR PIANOFORTE.
+
+_Composed, Frankfort, 1880. First Played, July 11th, 1882, by the
+composer, at the Ninth Annual Convention of the General Society
+of German Musicians, held at Zurich.
+
+First Published, 1883_ (Breitkopf & Härtel).
+
+_Dedicated to Mrs. Joachim Raff_.
+
+  1. _Præludium_.
+
+  2. _Presto_.
+
+  3. _Andantino and Allegretto_.
+
+  4. _Intermezzo_.
+
+  5. _Rhapsody_.
+
+  6. _Fugue_.
+
+The first public performance of this suite was secured by Liszt,
+whom MacDowell had interviewed and who was entrusted with the
+making up of the programmes of the General Society of German
+Musicians at that time. It was on Liszt's recommendation, too,
+that this suite and its successor, the _Second Modern Suite for
+Pianoforte, Op. 14_, were published by Breitkopf and Härtel at
+Leipzig. The _First Modern Suite_ is of comparatively little
+importance to-day as music, but it is well written and interesting
+as an early work by MacDowell. Some significance may be attached
+to the fact that we find two movements of the suite bearing
+quotations showing their source of inspiration and suggesting
+their poetic content. Suggestive titles and verses are an
+outstanding feature of all MacDowell's later and finest works.
+Two movements of the suite were first heard in London in March,
+1885, at a concert composed of American music.
+
+
+
+OPUS 11 AND OPUS 12. FIVE SONGS, FOR VOICE AND PIANOFORTE.
+
+
+_First Published_, 1883 (C.F. Kahnt Nachfolger. British
+Empire--Elkin & Co.).
+
+  1. _My Love and I_ (_Op. 11, No. 1_).
+
+  2. _You Love Me Not!_ (_Op. 11, No. 2_).
+
+  3. _In the Sky, where Stars are Glowing_ (_Op. 11, No. 3_).
+
+  4. _Night Song_ (_Op. 12, No. 1_).
+
+  5. _The Chain of Roses_ (_Op. 12, No. 2_).
+
+These songs are interesting as the first examples published of
+MacDowell's work in this form of composition. They are well
+written and obviously sincere, which is in itself a merit rare in
+song writing, but they have little of the individual charm and
+beauty of expression found in the composer's later song groups.
+_My Love and I_ is the most popular of the set, having a certain
+distinctive charm of its own.
+
+
+
+OPUS 13. PRELUDE AND FUGUE, FOR PIANOFORTE.
+
+_First Published_, 1883. (Revised Edition--Arthur P. Schmidt).
+
+This is a well-written number in conventional form, but it is
+obviously foreign to MacDowell's temperament, which was only at
+its best in subjects having some definite poetical basis. The
+work was later revised by the composer, and while quite a good
+example of its form, as a MacDowell work it is unconvincing.
+
+
+
+OPUS 14. SECOND MODERN SUITE, FOR PIANOFORTE.
+
+_Composed, Frankfort-Darmstadt_, 1881. _First Published_, 1883
+(Breitkopf & Härtel).
+
+_Dedicated to Camille Saint-Saens._
+
+  1. _Præludium_.
+
+  2. _Fugato_.
+
+  3. _Rhapsody_.
+
+  4. _Scherzino_.
+
+  5. _March_.
+
+  6. _Fantastic Dance_.
+
+Much of this music was composed in the makeshift studio of a
+German railway carriage, while the composer was travelling to and
+fro to give lessons, between Frankfort and Darmstadt and from one
+of these to Erbach-Fürstenau, the latter place entailing a
+typically tiring Continental journey. The suite, like its
+predecessor, the _First Modern Suite for Pianoforte, Op. 10_, was
+published at Leipzig by Breitkopf and Härtel on the recommendation
+of Liszt. The music is of little importance to-day, although it is
+melodious and well written. The opening _Præludium_ foreshadows
+the composer's later regard for significance of expression, for it
+bears an explanatory quotation from Byron's _Manfred_. Teresa
+Carreño, the masculine woman pianist, from whom MacDowell had
+received one or two early lessons in pianoforte playing, performed
+the _Suite_ in New York City on March 8th, 1884, and toured three
+movements of it in the following year, in other parts of the United
+States.
+
+
+
+OPUS 15. FIRST CONCERTO, IN A MINOR, FOR PIANOFORTE AND
+ORCHESTRA.
+
+_Composed, Frankfort_, 1882. _First Published_, 1885 (Breitkopf &
+Härtel).
+
+_Dedicated to Franz Liszt._
+
+  1. _Maestoso, Allegro con fuoco._
+
+  2. _Andante Tranquillo._
+
+  3. _Presto_--_Maestoso_--_Molto piu lento_--_Presto_.
+
+Joachim Raff frightened MacDowell into composing this concerto.
+He called on his young American pupil one day and asked him what
+he had in hand? MacDowell, who stood in great awe of his master,
+was confused and hardly knowing what he was saying replied that
+he "was working at a concerto." Raff told him to bring it along
+on the following Sunday, but when that day arrived MacDowell had
+only the first movement completed, which had been commenced as
+soon as Raff had left him. He evaded his appointment, and his
+master named the following Sunday for their meeting, but
+MacDowell's visit had to be further postponed until the following
+Tuesday, and by that day he had finished the concerto. On Raff's
+advice he took the work to Liszt, arranging a second pianoforte
+part for the purpose. The old master received him kindly and
+asked D'Albert, who was present, to play the second pianoforte.
+At the finish he not only complimented MacDowell on his
+composition, but on his ability as a pianist, which pleased the
+young American immensely, for he had not yet come to regard his
+compositions as of any value, and pianoforte playing was his
+first study. Afterwards MacDowell wrote to Liszt asking him to
+accept the dedication of the concerto, which the venerable
+Hungarian did.
+
+The _First Pianoforte Concerto_ hardly ranks as one of
+MacDowell's finest works, it having been written before he had
+attained, in any notable degree, to his mature impressionist
+style. It is, however, brilliantly written, bold and original in
+harmonic treatment and full of youthful fire and vigour. With the
+second concerto (_Op. 23_), it is one of his few large works not
+having some definitely indicated poetic content. If it has not
+the significant expression of its greater successors, it has at
+least a strength and fervency that indicate a youthful genius of
+no common order. Its interest is not of mere historic value as an
+early example of MacDowell's work, for it can be performed to-day
+with success. It has a lasting white heat of inspiration and even
+in the light of the composer's greater works it still sounds
+remarkably brilliant and fresh. The influence of Teutonic
+training is evident and although the concerto cannot now be
+considered as thoroughly representative of MacDowell, it has a
+confident bearing and a certain individuality that mark it as
+something considerably more than a mere academic experiment. It
+must always be remembered, however, that a two-page piece from
+_Sea Pieces, Op. 55_, or _New England Idyls, Op. 62_, or any
+mature work by MacDowell is of greater artistic value than the
+whole of the concerto in question.
+
+
+
+OPUS 16. SERENATA, FOR PIANOFORTE.
+
+_First Published_, 1883. (Revised Edition--Arthur P. Schmidt.)
+
+This is a weak and unimportant work in MacDowell's catalogue. The
+conventional _morceau_ style did not suit his type of genius even
+before it was fully developed. Some years later the composer
+revised the piece, but it is still of little value, despite its
+outward grace and charm.
+
+
+
+OPUS 17. TWO FANTASTIC PIECES, FOR PIANOFORTE.
+
+_First Published_, 1884 (J. Hainauer). (Revised Edition of No.
+2--Arthur P. Schmidt.)
+
+  1. _Legend._
+
+  2. _Witches' Dance_ (_Hexentanz_).
+
+The _Legend_ is interesting and by stretching the imagination may
+suggest some fantastic fairy tale, but its chief merit is that it
+is more in keeping with MacDowell's natural gift for musical
+suggestion than are the preceding pianoforte pieces, and also the
+succeeding ones comprising _Op. 18_.
+
+The _Witches' Dance_ became popular with pianoforte virtuosi,
+being better known under its German title of _Hexentanz_.
+MacDowell grew to detest its shallow outlook and the appeal it
+made to the flashy pianist, although he himself played it in
+public as late as 1891. He revised both the _Two Fantastic
+Pieces_ some years after their original publication.
+
+
+
+OPUS 18. TWO PIECES, FOR PIANOFORTE.
+
+_First Published_, 1884 (J. Hainauer). (Revised Edition of No.
+1--Arthur P. Schmidt.)
+
+  1. _Barcarolle in F._
+
+  2. _Humoresque in A._
+
+These are two more unimportant pieces in conventional style,
+indicating that MacDowell had not realized at that time just
+where his true genius lay. The revised version of _Barcarolle_
+made some years after its original publication, fails to make it
+convincing, although it has a certain outward charm and is well
+written in the particular style of piece of which it is an
+example. Poetic significance, as we know it in MacDowell's
+representative works, is conspicuous by its absence in these two
+compositions.
+
+
+
+OPUS 19. FOREST IDYLS, FOR PIANOFORTE.
+
+_First Published_, 1884. New Edition, 1912 (C. F. Kahnt
+Nachfolger. British Empire--Elkin & Co.).
+
+_Dedicated to Miss Marian Nevins._
+
+  1. _Forest Stillness._
+
+  2. _Play of the Nymphs._
+
+  3. _Rêverie._
+
+  4. _Dance of the Dryads._
+
+These pieces are noteworthy as early attempts at significant
+expression and the consequent foreshadowing of MacDowell's mature
+period. Their suggesting of their particular subjects as
+indicated in the titles is fairly well done, but they are of
+little importance as music, reflecting as they do the nineteenth
+century German romanticism that had already been fully exploited
+by Schumann and others. There is little of the individuality of
+MacDowell in any of the _Forest Idyls_. The dedication is
+interesting, for Miss Marian Nevins became Mrs. MacDowell in the
+year of the original publication of the pieces. The revised
+edition of _Forest Idyls_ now in circulation in England is by
+Robert Teichmüller, and was issued in 1912. MacDowell himself
+revised the _Rêverie_ (No. 3) and the _Dance of the Dryads_ (No.
+4) in his later period, and these are published in America by
+Arthur P. Schmidt.
+
+1. _Forest Stillness_ is an _Adagio_, opening with softly
+breathed chords _misterioso_. The effect is one of deep
+stillness, but soon becomes dull and burdensome, seeming to lack
+that touch of genius found in the composer's later works, which
+are able to preserve their interest throughout.
+
+2. _Play of the Nymphs_ is technically clever and brilliant, but
+lacks interest and is too spun out.
+
+3. _Reverie_ is a short and tuneful little piece with little or
+nothing MacDowell-like in it and much of nineteenth century
+German romanticism and harmonies. It has been arranged for
+orchestra, and for pianoforte and strings.
+
+4. _Dance of the Dryads_ would doubtless attract lovers of the
+Sydney Smith type of salon music, if there are any of them left.
+It opens in quite a bewitching dance manner and then goes on
+tinkling away on top notes, with chromatic runs, half floating
+arpeggios and all the rest of the stock-in-trade of pretty salon
+music. There are, however, some rather characteristic touches in
+it, which distinguish it from its companions. The key transitions
+from A flat major through distant D major and then F sharp major
+in bars 22, 23 and 24 (Teichmüller 1912 Edition) respectively are
+quite personal.
+
+
+
+OPUS 20. THREE POEMS, FOR PIANOFORTE DUET.
+
+_Composed, Winter_, 1884-5. _First Published_, 1886 (J.
+Hainauer).
+
+  1. _Nights at Sea._
+
+  2. _Tale of the Knights._
+
+  3. _Ballade._
+
+Like the _Forest Idyls, Op. 19_, these pieces have a definite
+poetic basis, but are conceived in a manner that only slightly
+suggests the individuality of the composer. They are quite
+musical and well written for a pianoforte duet, but lack the
+sustained interest one expects to find in MacDowell's work.
+
+
+
+OPUS 21. MOON PICTURES AFTER HANS CHRISTIAN ANDERSEN, FOR
+PIANOFORTE DUET.
+
+_Composed, Winter_, 1884-5. _First Published_, 1886 (J.
+Hainauer).
+
+  1. _The Hindoo Maiden._
+
+  2. _Stork's Story._
+
+  3. _In Tyrol._
+
+  4. _The Swan._
+
+  5. _Visit of the Bear._
+
+The titles of these pieces are quite characteristic of MacDowell,
+and are early indications of his love of the imaginative and
+fanciful atmosphere of fairy tales. The pieces were originally
+intended to form a suite for orchestra, but the opportunity arose
+to have them printed as pianoforte duets and the composer was not
+in a financial position to refuse the offer. Unfortunately he
+destroyed the orchestral sketches. The _Moon Pictures_ are as a
+whole charming and imaginative in conception, and represent the
+fancies of the immortal Hans Andersen, although they are far from
+being truly representative of MacDowell as we now know him.
+
+
+
+OPUS 22. FIRST SYMPHONIC POEM, HAMLET AND OPHELIA, FOR FULL
+ORCHESTRA.
+
+_Composed, Frankfort, Winter_, 1884-5. _First Published_, 1885
+(J. Hainauer).
+
+_Dedicated to Henry Irving and Ellen Terry._
+
+With the appearance of _Hamlet and Ophelia_ MacDowell found his
+reputation considerably increasing. The work was performed in a
+number of German towns soon after its first appearance, and
+within a year following its publication the _Ophelia_ section was
+performed in the composer's native city, New York. In the year
+following this latter event, the _Hamlet_ section was played in
+the same city. The first complete performance at Boston, Mass.,
+was on January 28th, 1893, the Boston Symphony Orchestra playing
+with Nikisch as conductor. _Hamlet and Ophelia_ really consists
+of two separate poems for orchestra, and was first published in
+that form, but MacDowell himself afterwards authorised its
+alteration into one work, and he named it _First Symphonic Poem_.
+The piece is not an altogether unworthy product of his genius. It
+bears unmistakable evidence of Teutonic influence, but there is a
+certain originality of thought and a freshness of spirit about it
+that make for serious work. It was by far the most important of
+MacDowell's music up to this period, for in addition to a skill
+and brilliance of harmonic and orchestral colouring, it has a
+depth of feeling and fuller exposition of personality than its
+predecessors. It has a sense of romance, a beauty of melodic
+outline and an attempted justification of title that are, at
+least, sincerely effected, and although it is far from being one
+of its author's representative works, it must be remembered that
+he was but twenty-four years of age at its completion. As a
+youthful achievement it is very fine, the creation of a gifted,
+though immature, tone poet, and full of a promise that the future
+was to amply fulfil. The title and dedication of the work are
+interesting, and both indicate its link with the English dramatic
+world. The performance of the English Shakespearian actors, Sir
+Henry Irving and Ellen Terry, inspired MacDowell whilst in London
+in 1884, on his honeymoon trip with Mrs. MacDowell.
+
+
+
+OPUS 23. SECOND CONCERTO, IN D MINOR, FOR PIANOFORTE AND
+ORCHESTRA.
+
+_Probably Commenced Early in 1885 at Frankfort. Completed at
+Wiesbaden the same year._
+
+_First Performance in New York City, March 5th 1889, at
+Chickering Hall, by the Composer and Orchestra Conducted by
+Theodore Thomas._
+
+_First Published_, 1890 (Breitkopf & Härtel).
+
+_Dedicated to Teresa Carreño._
+
+  1. _Larghetto calmato_--_Poco piu mosso._
+
+  2. _Presto giocoso._
+
+  3. _Largo_--_molto Allegro, etc._
+
+This is the most frequently played of MacDowell's two concertos
+for pianoforte. It is much the finer of the two, being constructed
+with greater skill and artistic confidence than the _First
+Concerto, Op. 15_, and of all the works of MacDowell's early
+period it is the most enduring. Like its predecessor, it is
+one of the composer's few compositions that have no definitely
+indicated poetic content. As a whole it is a work full of
+feeling, brilliantly cohesive and logical, with good material
+that is handled with confident skill, but it is not to be
+compared with even the small works of the composer's mature
+period, which commences with his _Opus_ 47. Its character,
+however, is altogether strong and virile, containing many
+passages of pure tonal beauty and eloquent expressiveness. The
+orchestra is written for with skill and imagination and is on
+equal terms with the solo instrument. The only fault of the work
+is that its pianoforte part is far too continuously brilliant.
+
+The concerto was enthusiastically received on MacDowell's first
+performances of it in New York in March, 1889, and in Boston a
+month later. On July 12th of the same year he played it in Paris.
+His playing of it at a concert of the New York Philharmonic
+Society on December 14th, 1894, was a memorable one and created a
+furore, and he not only had to bow several times after each
+movement, but at the end was given a storm of cheering and
+recalled again and again to receive the acknowledgments of the
+Philharmonic audience, which could be very critical when occasion
+demanded. On May 14th, 1903, MacDowell visited London and played
+the concerto at a concert given by the venerable Royal Philharmonic
+Society held at Queen's Hall. The work had been first played in
+London (Crystal Palace) three years previously, by Carreño.
+
+
+
+OPUS 24. FOUR PIECES, FOR PIANOFORTE.
+
+_Composed, Wiesbaden, Early Summer_, 1887.
+
+_First Published_, 1887 (J. Hainauer. British Empire--Winthrop
+Rogers, Ltd.).
+
+  1. _Humoresque._
+
+  2. _March._
+
+  3. _Cradle Song._
+
+  4. _Czardas_ (_Friska_).
+
+The interval of time between the preceding work and these pieces
+is explained by the fact that MacDowell and his wife had been
+travelling, and the latter had passed through a dangerous illness
+at Wiesbaden. The _Four Pieces for Pianoforte_ (__ 24) were among
+the first productions of the composer after his return to
+Wiesbaden, and date from that delightful period when he lived
+with his wife in a cottage in the woods, some way from the town.
+The pieces under notice are tuneful and well written, but quite
+devoid of the individuality that distinguishes the composer's
+later works. The brilliant _Czardas_ was revised by MacDowell in
+his later period.
+
+
+
+OPUS 25. SECOND SYMPHONIC POEM, LANCELOT AND ELAINE, FOR FULL
+ORCHESTRA.
+
+_Composed, Wiesbaden_, 1887-8. _First American Performance at
+Boston, Mass., January 10th_, 1890, _at a Symphony Concert
+Conducted by Nikisch. First Published_, 1888 (J. Hainauer).
+
+_Dedicated to Templeton Strong._
+
+MacDowell was not long in returning to the domain of symphonic
+music, the _First Symphonic Poem_, _Hamlet and Ophelia, Op. 22_,
+and the _Second Pianoforte Concerto, Op. 23_, having been
+composed only about two or three years previously and separated
+from it in order of opus number merely by a group of unimportant
+piano pieces comprising _Op. 24_. _Lancelot and Elaine_ has its
+poetical basis in the legends of King Arthur's days, which
+MacDowell loved to read about and idealize. The work as a whole
+follows Tennyson's poem and is essentially programme music. It is
+impressively scored, rich and sonorous in harmonic treatment and
+full of strikingly vivid and expressive poetical feeling. The
+brilliance of the tournament; the loveliness of Elaine; the
+nobleness of Lancelot; the scene of the maiden's funeral barge
+floating down the river, and the knight's ensuing grief--all are
+graphically illustrated in MacDowell's tone poem. The work
+embraces moods and colours from brilliant exhilaration to
+sombreness and poignant emotion. The climaxes are stirring and
+coherent, and in many places the music really attains to a
+considerable amount of dramatic power, contrasted by passages of
+infinitely expressive tenderness. The whole thing was evidently
+composed in a state of fervent inspiration and the feeling of
+Teutonic influence, which was still over MacDowell at that time,
+is forgotten in the power and beauty of his tone poetry, already
+becoming individual and distinct from that of other composers.
+
+
+
+OPUS 26. FROM AN OLD GARDEN, FOR VOICE AND PIANOFORTE.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1887 (G.
+Schirmer).
+
+  1. _The Pansy._
+
+  2. _The Myrtle._
+
+  3. _The Clover._
+
+  4. _The Yellow Daisy._
+
+  5. _The Bluebell._
+
+  6. _The Mignonette._
+
+These songs are purely lyrical and are quite delightful examples
+of MacDowell's work in this form, which he was to afterwards
+uphold as a beautiful medium for song writing. They are not quite
+of his very best output, but make charming solo numbers and are
+free from vocal emotionalism. Many flower songs of other
+composers are harnessed to highly emotional subjects and tend to
+become love-songs, MacDowell's songs are a welcome relief in
+their purely lyrical outlook. It will be noticed that the titles
+of the songs in this group are all of the simple type of flowers
+such as he loved, the gaudy, heavy and carefully cultivated
+blossoms being conspicuous by their absence. It will serve no
+purpose here to suggest which of the songs is the best, for each
+has its own particular charm and it is more a matter of taste and
+fancy than judgment as to which are the favourites.
+
+
+
+OPUS 27. THREE PART-SONGS, FOR MALE CHORUS.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1890 (Arthur P.
+Schmidt).
+
+  1. _In the Starry Sky Above Us._
+
+  2. _Springtime._
+
+  3. _The Fisher-boy._
+
+These are spirited and well written part-songs. They contain
+expressive matter and make good and contrasting numbers for
+male-voice choirs. The fact that they savour of the influence of
+the German romantic school does not detract from their general
+merit, although they are not truly MacDowell-like.
+
+
+
+OPUS 28. SIX LITTLE PIECES, IDYLS (AFTER GOETHE), FOR PIANOFORTE.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1887 (J. Hainauer.
+Revised Edition--Arthur P. Schmidt. British Empire--Winthrop
+Rogers, Ltd.).
+
+  1. _In the Woods_.
+
+  2. _Siesta_.
+
+  3. _To the Moonlight_.
+
+  4. _Silver Clouds_.
+
+  5. _Flute Idyl_.
+
+  6. _The Bluebell_.
+
+These pieces were suggested to the composer by lines by the
+German poet, Goethe. The music attempts to suggest the various
+scenes indicated by the verses quoted at the head of each piece.
+It is an advance on the preceding small pieces for pianoforte,
+and foreshadows the later MacDowell of inimitable poetic
+suggestion in music. The whole set was later revised by the
+composer in his mature period, and in this form they are
+acceptable, but even now not satisfying to those who are
+acquainted with his greater work.
+
+
+
+OPUS 29. THIRD SYMPHONIC POEM, LAMIA (AFTER KEATS), FOR FULL
+ORCHESTRA.
+
+_Commenced, Wiesbaden_, 1888. _Completed, Boston,_ _Winter,_
+1888-9. _First Published_, 1908 (_Posthumously_) (Arthur P.
+Schmidt). _Dedicated to Henry T. Finck_.
+
+MacDowell refrained from publishing this work because he had been
+unable to try it over in America with an orchestra, as he had
+been able to do in Germany with his earlier symphonic works, and
+he was not altogether certain of its effect. He, however,
+published his two later suites for orchestra, Ops. 42 and 48,
+with confidence.
+
+The chief demerit of _Lamia_ is that it is obviously influenced
+by the music of Wagner, and has but little of MacDowell's
+customary individual expression. Apart from this defect, however,
+it is undoubtedly effective, strongly and well written, and
+interestingly scored. MacDowell himself considered it at least
+the equal of his two earlier symphonic poems, _Hamlet and
+Ophelia, Op. 22_, and _Lancelot and Elaine, Op. 25_, and intended
+revising it. The work was published after his death by friends
+who were anxious to provide against any future doubt as to its
+authenticity. The composer dedicated it to Henry T. Finck, the
+distinguished American musical critic, who was one of the first
+to recognise the significance of MacDowell's music.
+
+_Lamia_ has its poetic basis in the romantic, legendary poem by
+John Keats. An introductory note by the composer in the full
+score briefly outlines the meaning of the music:--
+
+_Lamia, an enchantress in the form of a serpent, loves Lycius, a
+young Corinthian. In order to win him she prays to Hermes, who
+answers her appeal by transforming her into a lovely maiden.
+Lycius meets her in the wood, is smitten with love for her and
+goes with her to her enchanted palace, where the wedding is
+celebrated with great splendour. But suddenly Apollonius the
+magician appears; he reveals the magic. Lamia again assumes the
+form of a serpent, the enchanted palace vanishes, and Lycius is
+found lifeless._
+
+The music commences with a sinister theme, _Lento misterioso, con
+tristezza_, given out by bassoon and celli, accompanied by a soft
+drum roll. This motive is the main one of the work, and may be
+regarded as that of Lamia. After some impassioned development,
+the music leads quietly into an _Allegro con fuoco_. This opens
+with a strong tune, having a distinctly Teutonic flavour. It is
+announced by the horns _con sordini_, accompanied very softly by
+held notes in the strings, except viola, _pizzicato_ in the
+celli, and tympani. From now onwards the music is graphic, and
+contains some passages of unmistakable dramatic power. The
+presence of the sinister opening theme is frequently felt. Near
+the end the whole sinks away, a plaintive little clarinet solo,
+_Lento_, indicating the death of Lycius. This is followed by a
+short and vigorous conclusion.
+
+
+
+OPUS 30. TWO FRAGMENTS, THE SARACENS AND THE LOVELY ALDA, FOR
+ORCHESTRA.
+
+_Composed, Wiesbaden, about_ 1887-8. _First Performed, November,_
+1891, _at Boston, U.S.A., by Listemann and the Boston Philharmonic
+Orchestra. First Published_, 1891 (Breitkopf & Härtel).
+
+These two orchestral pieces have their poetic basis in _The Song
+of Roland_, and were at first intended by the composer to form
+movements, or at least important parts, of a symphony on the same
+subject. The description, _Fragments_, under which MacDowell
+published them, after his plan for a symphony had been abandoned,
+is a very modest one for two such fine pieces of orchestral tone
+poetry. _The Saracens_ is a piece of great power, dramatic and
+wild in spirit and vivid in harmonic and instrumental colouring.
+It represents the scene in which the traitor, Ganelon, determines
+on the deed that results in the death of Roland. The whole
+passage is vividly suggested by the music.
+
+_The Lovely Alda_ is a very beautiful and human piece. Aldâ was
+Roland's bethrothed and the music aims at suggesting her
+loveliness and her mourning for her lover. There are passages of
+intensely impressive melancholy in the _Fragment_ and its human
+feeling is typical of MacDowell. Altogether the two pieces are
+music on a high plane and worth attention for their own intrinsic
+value, quite apart from their connection with the symphony that
+never materialised. They bear a stamp of seriousness of effort
+and a conscious responsibility that only the really great
+composer is able to indicate.
+
+
+
+OPUS 31. SIX POEMS AFTER HEINE, FOR PIANOFORTE.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1887 (J. Hainauer.
+Revised Edition--Arthur P. Schmidt. British Empire--Winthrop
+Rogers, Ltd.).
+
+  1. _We Sat by the Fisherman's Cottage._
+
+  2. _Far Away, on the Rock-coast of Scotland._ (Scotch poem.)
+
+  3. _My Child, We Were Once Children._
+
+  4. _We Travelled Alone in the Gloomy Post-chaise._
+
+  5. _Shepherd Boy's a King._
+
+  6. _Death Nothing is but Cooling Night._ (_Poeme érotique_.)
+
+Certain of these pieces, in the edition revised by the composer,
+are rather good, and are full of suggestive effort. They have,
+too, a touch of the composer's individuality about them, although
+not of his greater kind. The pianoforte writing is well done and
+effective, but lacks the sweep of line and power of the later
+works. As a whole, however, the _Six Poems after Heine_ are quite
+creditable and self contained pieces, each number bearing some
+Heine verses indicating its poetic basis.
+
+The first piece is contemplative and contains some distinctly
+MacDowell-like harmonic touches.
+
+The second graphically depicts the raging sea of the rocky coast
+of Scotland, a grey old castle and a beautiful, but ailing, woman
+harpist, whose gloomy song goes out into the storm. The music is
+powerful and picturesque in the storm passages, while the sad
+Scottish song of the woman adds vivid local colour to the whole.
+
+The third number is rather poor and devoid of any real interest.
+
+The journey in the post-chaise is told fairly graphically in the
+fourth piece. The music is not very interesting, although its
+hurried progress suggests the monotony of travel in a rumbling
+vehicle on a night journey.
+
+The fifth piece is lovely and tender, but not particularly
+expressive. The last of the set opens with a noble, half-sad
+melody that is typical of MacDowell. Its agitated middle section
+provides a good contrast.
+
+Two of the poems were played in orchestral garb for the first
+time in England at a London Queen's Hall Promenade Concert on
+October 3rd, 1916. They were No. 6, _Poeme érotique_, and No. 2,
+_Scotch Poem_.
+
+
+
+OPUS 32. FOUR LITTLE POEMS, FOR PIANOFORTE.
+
+_Composed, Wiesbaden, about_ 1888. _Revised by the Composer_,
+1906. _Copyrighted_ 1894 _and_ 1906 (Breitkopf & Härtel).
+
+  1. _The Eagle._
+
+  2. _The Brook._
+
+  3. _Moonshine._
+
+  4. _Winter._
+
+These pieces are, in their revised version, more individual and
+more worth playing than any of the preceding small pianoforte
+works by MacDowell. They have his true ring and stamp, although
+even here not in its most highly-developed form, and they
+exemplify his already unerring power to create atmospheres of
+far-reaching significance, even in tiny spaces, for all four
+poems are but two-page pieces, and the most striking, _The
+Eagle_, is but twenty-six bars in length.
+
+1. _The Eagle_ is a tone picture of Tennyson's lines:--
+
+  _He clasps the crag with crooked hands;
+  Close to the sun in lonely lands,
+  Ring'd with the azure world, he stands.
+
+  The wrinkled sea beneath him crawls;
+  He watches from his mountain walls,
+  And like a thunderbolt he falls._
+
+The opening high, wind-swept chords; the succeeding
+softly-breathed, high chromatics, with the deep-voiced bass,
+creating an atmosphere of the vast loneliness of wild mountain
+heights; the gradual descent to spell-binding silence and then
+the startling shriek and swoop down of the eagle--all these are
+suggested in this tiny piece with unmistakable power. _The Eagle_
+is remarkable for its programme music aspect in the light of
+MacDowell's later works, for in these it is perfected suggestion
+and not realism that we find.
+
+2. _The Brook_ is a clever little piece, delicate and refined. It
+begins with lovable simplicity, which is broken for a time by an
+expressive and characteristic passage marked _sotto voce_. The
+piece as a whole has for its motto Bulwer's lines:--
+
+  _Gay below the cowslip bank, see the billow dances;
+  There I lay, beguiling time--when I liv'd romances;
+  Dropping pebbles in the wave, fancies into fancies._
+
+3. _Moonshine_ opens softly with a broad and dignified melody. The
+expression soon becomes tender, but is interspersed with jocular
+little passages. MacDowell illustrates in his characteristic
+manner a lonely tramp at night, with the grotesque streaks of the
+moonlight breaking quaintly into the pedestrian's contemplative
+mood. The music is curiously lonely and suggestive of a quiet
+moonlight night in the country. Particularly lovable are the soft,
+characteristic chord progressions, followed by lonely silence, on
+the second page, just before the opening melody returns. The
+piece ends with the moon kissing the traveller good-night.
+
+4. _Winter_ is a piece of deep feeling, quite haunting in its
+expression of lonely grief. Its motto is taken from some lines by
+Shelley:--
+
+  _A widow bird sate mourning for her love
+  Upon a wintry bough;
+  The frozen wind crept on above,
+  The freezing stream below.
+
+  There was no leaf upon the forest bare,
+  No flower upon the ground,
+  And little motion in the air
+  Except the mill-wheel's round._
+
+The music is of the kind that remains in the memory for a long
+time and is of a quality as moving in its sadness as anything
+MacDowell ever composed. Its suggested scene seems to be the
+bleak and icy winter of North America.
+
+
+
+OPUS 33. THREE SONGS, FOR TENOR OR SOPRANO AND PIANOFORTE.
+
+_Composed, Wiesbaden_, 1888. _First Published_, 1894 (J.
+Hainauer. Revised Edition of Nos. 2 & 3--Arthur P. Schmidt).
+
+  1. _Prayer._
+
+  2. _Cradle Hymn._
+
+  3. _Idyl._
+
+These songs are rather beautiful, and sincerely, although not
+grandly, inspired. They are probably the least known in America
+and England of MacDowell's songs, but they do not lack a fine,
+spiritual outlook.
+
+
+
+OPUS 34. TWO SONGS, FOR VOICE AND PIANOFORTE.
+
+_Composed_, 1888. _First Published_, 1889 (Arthur P. Schmidt).
+
+  1. _Menie._
+
+  2. _My Jean._
+
+These two songs are full of freshness and charm of expression.
+_Menie_ is a beautiful song; _My Jean_ is, however, the more
+important of the two, it is inspired and characteristically human
+in spirit. Neither of these songs, however, can be compared for
+spontaneous beauty and expression with MacDowell's later groups.
+
+
+
+OPUS 35. ROMANCE, FOR VIOLONCELLO AND ORCHESTRA.
+
+_Composed, Wiesbaden_, 1888. _First Published_, 1888 (J.
+Hainauer).
+
+_Dedicated to David Popper._
+
+This is an outwardly charming and melodious work, but strangely
+alien to MacDowell's general high tone. The usual significant
+poetic matter is absent, but unlike the pianoforte concertos
+(_Ops._ 15 and 23), which are also abstract works, the piece is
+altogether inferior in artistic value, even if we look upon it as
+an early attempt, for preceding pieces are, at least, more
+sincere. The two following numbers, 36 (_Etude de Concert for
+Pianoforte_) and 37 (_Les Orientales for Pianoforte_), and this
+_Romance for Violoncello and Orchestra_ present a sequence of
+creative work unworthy of MacDowell, a falling off common to most
+composers of standing at some time or other. The technical side
+of the work is fair, the tone quality of the violoncello having
+been evidently considered. The piece is dedicated to Popper,
+whose name is familiar to all 'cello players.
+
+
+
+OPUS 36. ETUDE DE CONCERT, IN F SHARP, FOR PIANOFORTE.
+
+_Composed, Boston, U.S.A._, 1889. _First Published_, 1889 (Arthur
+P. Schmidt).
+
+"Don't put that dreadful thing on your programme," was the burden
+of a telegram MacDowell once despatched to Teresa Carreño when he
+heard she was to play the _Etude de Concert in F sharp_, so we
+know that the composer himself came, later on, to recognise the
+inferior quality of this work. It is good enough for the salon
+composer and the show pianist, but as coming from MacDowell's pen
+it made a poor start as practically the first thing he composed
+on his return to his native country in 1888, especially as he had
+been preceded there by his good European reputation. The
+brilliant pianistic effect of the piece, however, is undeniable.
+
+
+
+OPUS 37. LES ORIENTALES, FOR PIANOFORTE.
+
+_Composed, Boston_, 1889. _First Published_, 1889 (Arthur P.
+Schmidt).
+
+  1. _Clair de Lune._
+
+  2. _Dans le Hamac._
+
+  3. _Danse Andalouse._
+
+The first work produced by MacDowell in Boston, _Etude de
+Concert, Op. 36_, was followed by music of equally poor quality,
+in the composer's opinion. The pieces under notice are after
+Hugo's _Les Orientales_, and although tolerably suggestive of
+their titles, are of such poor inspiration that they have little
+or no musical value outside the salon type of compositions that
+the composer himself abhorred. Even the pretty _Clair de Lune_ is
+shallow stuff, although it has attained some popularity as a
+melodious solo, both in its original version and in its
+arrangement for violin and pianoforte.
+
+
+
+OPUS 38. EIGHT (formerly Six) LITTLE PIECES, MARIONETTES, FOR
+PIANOFORTE.
+
+_Composed about_ 1888. _Revised and rearranged by the Composer_,
+1901. _First Published_, 1888 (J. Hainauer. Revised Version,
+1901--Arthur P. Schmidt).
+
+_Dedicated to Miss Nina Nevins._
+
+ORIGINAL VERSION:        REVISED VERSION:
+
+  1. _Soubrette._          1. _Prologue._
+
+  2. _Lover._              2. _Soubrette._
+
+  3. _Villain._            3. _Lover._
+
+  4. _Lady-Love._          4. _Witch._
+
+  5. _Clown._              5. _Clown._
+
+  6. _Witch._              6. _Villain._
+
+                           7. _Sweetheart._
+
+                           8. _Epilogue._
+
+These little pieces are quite notable and extremely interesting
+both in their original and revised versions. Although the
+subjects they portray are the stiff-moving and grotesque figures
+of Marionettes, their general effect is often intensely human.
+The set as a whole may be viewed as a half serious, half
+whimsical study of characters in human life, issued under the
+disguise of jointed and painted dummies. Beneath the quaint,
+stiff movement of the music there is just that touch of
+seriousness, a sort of droll sadness, that makes of it something
+more than a doll's play. The revised edition of _Marionettes_ is
+the best and most characteristic, and in the United States is the
+accepted one. In England, however, the original edition,
+published at Breslau in 1888 by Julius Hainauer, is still being
+sold.
+
+_Soubrette_ is a stiff, but bright little piece. In places it has
+a wistfulness that seems to suggest that the human counterpart of
+the character has feelings, not being merely an emotionless
+puppet for public amusement.
+
+_Lover_ has much the same stiff movement as the preceding piece,
+but is more tender and subdued, dying softly away in the final
+bars. There is much human feeling in this number.
+
+_Villain_ is a realistic Marionette piece, with a quaint,
+foreboding and sardonic spirit, the little climax being quite
+villainous.
+
+_Lady-love_ brings a gentle and charming study to view, the
+typical quaint movement of the pieces as a whole being here
+considerably softened and made more flowing and graceful.
+
+_Clown_ makes a jolly number, but beneath its outward dummy-like
+comicalness there runs a strain of human feeling that towards the
+end comes uppermost, the music becoming quite subdued, growing
+fainter and fainter until nothing is left but a few little final
+jerks.
+
+_Witch_ has a grotesque and mechanical jauntiness. There are some
+powerful and sinister passages in it, the final gesture, with its
+sudden tonic minor chord, capping the realism of the piece.
+
+In the revised version of _Marionettes_ the character drawing is
+more skilful, and we incidentally notice the illuminating and
+characteristic English used in the works of MacDowell's mature
+period instead of the conventional Italian musical terms. The
+little comedy-drama is opened by a _Prologue_, in which jovial,
+wistful and sardonic motives variously indicate the types of
+characters in the play, and is rounded off by an _Epilogue_,
+which is one of the most beautiful of MacDowell's smaller pieces,
+being full of tender feeling, and indicating unmistakably the
+deeper and human significance of the composer's Marionette
+studies. The whole album comprises one of MacDowell's most
+interesting portrayals of everyday human nature, standing quite
+alone in its droll half-amusing, half-pathetic mode of expression.
+It is something quite apart from the more specialised romantic
+and heroic figures of the three symphonic poems, _Hamlet and
+Ophelia, Op. 22_, _Lancelot and Elaine, Op. 25_, and _Lamia,
+Op. 29_; the three last pianoforte sonatas, _Eroica, Op. 50_,
+_Norse, Op. 57_, and _Keltic, Op. 59_; or of the noble _"Indian"
+Suite, Op. 48_.
+
+
+
+OPUS 39. TWELVE ETUDES FOR THE DEVELOPMENT OF TECHNIQUE AND
+STYLE, FOR PIANOFORTE.
+
+_Composed, about_ 1889-90. _First Published_, 1890 (Arthur P.
+Schmidt).
+
+BOOK I:
+
+  1. _Hunting Song_.
+
+  2. _Alla Tarantella_.
+
+  3. _Romance_.
+
+  4. _Arabeske_.
+
+  5. _In the Forest_.
+
+  6. _Dance of the Gnomes_.
+
+
+BOOK II:
+
+  1. _Idyl_.
+
+  2. _Shadow Dance_.
+
+  3. _Intermezzo_.
+
+  4. _Melody_.
+
+  5. _Scherzino_.
+
+  6. _Hungarian_.
+
+
+These pieces have as their chief object the development of
+pianoforte technique, but are quite interesting as poetical
+music. In his technical instruction, whether through musical
+examples or verbally, MacDowell inspired his subject with the
+idealism and vivid thought of the true poet. The poetry of these
+studies is not of the composer's finest inspiration, but it is of
+a quality sufficient to prevent their being viewed solely as
+technical exercises. Generally, they do not require advanced
+executive ability to play.
+
+_Hunting Song _(_Allegretto_) is a study for accent and grace,
+but not particularly interesting as music.
+
+_Alla Tarantella _(_Prestissimo_) is a fairly effective study for
+speed and lightness of touch. It is not very difficult to play,
+having convenient three-note phrases.
+
+_Romance_ (_Andantino_) is fairly tuneful, but not particularly
+interesting. It is a study for the development of the singing
+touch.
+
+_Arabeske_ (_Allegro scherzando_) is a sparkling wrist study.
+
+_In the Forest_ (_Allegretto con moto_) is suggestive enough, but
+not in MacDowell's finest style. It does not compare favourably
+with the forest pieces in his delightful _Woodland Sketches, Op.
+51, or with the deeply inspired and mature _New England Idyls,
+Op. 62_. Its technical object is the development of delicate
+rhythmical playing.
+
+_Dance of the Gnomes_ (_Prestissimo confuoco_), the last study of
+Book I, is another piece of imperfectly realised suggestive tone
+poetry. It is difficult to play, requiring great crispness of
+finger action combined with perfect control of tone volume.
+
+_Idyl_ (_Allegretto_) is No. I of Book II, and has a certain
+charm and lyrical beauty, although not one of the composer's best
+efforts. It is a study for the cultivation of delicacy, singing
+tone and grace.
+
+_Shadow Dance_ (_Allegrissimo_) has just that touch of fanciful
+romanticism that MacDowell knew how to infuse into a piece, thus
+heightening its interest. The piece is one of the most popular of
+MacDowell's shorter pieces and makes a fine solo. From a
+technical point of view, it is a valuable study for development
+of finger agility combined with lightness of touch.
+
+_Intermezzo_ (_Allegretto_) is tuneful and pleasing, but does not
+reach a very high level of poetic writing. It is, however, a
+useful exercise for development of independent action of the two
+middle fingers of the hand.
+
+_Melodie_ (_Andantino_) is a melodious exercise for cultivating
+independence of fingers.
+
+_Scherzino_ (_Allegro_) is a tuneful study for double note
+playing with the right hand.
+
+_Hungarian_ (_Presto con fuoco_) has the characteristic fire and
+syncopated rhythm of a Brahms' Hungarian Dance, and is a study
+for the development of dash, speed and virtuoso playing.
+
+
+
+OPUS 40. SIX LOVE SONGS, FOR VOICE AND PIANOFORTE.
+
+_Composed_, 1890. _First Published_, 1890 (Arthur P. Schmidt).
+
+  1. _Sweet Blue-Eyed Maid_.
+
+  2. _Sweetheart, Tell Me_.
+
+  3. _Thy Beaming Eyes_.
+
+  4. _For Sweet Love's Sake_.
+
+  5. _O Lovely Rose_.
+
+  6. _I Ask But This_.
+
+These songs, although not absolutely of the composer's best, have
+a charm, tenderness of feeling and beauty of expression that is
+often irresistible. They are essentially the love songs of a
+romantic, but refined and gifted poet. As a whole they are
+singularly free from sexual sensuousness, which is so often a
+trait in songs of their type. There is an idealism, wonderfully
+fresh and pure, about them, that is antagonistic to the
+composer's own assertion that verse often becomes doggerel when
+harnessed to music in song form.
+
+_Sweet Blue-Eyed Maid._ (_Daintily, not too sentimentally._) The
+spirit of this song is happy and it is beautifully, although
+simply, expressed.
+
+_Sweetheart, Tell Me._ (_Softly, tenderly_.) The ability of
+MacDowell to suggest a definite mood in music is clearly
+demonstrated in this song, which has a simple melody of wonderful
+appeal and tenderness.
+
+_Thy Beaming Eyes._ (_With sentiment, passionately._) This is the
+most widely known of all MacDowell's songs. The composer himself
+thought it too sentimental and was not pleased with the
+popularity it gained. There is no mistaking its passionate
+feeling, however, and it strikes the human note frankly and
+spontaneously, without becoming commonplace. The song is at least
+sincere, and its popularity can do no harm to its composer's
+deeper music, which is less easily understood.
+
+Gramophone records of _Thy Beaming Eyes_ have been made for
+"Columbia" by Charles W. Clarke, baritone, and for "His Master's
+Voice" by Sophie Breslau, contralto.
+
+_For Sweet Love's Sake_. (_Simply, with feeling_.) This song is
+not a very successful alliance of words and music. The former are
+of tender content, while the latter is after the style of a
+pleasant lullaby. The music does not in the least reflect the
+spirit of the words.
+
+_O Lovely Rose_. (_Slowly, with great simplicity_.) This is the
+pure lyric gem of the _Six Love Songs_ by MacDowell. It is very
+short, but has a rare charm and fragrance.
+
+_I Ask But This_. (_Moderately fast, almost banteringly_.) There
+is an attractive piquancy and lightness about this song that
+makes it distinct from its companions. It suggests light-hearted
+love, and its demure ending, as the lovers part, was a happy
+thought on the part of the composer.
+
+
+
+OPUS 41. TWO PART-SONGS, FOR MALE CHORUS.
+
+_Composed_, 1890. _First Published_, 1890 (Arthur P. Schmidt).
+
+  1. _Cradle Song_.
+
+  2. _Dance of the Gnomes_.
+
+These two part-songs are effectively written and sharply
+contrasted. Their contrast furnishes good reason why both should
+be sung in the order given, and not robbed of their natural
+companionship.
+
+
+
+OPUS 42. FIRST SUITE, IN A MINOR, FOR FULL ORCHESTRA.
+
+_Composed, about_ 1890-91. _First Performed, September,_ 1891,
+_at the Worcester, U.S.A., Musical Festival. First, Second,
+Fourth and Fifth Movements First Published_, 1891. _Third
+Movement First Published_, 1893 (Complete--Arthur P. Schmidt).
+
+  1. _In a Haunted Forest_.
+
+  2. _Summer Idyl_.
+
+  3. _In October_.
+
+  4. _The Song of the Shepherdess_.
+
+  5. _Forest Spirits_.
+
+This suite, although reminiscent of the nineteenth century German
+romanticism amongst which MacDowell was educated, has an
+atmosphere of its own that at once distinguishes it as an example
+of the highly sensitive and suggestive tone poetry peculiar to
+its composer. The work is very skilfully written and is
+remarkable for its freshness and buoyancy of spirit. The scoring
+is exquisite and always illustrative of the poetical subjects of
+the suite. Each of the pieces has in its title a suggestion of a
+scene of Nature, the first and last having also the fanciful and
+imaginative atmosphere of folk-lore; this provided MacDowell with
+a task in tone painting such as he loved. In _In a Haunted
+Forest_ and _Forest Spirits_ we have examples of the romantic and
+fanciful sort of tone poetry characteristic of the composer. In
+the _Summer Idyl_, in the fine, mellow beauty of _In October_ and
+in the lovely _Song of the Shepherdess_ we have MacDowell
+composing in his beloved Nature style, although not in a manner
+quite comparable with the pianoforte pieces, _Woodland Sketches,
+Op. 51_, and _New England Idyls, Op. 62_. As a whole, the _First
+Suite for Orchestra_ is not the finest of MacDowell's orchestral
+works up to this stage, but it stands alone in the style of its
+poetic subject matter. It has not the same bearing as _Hamlet and
+Ophelia, Op. 22_, Lancelot and Elaine, Op. 25_, _Lamia, Op. 29_,
+or _The Saracens and the Lovely Alda, Op. 30_, which all have an
+historical or romantic outlook, but it possesses instead the
+wonderful spirit of mysterious Nature. Even the noble _Second
+(Indian) Suite for Orchestra_, the grandest of MacDowell's
+orchestral works, cannot alter the position of this first suite,
+which has an interest entirely its own. In performance the work
+is notable for its fresh and finely-coloured material, and makes
+a fine item in a concert because of its brilliancy and the
+charmingly interesting suggestions of its poetic sub-titles.
+
+
+
+OPUS 43. TWO NORTHERN PART-SONGS, FOR MIXED CHORUS.
+
+_Composed_, 1891. _First Published_, 1891 (Arthur P. Schmidt).
+
+  1. _The Brook_.
+
+  2. _Slumber Song_.
+
+These are well written and effective part-songs, making lovely
+unaccompanied choral numbers. They have been undeservedly
+overshadowed by the composer's instrumental and solo songs. Both
+should be sung together for the sake of the intentional contrast.
+
+
+
+OPUS 44. BARCAROLLE, FOR MIXED CHORUS AND ACCOMPANIMENT FOR
+PIANOFORTE DUET.
+
+_First Appeared_, 1892 (Arthur P. Schmidt).
+
+This is a meritorious choral piece, skilfully written. The
+somewhat elaborate accompaniment for pianoforte requires two
+players.
+
+
+
+OPUS 45. FIRST SONATA, TRAGICA, IN G MINOR, FOR PIANOFORTE.
+
+_Composed_, 1892-3. _Third Movement First Publicly Played, March
+18th_, 1892, _at Checkering Hall, Boston, U.S.A., by the
+Composer. First Public Complete Performance, March_, 1893, _at a
+Kneisal Quartet Concert at Chickering Hall, Boston. Played by the
+Composer. First Published_, 1893 (Breitkopf & Härtel).
+
+  1. _Largo maestoso--Allegro risoluto_.
+
+  2. _Molto allegro, vivace_.
+
+  3. _Largo con maesta_.
+
+  4. _Allegro eroico_.
+
+Huneker, the celebrated American writer on music, described this
+sonata, soon after its appearance, as "the most marked contribution
+to solo sonata literature since Brahms' F minor piano sonata." The
+work is chiefly notable for its general boldness and strength,
+punctuated by passages of intimate tenderness and deepness of
+expression, and its slow movement is one of MacDowell's most
+inspired efforts. The great demerit of the sonata, however, is its
+lack of cohesive thought. As a whole it suggests the spectacle of
+a highly gifted poet, full of emotional ardour and desire for self
+expression, but lacking the requisite skill to bind long continued
+effort into a cohesive whole; and who makes the mistake of trying
+to cramp his undoubtedly beautiful ideas by compressing them into
+a set form. The _Sonata Tragica_ is more of a traditional sonata
+than its successors, the _Eroica, Op. 50_, the _Norse, Op. 57_, and
+the _Keltic, Op. 59_, but as a work of art is less successful. Its
+subjects are quite fine, showing, individually, great strength of
+character and tender feeling, but they often appear to have no
+definite connection with each other. In the first movement
+especially we find this defect, for the second subject, with its
+lovely tenderness, contrasts awkwardly with the boldness and
+strength of the first. The cause of this would seem to be that a
+quieter second subject is demanded by the form of the sonata, but
+its effect on the movement as a whole is patchy and illogical.
+MacDowell evidently made some efforts to effect cohesion,
+transferring ideas from one movement to another in the process,
+but the attempts generally are not successful. He tries to write
+in the traditional form, and only succeeds in drawing the
+student's attention to the futility of it. Later, in the _Norse_
+and the _Keltic_ sonatas, he threw form overboard when it suited
+him; and wrote far greater works in doing so. There is no
+doubting the quality of the music in the _Sonata Tragica_,
+however, for it contains passages of dramatic fire, breadth and
+sweep of line, beauty of expression and a strength of character
+that can only be the work of a great tone poet. The work was
+undoubtedly written at a white heat of inspiration, for at the
+time MacDowell was not only grieved over the death of his old
+master and friend, Joachim Raff, but was also harrassed by the
+drudgery and struggle of his own existence. He poured out his
+passionate feelings into the sonata, which is largely a
+reflection of the hopeless outlook of his own care-laden life.
+
+1. The introductory _Largo maestoso_ opens with a figure of
+striking aspect, like a clenched, upraised fist. Immediately
+following this comes a quieter, more serious strain, but only to
+be succeeded by loud chords again, now punctuated by rushing
+ascents in scale and arpeggio figures, the whole culminating in a
+tremendous descent of double octaves bringing almost the whole
+range of the pianoforte keyboard into action. After a pause, the
+_Allegro risoluto_ enters _ppp_. Its bearing is strong and proud
+and has much that is akin to the nervous, resolute martial energy
+of Elgar. The second subject, _Dolce con tenerezza_, is
+exquisitely tender and contemplative, but it follows the first
+awkwardly, and the two as MacDowell left them are like detached
+scraps having no relation to one another. As we proceed the music
+becomes mysterious and restless until a more solid chord passage
+appears. The whole is soon interrupted by the arresting figure of
+the introduction, now appearing softly, with foreboding
+seriousness. With the resumption of the _Allegro risoluto_ the
+striving commences again and is even more restless than before.
+From now onwards the music becomes increasingly significant,
+graduating in tone power from a shadowy _ppp_ to solid and virile
+loud chords. The first and second subjects formally reappear and
+the end comes with a short coda, the feature of which is its
+powerful upward expansion, culminating in chords of great
+strength, the striking opening figure being again heard.
+
+2. The scherzo-like second movement is inferior in quality to the
+rest of the sonata, and apart from some ejaculations suggesting
+the dramatic opening of the first movement, does not appear to
+have any connection with the work as a whole. Its themes are not
+distinguished, although there are touches of strength in many
+places, and the movement savours generally of Teutonic romantic
+influence and probably only exists at all as a concession to
+form.
+
+3. The _Largo con maesta_ is the outstanding movement of the
+sonata, remaining to this day one of MacDowell's most impressive
+creations. It is full of deep feeling and gravity, contrasted
+with passages of tender contemplation and the impassioned poetry
+of despair. The whole aspect of the movement is lofty in thought,
+vast in tonality and altogether indicative of power and of
+genius. MacDowell was harassed by drudgery and care when he wrote
+it and the tragic note is sounded from its first bars. After
+exhausting itself in intense expression, the opening theme makes
+way for a mood of quiet, although still despairing, contemplation.
+This wanders on, until the music becomes impassioned and more
+intricate. Rushing ascending scale passages add to the restless
+movement of the whole, culminating in a tumultuous and despairing
+utterance of the contemplative theme. This gradually dies down
+and soon the impressive strains of the first theme are heard, now
+softly breathed and portraying a deep and broken sadness in place
+of the clenched fist attitude of their first appearance. The
+music becomes more and more subdued, finally becoming extinct in
+_pppp_ chords. The whole of this last page is one of the most
+impressive and soul-stirring things in contemporary pianoforte
+music.
+
+4. The final movement, _Allegro eroico_, opens with a bold,
+heroic theme in spread chords, followed by a quieter subject. The
+music goes triumphantly on with increasing brilliance, complexity
+and heroic ardour. At length a great final version of the heroic
+theme is heard, _Maestoso_, and soon we come to the dramatic
+moment of the whole sonata. At the very height of exaltation we
+are overwhelmed by a shattering descent of double octaves,
+_precipitate_. The heroism and self-confident ardour so carefully
+built up are swept away and the significant strains of the
+introduction to the work are heard, now augmented in time value.
+The music bursts into fury and the sonata ends with immensely
+powerful and ringing chords, but it is the shout of tragedy and
+not of victory. Thus closes a work that may well stand to-day as
+a musical representation of the composer's own life story. The
+sonata was first played in London on February 25th, 1902, by
+Lucie Mawson.
+
+
+
+OPUS 46. TWELVE VIRTUOSO STUDIES, FOR PIANOFORTE.
+
+_Composed_, 1893-94. _First Published_, 1894 (Breitkopf &
+Härtel).
+
+  1. _Novelette_.
+
+  2. _Moto Perpetuo_.
+
+  3. _Wild Chase_.
+
+  4. _Improvisation_.
+
+  5. _Elfin Dance_.
+
+  6. _Valse Triste_.
+
+  7. _Burlesque_.
+
+  8. _Bluette_.
+
+  9. _Traumerei_.
+
+ 10. _March Wind_.
+
+ 11. _Impromptu_.
+
+ 12. _Polonaise_.
+
+These studies, while indicated by the composer as requiring
+advanced technique for performance, are full of poetical thought
+and tonal beauty that make them worthy of study. Many of them
+possess that Nature tone painting, that mystic, subtle romanticism
+of whispering tree-tops and elfin glades, that freshness and open
+air spirit which distinguish MacDowell's later short pieces.
+
+_Novelette_ is an attractive study and full of the composer's own
+individual spirit. It is considered to be one of the best of the
+set.
+
+_Moto Perpetuo_ is cleverly written and musical.
+
+_Wild Chase_ is one of those exhilarating, imaginative pieces so
+characteristic of MacDowell. It is full of outdoor poetry and
+suggestive of a wild and glorious ride over the great American
+prairies, or of a dream gallop full of breathless fancy.
+
+_Improvisation_ exhibits the composer's finer poetry and mastery
+of his art.
+
+_Elfin Dance_ is suggestive and imaginative.
+
+_Valse Triste_ is expressive and interesting, although not one of
+the most distinguished of the set.
+
+_Burlesque_ is a musical number, bright in spirit and free from
+commonplace.
+
+_Bluette_ is a beautiful piece of tone painting.
+
+_Traumerei_ has a certain beauty of its own, indicating the
+composer's capacity for deep expression.
+
+_March Wind_ is full of the wild open-air breeziness associated
+in our thoughts with the subject of its inspiration, and captures
+the imagination. For a minute or so we can escape the heavy
+atmosphere confined within four walls and rush with the sweeping
+wind, high above cities and out over the broad, rolling country
+beyond. The study has a background of spaciousness that suggests
+American scenery.
+
+_Impromptu_ is interesting and musical.
+
+_Polonaise_ has brilliance and is well and effectively conceived
+for big pianoforte tone production.
+
+
+
+OPUS 47. EIGHT SONGS, FOR VOICE AND PIANOFORTE.
+
+_Composed_, 1893. _First Published_, 1893 (Breitkopf & Härtel).
+
+  1. _The Robin Sings in the Apple Tree._
+
+  2. _Midsummer Lullaby._
+
+  3. _Folk Song._
+
+  4. _Confidence._
+
+  5. _The West Wind Croons in the Cedar Trees._
+
+  6. _In the Woods._
+
+  7. _The Sea._
+
+  8. _Through the Meadow._
+
+With the composition of these songs, MacDowell fairly entered
+into his finest and most mature period. They are beautiful,
+characteristic, and full of that engaging romance, piquancy and
+poetic charm that distinguishes his best lyrical work.
+
+_The Robin Sings in the Apple Tree_ is written to the composer's
+own words, which may be found in the published book of his
+verses. The song is infinitely tender and tinged with that
+wistfulness that he so often infused into his music. Particularly
+beautiful is the spirit of the last verse:--
+
+  _O robin, and thou blackbird brave,
+  My songs of love have died;
+  How can you sing as in byegone days,
+  When she was at my side._
+
+_Midsummer Lullaby_ has much charm and grace in its refined and
+sensitive verse inspiration.
+
+_Folk Song_ is characteristic and melodious.
+
+_Confidence_ shows a lyric power of unusual quality and although
+the music is not always in sympathy with the verse, the true
+spirit of poetry is there.
+
+_The West Wind Croons in the Cedar Trees_ is written to the lines
+of MacDowell's little poem entitled, _To Maud_. This song is
+beautiful and full of feeling, and tells in its three verses of
+Love's expectation, doubt and disappointment. The music is allied
+with perfect sympathy to the words.
+
+_In the Woods_ was written to the composer's lines after Goethe.
+This song is a pure lyric, touched with just enough romance to
+deepen its significance.
+
+_The Sea_ is well written, showing some of the power and
+healthiness of the true MacDowell open-air spirit.
+
+_Through the Meadow_ makes an exquisite vocal piece, thoroughly
+attractive in its freshness. It is a song of the true nature-poet,
+breathing the atmosphere of its title in the most delightful and
+sensitive manner.
+
+
+
+OPUS 48. SECOND SUITE (INDIAN), FOR FULL ORCHESTRA.
+
+_First Performed, January_, 1896, _by the Boston Symphony
+Orchestra, in New York. First Performance in England, October
+23rd,_ 1901, _at a London Queen's Hall Promenade Concert.
+Conductor, Sir (then Mr.) Henry J. Wood. First Published,_ 1897
+(Breitkopf and Härtel).
+
+_Dedicated to Emil Paur and the Boston Symphony Orchestra._
+
+_Optional Titles to Movements, Furnished by the Composer._
+
+  1. _Legend._
+
+  2. _Love-Song._
+
+  3. _In War Time._
+
+  4. _Dirge._
+
+  5. _Village Festival._
+
+In the _Indian Suite_ we have one of the most graphic examples of
+MacDowell's power of creating atmospheres and impressions of big
+subjects. It is the finest and most mature of his orchestral
+works, thoroughly individual and without a trace of the
+nineteenth century German romanticism that is found in his
+earlier productions. Its musical declamation is commanding and
+infinitely noble. The atmosphere of the great rolling plains,
+mighty forests, and vast and lonely retreats is unerringly
+created. The notes of wildness and an indescribably touching
+spirit of far away romance are sounded, telling of a forgotten
+and dying elemental race. In the _Suite_ the lodges of the Red
+men rise again before our eyes; their old legends, savage war
+dances, love romances, their sorrows, joys and festivities live
+once more. MacDowell has caught the spirit of the days when the
+rude, but curiously interesting aborigines of America lived; of
+days that are now but treasured legends that still stir the
+hearts of the young in many lands. He conveyed a feeling of this
+atmosphere in his music with an unerring touch, the effect of
+which is heightened by the use of material derived from the
+native tunes of the North American Indians. The _Indian Suite_ is
+undoubtedly one of the most noble and impressive works that
+MacDowell ever composed, containing in the _Dirge_ movement one
+of his most striking utterances. In his last days he expressed a
+preference for this above anything else he had composed. The
+_Suite_ is full of stirring strength, vast tonalities, depth of
+feeling and elemental greatness, and is scored with a mastery of
+orchestral tone colour used solely and unerringly to enhance the
+poetic suggestiveness of the whole. It was fully sketched between
+three and four years before its first appearance, as the composer
+spent much time in becoming more closely acquainted with Red
+Indian tunes.
+
+1. _Legend_ (_Not fast. With much dignity and character_). This
+opens with a romantic horn-call of the plains that is significant
+of the whole _Suite_:--
+
+[Music.]
+
+It is heard again at the end of the last movement. Indescribable
+is the effect of the paused note, the silence, and then the far
+away answer. The call is elaborated with rich effect, but the
+atmosphere of vastness and loneliness is preserved. The
+suggestiveness of this introduction is wonderfully vivid, for in
+a moment we are transported from the civilisation of to-day to
+the wildness and romance of the old days on the plains of the
+great West. The introduction finished, the movement proper begins
+(_Twice as fast. With decision._) with a long tremolo on the note
+B. At the fifth bar a harvest song of the Iroquois Indians
+appears:--
+
+[Music.]
+
+Vivid in effect is the following striving figure:--
+
+[Music.]
+
+The Indian theme is now elaborated at some length with much richness,
+and is wild in effect. After this a tender MacDowell-like second
+subject appears:--
+
+[Music.]
+
+This contemplative atmosphere is soon broken as the influence of
+the native theme is felt, and the striving figure is also heard.
+The music grows more and more wild and intricate, working up to a
+tearing intensity and then dying away until only a few deep
+murmurs remain. The striving figure is heard twice, and then
+follows a small bridge to a repetition of the tender second
+subject, now heard pianissimo under a swaying, chord accompaniment.
+After a time it grows in intensity and imperceptibly merges into
+the romantic call of the introduction, the influence of which,
+however, is at once felt. The music now mounts to a tremendous
+pose of strength, double _fortissimo_, the final bars striking the
+same attitude in a deeper and more stolid form. There is little in
+music of such iron-like force as the conclusion of this _Legend_.
+The thundering tremolos and chords are not intricate or beautiful,
+their very splendour lying in their stark, magnificent elemental
+power.
+
+2. _Love-Song_ (_Not fast. Tenderly_). This opens with the tune
+of a love song of the Iowa Indians:--
+
+[Music.]
+
+This little after thought brings a touch of romance:--
+
+[Music.]
+
+A new and equally tender theme follows:--
+
+[Music.]
+
+Although not of great importance, this little episode is notable
+for its poetic suggestion of the Red Indian atmosphere:--
+
+[Music.]
+
+The music now goes on its way, rich in harmonic and instrumental
+colour, but always clear, now soft and lulling, now approaching
+the passionate. The first theme is heard again, and the
+_Love-Song_ is then concluded by the little after thought.
+
+3. _In War Time_ (_With rough vigour, almost savagely_). A rude
+war song of the Iroquois Indians opens this movement:--
+
+[Music.]
+
+The rhythm of its continuation is afterwards made much of,
+particularly the active semiquaver figure:--
+
+[Music.]
+
+The opening theme is now repeated with the implied harmonies, the
+whole progressing with increasing intensity, the figure of the
+second illustration being prominent. The music surges wildly,
+undulating in a manner that suggests a Redskin scalp dance, the
+hideous, painted figures now bending low, now holding their
+weapons high above their heads. At length the fury of the war
+dance reaches an elan that exhausts it, the barbaric figure
+referred to in our second illustration becoming more and more
+prominent, then sinking lower and lower until it is nothing more
+than a series of thudding accents, broken by periods of silence
+of increasing length. The effect is one of horses galloping
+further and further away into the distance. After this the whole
+atmosphere changes, and a mournful, lonely cry is heard:--
+
+[Music.]
+
+We may find the significance of this in the fact that it is a
+prominent figure of the _Dirge_, No. 4 of the suite. The active
+figure is now heard again, deep and almost inaudible, softly
+ushering in the barbaric opening theme, now heard in the bass.
+The warriors appear to be returning as the music once more grows
+in volume. Wilder and wilder it grows--a moment's silence--only
+to begin again faster and faster. Still faster does it become
+until it is almost a scream, the conclusion coming in a
+magnificent series of reiterated chords thundered out with the
+full strength of the orchestra employed. There is no doubt that
+this piece is one of the most vividly imaginative and brilliant
+in the whole range of orchestral music, although it is rarely
+performed with the skill and insight it requires.
+
+4. _Dirge_ (_Dirge-like, mournfully_). "Of all my music," said
+MacDowell after his last music had been published, "the _Dirge_
+in the _Indian Suite_ pleases me most. It affects me deeply and
+did when I was writing it. In it an Indian woman laments the
+death of her son; but to me, as I wrote it, it seemed to express
+a world-sorrow rather than a particularised grief." The piece is
+undoubtedly one of its composer's most melancholy utterances.
+Under a long series of reiterated key notes of the tonic minor,
+the wailing phrase heard in _In War Time_ (No. 3 of the suite)
+appears:--
+
+[Music.]
+
+It goes on at some length with increasing sadness and richer
+harmonic and instrumental colouring (indescribable is the effect
+of a muted horn heard off the platform). Soon comes a deep and
+solemn bass uttering, heart-shaking in its grief. We give it with
+the passage leading up to it:--
+
+
+[Music.]
+
+After a while the music rises with the same lonely mournfulness
+to an outburst of despair:--
+
+[Music.]
+
+The sad opening phase follows and after this the solemn bass
+figure. The close is mysterious but piercing in its sobbing,
+inconsolable grief.
+
+[Music.]
+
+This _Dirge_ is indisputably the cry of a great soul, and there
+is little in music which expresses grief so effectively. The
+sense it gives of loneliness and sombreness has never been quite
+equalled by any other composer. The piece is not a funeral
+oration weighed down with pomp, but the spontaneous grief of
+elemental humanity. The scene is of a mother mourning for her
+son; its significance is of a world sorrow. The music would
+honour any composer, living or dead.
+
+5. _Village Festival_ (_Swift and light_). This number is the
+longest of the Suite. It opens with the tune of a squaws' dance
+of the Iroquois Indians:--
+
+[Music.]
+
+This is soon followed by another of festivity:--
+
+[Music.]
+
+The music proceeds, rich in harmonic and instrumental colouring,
+and vividly suggesting the wild orgies of the village festivities
+of the Red Indians. The whole works up to frenzied power until
+exhaustion comes and it dies down again. Indicated as _slightly
+broader_, the opening tune is now heard softly over mysterious
+tremolos. Particularly subdued is the wild and sombre after
+thought:--
+
+[Music.]
+
+After a time, the striving figure first heard early in the first
+number of this suite, _Legend_, appears. The thumping accents of
+the festal dance are now heard again, softly, and soon we hear
+the opening tune. The wild excitement begins to return, growing
+to a frenzy in which a reminiscence of the first theme of the
+_Legend_ may be noticed. Soon the music sinks down again, but
+never losing its strongly-marked accents, and now hastening its
+course. The second festive theme is heard softly, high in the
+scale. Faster and faster, but still subdued, grows the music, the
+striving figure of the _Legend_ being prominent. A broadening out
+then comes and with it a magnificent, raw strength, in which is
+heard the romantic call that opens the whole work in the
+introduction to the first movement. The bare tonic is now struck
+with a gesture of great force. A roll of sound follows. Again the
+bare note is sounded, and again the roll of sound succeeds. The
+last dozen bars thunder solely on the tonic note, with a rude,
+but stern and manly elemental absence of harmonic colouring,
+typifying with undeniable dignity the savage, but often
+impressive and noble figure of the Red Man, forgotten now that
+his great race has been succeeded by the greatest and most
+striking nation of the white races--the Republic of the West.
+
+The _Indian Suite_ is obtainable in pianoforte score.
+
+
+
+OPUS 49. AIR AND RIGAUDON, FOR PIANOFORTE.
+
+_First Published_, 1894 (Breitkopf & Härtel).
+
+This work has been curiously neglected. It comes just at the
+beginning of MacDowell's more mature period, but nobody seems to
+know much about it. It is true that it lacks the definitely
+indicated poetic basis that is a feature of the composer's finest
+work, but it is a well written and melodious composition. It is
+at least more deserving of attention than the popular _Hexentanz,
+Op. 17_, and the _Etude de Concert in F sharp, Op. 36_, but these
+two owe their popularity to the virtuoso pianist. Grove's
+_Dictionary of Music and Musicians_ refers to _Op. 49_ as "some
+dances published in a Boston collection."
+
+
+
+OPUS 50. SECOND SONATA, EROICA, IN G MINOR, FOR PIANOFORTE.
+
+_First Published_, 1895 (Breitkopf & Härtel).
+
+_Dedicated to William Mason._
+
+"_Flos regum Arthurus._"
+
+  1. _Slow, with nobility_--_Fast, passionately, etc._
+
+  2. _Elf-like, as light and swift as possible._
+
+  3. _Tenderly, longingly, yet with passion._
+
+  4. _Fiercely, very fast._
+
+The _Sonata Eroica_ is perhaps the most beautiful and noble,
+although not the grandest or most stirring, of MacDowell's four
+pianoforte sonatas. It has not the weight and power of the
+_Sonata Tragica, Op. 45_, but in its beauty and noble dignity it
+is infinitely more impressive. The whole work was inspired by the
+Arthurian legends that MacDowell, with his love of ancient
+chivalry and romance, loved to idealise. In the sonata he has
+illuminated his subject with compelling nobleness of thought and
+beauty of effect, freely adapting the traditional musical form to
+the needs of his poetic purpose. The work requires a considerable
+amount of study for its finished performance, as well as a
+knowledge and understanding of its source of inspiration. Heard
+at its best it is a magnificent solo piece, only surpassed by the
+composer's own two later sonatas, the _Norse, Op. 57_, and the
+_Keltic, Op. 59_.
+
+1. The first movement is notable for its variety of _tempo_ and
+expression, every page containing new indications as to these in
+the illuminating and characteristic English of the composer. He
+has told us that the movement as a whole typifies the coming of
+Arthur, and as such we may leave it. The traditional sonata form
+is freely adapted to the poetic requirements of the movement, but
+the result is rather ragged. The music itself, however, is deeply
+inspired and full of fire. The simple, yet pathetic second
+subject is recalled again in the slow movement.
+
+2. The fanciful and "elf-like" _scherzo_ movement was suggested
+to the composer by Doré's picture of a knight in a wood,
+surrounded by mythological forest folk. The music is imaginative
+and cleverly written, but MacDowell afterwards considered the
+movement as a whole to be "an aside" from the general content of
+the sonata. The present writer thinks that this _scherzo_ may be
+omitted by a performer who satisfies himself that it is not an
+essential part of the Arthurian concept of the whole. If the
+sonata is played simply as programme music, however, it benefits
+by the inclusion of this movement.
+
+3. This movement is headed, _Tenderly, longingly, yet with
+passion_, and is considered by many of the composer's admirers to
+be one of his most beautiful inspirations. It is, according to
+MacDowell himself, a musical representation of Guinevere,
+Arthur's lovely queen. Quite independent of the rest of the
+sonata, the movement is a tone poem of rare beauty, expressiveness
+and passion, although the melody entering at its eleventh bar
+connects it with the preceding movement.
+
+4. The last movement represents the passing of Arthur. It is
+strikingly suggestive of the closing days of the Arthurian drama,
+the tragic note being often impressively struck, although not so
+definitely as in the _Sonata Tragica_. The import of the movement
+is satisfying to those who believe that the days of romance and
+chivalry closed with the fall of Arthur and his knights, despite
+the attempts in the Middle Ages to revive the past. The movement
+as a whole is physically exhausting, except to the very strong.
+The great climax arrives some way before the end of the work, the
+music seeming gradually to ebb away after it as though it were
+but recounting the last scenes of Arthur's death. The two final
+pages sadly recall the opening theme of the first movement,
+typifying the coming of Arthur. The coda is of moving tenderness,
+indicating the tragedy of Guinevere. A final and elevated
+outburst is heard and then the sonata ends with a prolonged
+chord. Altogether there is something very noble and beautiful
+about this sonata, from which the magnificence and surpassing
+power and beauty of the two later ones do not detract.
+
+
+
+OPUS 51. WOODLAND SKETCHES, FOR PIANOFORTE.
+
+_First Published_, 1896 (P.L. Jung. Assigned, 1899 to Arthur P.
+Schmidt).
+
+  1. _To a Wild Rose._
+
+  2. _Will o' the Wisp._
+
+  3. _At an Old Trysting-place._
+
+  4. _In Autumn._
+
+  5. _From an Indian Lodge._
+
+  6. _To a Water-lily._
+
+  7. _From Uncle Remus._
+
+  8. _A Deserted Farm._
+
+  9. _By a Meadow Brook._
+
+ 10. _Told at Sunset._
+
+These widely known pieces were composed during the last part of
+MacDowell's residence at Boston, just before he left for New York
+to take up his duties as professor of music at Columbia
+University. In these _Woodland Sketches_ we come for the first
+time to the point at which his pianoforte poems are absolutely
+responsive to elemental moods, unaffected in style and yet
+distinguished, free from commonplace, speaking with a personal
+note that is inimitable. They are, as a whole, mature Nature
+poems of an exquisite and charming order, beautiful not only for
+their outward manifestations, but for the deeper significance
+they give to their sources of inspiration.
+
+1. _To a Wild Rose_ (_with simple tenderness_). This is one of
+the most charming and well known of MacDowell's small pieces. It
+is founded on a simple melody of the Brotherton Indians, and has
+a poise of the most refined and beautiful order. The composer was
+always afraid of the less intelligent music lovers "tearing it up
+by the roots." A vocal arrangement has been made by Herman
+Hagedorn, but the words are sickly and commonplace in sentiment,
+and so unnaturally cramped, that the song is artistically
+worthless.
+
+2. _Will o' the Wisp_ (_Swift and light; fancifully_). This is a
+very imaginative piece, full of mysterious and shadowy lightness,
+and swift of movement. It seems to just float over the keys and
+in its general effect is fascinating and spirit-like, with
+dancing little lights flickering in the shadows.
+
+3. _At an Old Trysting-place_ (_Somewhat quaintly; not too
+sentimentally_). This is the shortest piece of the set, and is
+only thirty bars long. It is cramped into one page in the current
+edition of the sketches. The melody is tender, undulating and
+expressive and is supported by full but always clear chords, with
+typical modulations. The broadness of the chord writing, together
+with the general tone of the piece as a whole, seems to call for
+orchestral colouring and foreshadows MacDowell's most advanced
+period. As a whole, it is contemplative, expressing the
+wistfulness of one who stands at a quiet place, musing on bygone
+meetings there.
+
+4. _In Autumn_ (_Buoyantly, almost exuberantly_). MacDowell threw
+an irresistible joyous excitement into this piece (as he did
+later in the superb _The Joy of Autumn_, from _New England Idyls,
+Op. 62_). _In Autumn_ opens with a brisk staccato theme, followed
+by little chromatic runs which seem to suggest the whistling of
+the wind through the tree-tops. A middle section brings a
+complete change of mood, as if questioning the elements. A
+mysterious and fanciful little passage leads to a resumption of
+the opening joy of existence. In short, this piece is most
+exhilarating, and pulsates with life and with an exuberance that
+is most infectious.
+
+5. _From an Indian Lodge_ (_Sternly, with great emphasis_). This
+is as strong and impressive a piece as MacDowell ever composed
+for the pianoforte. From the first bar the note of the stern
+stolidity of the Red man is struck. The rude, elemental power of
+the bare octaves of the introductory bars is unmistakable. The
+ensuing stolid oration, punctuated by emotionless grunts, is an
+ingenious musical sketch of a pow-wow scene in an Indian wigwam.
+The piece closes with a reminiscence of the last part of the
+introduction, first softly and then very loudly, the final chords
+being of orchestral-like sonority. The whole composition is one
+of the best in the set for showing MacDowell's ability to create
+atmosphere. The scene of the Indian lodge is unmistakable.
+
+6. _To a Water-lily_ (_In dreamy, swaying rhythm_). This is a
+remarkable little piece of lyrical tone painting. It is in the
+key of F sharp major, and is mostly played on the black keys. Its
+chords are rich and, except in the short middle section, scored
+on three staves, yet always with an effect of the utmost
+lightness of poise. The piece is vividly suggestive of a
+water-lily floating delicately on quiet water, but in the
+questioning little middle section something seems to disturb the
+water, and for a moment the flower rocks uneasily. The opening
+theme returns and the piece ends with the utmost delicacy of
+effect. _To a Water-lily_ is generally admitted to be one of the
+most exquisite and perfect lyrics MacDowell ever composed for the
+pianoforte.
+
+7. _From Uncle Remus_ (_With much humour; joyously_). American
+youngsters delight in the negro tales of "Uncle Remus," and this
+piece opens with an unbridled joviality that continues to the
+end. There is a wealth of jolly humour that is delightfully frank
+and infectious without being commonplace. It is rich and real,
+with a breadth that was a captivating feature of MacDowell's
+personal sense of humour.
+
+8. _A Deserted Farm_ (_With deep feeling_). A deeper note is
+struck in this piece, the opening theme being very grave. Later a
+wistful tenderness comes over the whole, but the grave melody
+returns and in this mood the piece ends. The whole atmosphere of
+it is one of loneliness, and, except for a sonorous bar or two,
+its expression is subdued. It gives an impression of the quiet
+that hangs around an old country home long since deserted, where
+human life once existed with all its joys and sorrows.
+
+9. _By a Meadow Brook_ (_Gracefully, merrily_). This goes
+bubbling and sparkling along, now swirling round a little rock,
+now running over a little waterfall, but always going merrily on
+until softer and softer grows the tonality, finally vanishing
+from musical sight. The piece is purely a play of tone, but never
+shallow, for it suggests not only a particular type of Nature
+scene, but the significance of the beauty and goodness it
+symbolises.
+
+10. _Told at Sunset_ (_With pathos_). This piece is of some
+importance from the fact that it contains thematic allusions to
+two of the preceding numbers. It opens with a sad, reflective
+theme that is reminiscent of _A Deserted Farm_. It proceeds for
+nineteen bars, dying softly away high in the scale. After a
+moment's silence, a softly breathed, but firmly emphasised
+marching tune appears, marked _Faster sturdily_. It grows
+gradually louder until it is thundered out in its full strength,
+with something of the nervous accentuation peculiar to Elgar's
+music. It dies gradually away again, until nothing is left but a
+few last faint references to its sturdy quality. The grave theme
+of _A Deserted Farm_ (_No._ 8) is now introduced (transposed a
+semitone lower than the original to F minor), freely altered, and
+infused with more intense expressiveness. The conclusion is
+dramatic, for after twenty-four bars of deep and tender
+contemplation comes an impressive silence--and then the stern and
+solemn chords of the latter part of the introduction to _From an
+Indian Lodge_ are heard, first softly and then with virile
+orchestral _fortissimo_, and with this the piece closes.
+
+
+
+OPUS 52. THREE CHORUSES, FOR MALE VOICES.
+
+_First Published_, 1897 (Arthur P. Schmidt).
+
+  1. _Hush, hush!_
+
+  2. _A Voice from the Sea._
+
+  3. _The Crusaders._
+
+These part-songs are finely written and full of suggestiveness.
+_Hush, hush!_ creates the atmosphere suggested by its title. _A
+Voice from the Sea_ and _The Crusaders_ are settings of some of
+the composer's own verses. The sea song tells of the north wind's
+wrath, the roaring sea on the rugged shore and of a woman with a
+torch, looking out into the darkness, moaning: "Thy will be
+done." The whole song graphically suggests the dangers of the
+sea. The third chorus is heroic and strong, not treating of the
+forces of nature, as does the preceding number, but with the
+bold, adventurous daring, fired with religious zeal, of the old
+Crusaders. The music of _The Crusaders_ is worthy of its theme.
+
+
+
+OPUS 53. TWO CHORUSES, FOR MALE VOICES.
+
+_First Published_, 1898 (Arthur P. Schmidt).
+
+  1. _Bonnie Ann._
+
+  2. _The Collier Lassie._
+
+These are charming part-songs, and bear the composer's individual
+stamp. The groups of male voice choruses of Ops. 52, 53 and 54,
+present a fine aspect of MacDowell's work, although they are not
+of his most important output. Presumably a good reason why they
+are so seldom performed in Europe is that they are little known
+here; it is certainly not because their inspiration or effect is
+poor. The composer was conductor of the Mendelssohn Glee Club, an
+old-established American Male Voice Choir, about the date when
+these part-songs were written.
+
+
+
+OPUS 54. TWO CHORUSES, FOR MALE VOICES.
+
+_First Published_, 1898 (Arthur P. Schmidt).
+
+  1. _A Ballad of Charles the Bold._
+
+  2. _Midsummer Clouds._
+
+These two choruses are some of the finest of MacDowell's little
+known part-songs for male voices, and are both written to his own
+lines. The first is a stirring ballad of olden times:--
+
+  _Duke Charles rode forth at early dawn
+  Through drifting morning mists,
+  His armour frosted by the dew
+  Gleamed sullenly defiance....
+
+  ... All day long the battle raged.
+  And spirits mingled with the mist
+  That wreathed the warring knights...._
+
+Charles, although his charger is led by Death against the foe,
+himself falls a victim to the tireless Reaper.
+
+The second chorus, _Midsummer Clouds_, is in pleasant contrast to
+the blood and war spirit of the first. In it we have the
+imaginative charm and beauty of lines like the following:--
+
+  _Through the clear meadow blue
+  Wander fleecy white lambs...._
+
+There is a certain depth about the song, however, as if the
+scenic suggestion is only a symbol of something greater and more
+human, and this feeling is increased by the last verse:--
+
+  _And the light dies away
+  As the silent dim shapes
+  Sail on through the gloaming,
+  Towards dreamland's gates._
+
+
+
+OPUS 55. SEA PIECES, FOR PIANOFORTE.
+
+_First Published_, 1898 (P.L. Jung. Assigned 1899 to Arthur P.
+Schmidt).
+
+  1. _To the Sea._
+
+  2. _From a Wandering Iceberg._
+
+  3. _A.D. 1620._
+
+  4. _Starlight._
+
+  5. _Song._
+
+  6. _From the Depths._
+
+  7. _Nautilus._
+
+  8. _In Mid-Ocean._
+
+The _Sea Pieces_ contain some of the finest of MacDowell's
+suggestive tone poetry. They are chiefly remarkable for their
+exhibiting the composer's ability to suggest a big scene, or a
+dramatic or emotional content of far-reaching significance, in an
+incredibly small space. The power and breadth of some of the
+pieces is great, while their beauty of tone, displaying the
+powers of the pianoforte from _pppp_ to _fff_, is rich and full
+in its harmonic construction. Although the chords seem to call
+for orchestral colouring, the effect is always clear and ringing
+on the pianoforte, whilst the melodies are some of the most noble
+and dignified of MacDowell's short pieces. As a contrast to the
+strength of some of the numbers in the set, others are of an
+exquisite and quiet beauty. Altogether the _Sea Pieces_ make up
+one of the most superb pianoforte albums in existence, for they
+are tone poems of unsurpassed beauty, strength of character,
+nobleness of thought and unerring atmospheric suggestion,
+touching the high water mark of the composer's inspirations. Each
+piece is headed by a verse of the composer's own writing, except
+the first, sixth and seventh, which have single lines only. The
+poems are included in the published book of his verse.
+
+1. _To the Sea_ (_With dignity and breadth_). This is headed:--
+
+  _Ocean, thou mighty monster_,
+
+and is a tone poem of remarkable power. It is but thirty-one bars
+in length and yet it contains more solid material, breadth and
+perfectly concentrated splendour than many an orchestral tone
+poem of symphonic proportions. The graduations of tone found in
+the piece are very fine and could only have been written by one
+who knew intimately the tonal resources of the modern pianoforte.
+The chord writing spreads over a wide area of the keyboard, but
+is remarkable for its clarity. It is indeed extremely difficult
+to call to mind any other composer who could have painted a tone
+picture so big in outlook and so complete in itself, in such a
+small space as MacDowell has done here.
+
+2. _From a Wandering Iceberg_ (_Serenely_). This piece suggests a
+towering iceberg gradually approaching, passing by in all its
+splendour, and going on toward _realms of burning light_. The
+tone variety ranges from _as soft and smooth as possible_ to a
+virile, orchestral _fff_. The melody of the piece is very
+beautiful and the whole thing has a curious icy clearness about
+it that is remarkably realistic. The last seven bars contain
+music as tender and serene as anything MacDowell ever composed.
+
+3. _A.D. 1620_ (_In unbroken rolling rhythm_). This represents
+the voyage of the pilgrim fathers and is a four-page piece, about
+double the length of the preceding two. Its character is
+generally stern, and the rolling of the lumbering ship is vividly
+suggested. The middle portion consists of a magnificent song
+marked _Sturdily and sternly, but without change of rhythm_. The
+tune is not beautiful, but it is strong and inspiring, and in
+these respects it is unique. Its power is remarkable even for
+MacDowell. As the preceding part gradually led up to the song, so
+in its repetition it gradually dies away, as if the ship had
+approached and passed by, bearing its load of the men, women and
+children who were to found the great Republic of the West.
+
+4. _Starlight_ (_Tenderly_). This is a tender and beautiful
+little inspiration. It has a melodic and harmonic outlook of the
+exquisite poise that marks MacDowell's finest work. The light and
+shade of the piece call for perfect control of tone production on
+the part of the performer. It is lighter and more finely
+conceived than the preceding pieces in this set, and is a very
+perfect tone suggestion of the loveliness of a quiet, starlit
+sea.
+
+5. _Song_ (_In changing moods_). This opens softly with a cheery
+song which has a rough and hearty chorus. A deeper emotion is
+sounded where the music is marked _passionately_, and after this
+comes a passage of wistful tenderness. The song is resumed,
+together with its chorus, but near the end the tender portion is
+recalled, and the piece ends with a subdued and thoughtful
+reminiscence of the air.
+
+6. _From the Depths_ (_In languid swaying rhythm_).This is one of
+MacDowell's greater inspirations and is headed:--
+
+  _And who shall sound the mystery of the seas._
+
+This is a magnificent tone poem. We first have a picture of the
+sea, calm, but sinister, and then we see it working up to its
+full power and fury in a storm. The gradations of tone range from
+a sombre, mysterious _ppp_ to an _fff_ of furious power. The
+writing is very full and rich, and there are passages of a
+stupendous strength and magnificence of effect seldom found
+outside MacDowell's own music.
+
+7. _Nautilus_ (_Delicately, gracefully_). This is headed:--
+
+  _A fairy sail and a fairy boat_
+
+and is the gem of the set. The writing is of exquisite
+gracefulness and charm. The scenery, as the little voyage
+proceeds, is of fresh loveliness and constantly changing, while
+the curious, indecisive rhythm is unmistakably suggestive of an
+uncanny boat trip in quiet water. The whole piece is one of
+perpetual charm and delight to the ear.
+
+8. _In Mid-Ocean_ (_With deep feeling_). Here we find the deeper
+note struck again:--
+
+  _Inexorable! Thou straight line of eternal fate...._
+
+The music of this piece is transporting in its majestic nobility
+and magnificent, sweeping strength. It is one of the most superb
+of MacDowell's short pieces. From the deep and sonorous opening
+bars, through passionately mounting fury, to the sombre and
+mysterious close--in all of it we are confronted with the work of
+an unmistakably inspired master. With this fitting, unsurpassed
+picture, not of the outward might of the sea alone, but of the
+mysterious, relentless and terrible beauty of its significance as
+Fate, MacDowell concluded his _Sea Pieces_--Tone poems of
+artistic supremacy, of inimitable strength and loveliness of
+expression, that will live as long as there are men and women who
+are stirred by the deep power of music to give expression to
+God's Creation.
+
+
+
+OPUS 56. FOUR SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1898 (P.L. Jung. Later assigned to Arthur P.
+Schmidt).
+
+  1. _Long Ago, Sweetheart Mine._
+
+  2. _The Swan Bent Low to the Lily._
+
+  3. _A Maid Sings Light._
+
+  4. _As the Gloaming Shadows Creep._
+
+This is a very beautiful group of songs, made from the best of
+the composer's artistic material. They are of pure and uncommonly
+high quality, expressing happiness, tenderness and irresistible
+charm. The verses of each are the composer's own, those of the
+last number being after Frauenlob.
+
+1. _Long Ago_ (_Simply, with pathos_). This song has a sadness
+and tenderness which, together with its words, give it an
+irresistible appeal. The scene it suggests is that of an elderly
+couple, for whom life is drawing to a close, recalling the
+far-off days when their undying love for each other commenced.
+The expression of the music is very human and free from any
+commonplace sentiment.
+
+2. _The Swan Bent Low to the Lily_ (_With much feeling_). This
+song is an exquisite and charming little lyric.
+
+3. _A Maid Sings Light_ (_Brightly, archly_). This song has a
+captivating delightfulness and warns off a lad, lest he lose his
+heart to the fair maid who not only sings light, but loves light.
+
+4. _As the Gloaming Shadows Creep_ (_Tenderly_). This is one of
+MacDowell's finest songs. The words are "after Frauenlob," and
+were used previously by the composer in _As the Gloaming Shadows
+Creep_ in _Songs from the Thirteenth Century_ (without opus
+number) _for Male Chorus_. The music is very tender and beautiful
+in expression, and these qualities atone for the fact that the
+song does not always show a perfect alliance between words and
+music; its chief merit is in the outstanding quality of the
+latter.
+
+_Long Ago_ and _A Maid Sings Light_ form one of the gramophone
+records made for "His Master's Voice" series by Alma Gluck. This
+lyric soprano has sung the two MacDowell songs with sympathy and
+perfect phrasing. The accompaniments were played by a Mr.
+Bourdon, who unfortunately disregarded the composer's tone and
+legato indications.
+
+
+
+OPUS 57. THIRD SONATA, NORSE, IN D MINOR, FOR PIANOFORTE.
+
+_First Published_, 1900 (Arthur P. Schmidt).
+
+  1. _Impressively; at times with impetuous vigour._
+
+  2. _Mournfully, yet with great tenderness._
+
+  3. _With much character and fire._
+
+The two last sonatas, the _Norse, Op. 57_, and, the _Keltic, Op.
+59_, are MacDowell's most superb achievements, banishing for ever
+the mistaken and ignorant assertion that he was only a miniaturist
+in composition. The _Norse_ sonata is separated by a wide gulf of
+progress from its predecessor, the _Sonata Eroica_, being greater
+in outlook, freer in form and altogether more strongly determined
+and personal in character. It has a more mature strength, nobleness
+and dignity, together with an inspiring and magnificent beauty and
+splendour of tone power. The subject of the work was one that
+MacDowell loved to dwell upon--the stirring tales of love and
+mighty heroism told in the ancient Norse sagas. The barbaric, but
+undoubtedly splendid spirit of those dim days seized upon his
+imagination as it did upon that of the English composer, Elgar,
+when he wrote his _Scenes from the Sagas of King Olaf_. The writing
+in the _Norse_ sonata is of tremendous breadth and sweep of line,
+only surpassed by that of the _Keltic_ sonata, (_Op. 59_), often
+calling forth the utmost power of which the modern pianoforte is
+capable and altogether ignoring the stretch of one pair of hands,
+which have to leap the huge chordal stretches very smartly.
+Notwithstanding this fullness of writing, however, the effect is
+always ringing and clear. The third and fourth of MacDowell's
+sonatas were dedicated by him to Grieg, but the printed copies of
+the former do not bear the inscription, though those of the _Keltic_
+do so.
+
+1. The first movement opens darkly and sombrely, suggesting the
+lines of the verse that heads the sonata as a whole, telling of
+the great rafters in the hall at night, flashing crimson in the
+flickering light of a dying log fire. The strong voice of a bard
+rings out, and through this medium the tales of battles, love and
+heroic valour is told. The movement has passages of tremendous
+vigour, passion and depth, all painted with the unerring skill of
+the composer. The final bars are of fierce and elemental power.
+
+2. The second movement opens with a theme of tender beauty. It
+develops into passionate strength, involving much intricacy of
+writing and wide spread chordal work.
+
+3. The third and last movement (it will be noted that MacDowell
+abandons the scherzo movement in this sonata, as it had proved an
+_aside_ in the two earlier ones) is impetuous and, as it
+proceeds, becomes increasingly difficult to play. The theme of
+the second movement is recalled in a passage of extreme pathos.
+The final coda is most impressive, beginning _Dirge-like_--_very
+heavy and somber_; five bars from the end there is a moment's
+silence, and then the opening theme of the first movement rings
+out and the sonata ends with the utmost breadth and strength.
+
+
+
+OPUS 58. THREE SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1899 (Arthur P. Schmidt).
+
+  1. _Constancy_ (_New England, A.D. 1899_).
+
+  2. _Sunrise._
+
+  3. _Merry Maiden Spring._
+
+The verses of these songs are MacDowell's own, and both words and
+music here go to make up song writing of an order that is rare in
+its beauty of expression, tender thought and pure lyricism.
+
+In _Constancy_ (_New England, A.D. 1899_), indicated _Simply, but
+with deep feeling_, we have one of MacDowell's best songs. It has
+a tenderness and wistfulness about it that is irresistible, and
+sung in the spirit of its words, which tell of an empty house and
+neglected garden, it is a very beautiful thing.
+
+_Sunrise_, marked _With power and authority_, is short and tells
+of the sorrowful spectacle of a wrecked and broken ship. The
+actual scene, however, seems secondary to its own significance as
+a symbol of human life. The music is heavy after the style of
+certain of the composer's pianoforte _Sea Pieces_ (_Op_. 55).
+
+The third and last song, _Merry Maiden Spring_, is charming, with
+a singularly bright and captivating freshness. It is indicated to
+be sung _Lightly, gracefully_.
+
+
+
+OPUS 59. FOURTH SONATA, KELTIC, IN E MINOR, FOR PIANOFORTE.
+
+_First Published_, 1901 (Arthur P. Schmidt).
+
+_Dedicated to Edvard Grieg_.
+
+  1. _With great power and dignity_.
+
+  2. _With naive tenderness_.
+
+  3. _Very swift and fierce_.
+
+The _Keltic Sonata_ is generally considered MacDowell's supreme
+achievement, the great culmination of his evolution toward
+musical expression of immense and rare power. The sonata is a
+work of great breadth and vitality, and has a sweep of line and
+noble beauty of expression that is only equalled in the supreme
+efforts of genius, such as Beethoven's _Appassionata_ sonata for
+instance. It is a most superb poetical romance, full of the
+passion and heroic fervour of the Celtic strain in MacDowell's
+own nature. It searched out his finest and deepest inspiration
+when he wrote it and it grew to be part of his very being
+afterwards. The whole thing is a reflection of the heroic and
+stirring romances in Celtic legend. It is full of a wild beauty
+and sorrow, and carries us back to those far-off days when men
+lived the lives that now to us seem mythical. The graduations of
+tone in the sonata range from _pppp_ to _ffff_, and although its
+technical difficulties are considerable, they are worth
+conquering, which is more than can be said of many things over
+which the modern pianist takes infinite pains. The virtuoso
+aspect of the _Keltic_ sonata, however, is always lost in the
+magnificent spirit of the music. All MacDowell's finest works
+require not mechanical technique only, but deep intellectual and
+poetical thought to bring out their finest qualities.
+
+1. From the first bars the majesty of the work becomes apparent.
+The first movement as a whole is full of the fire of Celtic
+inspiration, tinged with a wild and piercing sorrow. The final
+page of it contains music of stupendous power, and the limit of
+extremity of tone contrast is reached in the two last bars, one
+of which is to be played _pppp_ and the other _ffff_.
+
+2. The second movement opens with a tender and exquisite beauty,
+but the music soon becomes impassioned, the dominant mood being
+that wild sorrow we have already referred to.
+
+3. The final movement is generally dark and fierce, moving
+swiftly and of great technical difficulty. Near the end we notice
+the direction, _Gradually increasing in violence and intensity_,
+and later an unforgettable passage occurs _With tragic pathos_.
+The sonata ends with a fierce rush, of enormous and elemental
+power. The key to the meaning of the _Keltic_ sonata is given in
+some lines of his own which MacDowell placed at its head, but
+they are only part of all that he expressed in it. They should be
+read together with the lines entitled _Cuchullin_ in the book of
+his verses. _Cuchullin_ was considered unconquerable and even his
+form, when at last frozen in death, awed all who saw it; and it
+is of the might and tragedy of this old figure in Celtic legend
+that the sonata seems to tell. The final pages of the last
+movement may be considered as a vivid expression of the scene
+which Standish O'Grady, whose work MacDowell loved, has so
+superbly described:--"Cuculain sprang forth, but as he sprang,
+Lewy MacConroi pierced him through the bowels. Then fell the
+great hero of Gael. Thereat the sun darkened, and the earth
+trembled ... when, with a crash, fell that pillar of heroism, and
+that flame of the warlike valour of Erin was extinguished." The
+stricken warrior made his way painfully to a tall pillar, the
+grave of some bygone fighter, and tied himself to it, dying with
+his sword in his hand and his terrifying helmet flashing in the
+sun. In O'Grady's words:--"So stood Cuculain, even in death-pangs,
+a terror to his enemies, for a deep spring of stern valour was
+opened in his soul, and the might of his unfathomable spirit
+sustained him. Thus perished Cuculain." ... Superb as these lines
+are, they are equalled in expression by the music of MacDowell's
+_Keltic_ sonata.
+
+
+
+OPUS 60. THREE SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1902 (Arthur P. Schmidt).
+
+  1. _Tyrant Love._
+
+  2. _Fair Springtide._
+
+  3. _To the Golden-rod._
+
+This is the last song group that MacDowell published. It contains
+music of great charm and poetic beauty, with a grave tenderness
+that was ever his own. The verses are all from his pen and show
+his unusual literary gifts.
+
+_Tyrant Love_ (_Lightly, yet with tenderness_). This is the least
+fine of the three, and yet in itself it is a song of rare quality
+and far above the commonplace. The music is beautiful, although
+not free from distortion of the words.
+
+_Fair Springtide_ (_Very slow, with pathos_). This is one of the
+best and most mature of MacDowell's songs. It makes a lovely
+solo, full of sweet and tender sadness, seldom failing to move
+its hearers. Both as regards words and music, it comes straight
+from the soul of its composer.
+
+_To the Golden-rod_ (_With tender grace_). This is a pure and
+delectable piece of lyrical work, in MacDowell's most delightful
+style. The verse tells of a lissom maid whose wayward grace
+neither sturdy Autumn nor the frown of Winter can ever efface.
+The words are obviously fanciful, but the song has a graceful
+charm and fragrance.
+
+
+
+OPUS 61. FIRESIDE TALES, FOR PIANOFORTE.
+
+_First Published_, 1902 (Arthur P. Schmidt).
+
+_Dedicated to Mrs. Seth Low_.
+
+  1. _An Old Love Story._
+
+  2. _Of Br'er Rabbit._
+
+  3. _Of Salamanders._
+
+  4. _A Haunted House._
+
+  5. _By Smouldering Embers._
+
+These pieces show a significant change in the voice of MacDowell.
+A certain strange, farawayness of thought is apparent, and a
+grave tenderness that is not quite like anything he had
+previously written. The fine beauty of the previous short pieces
+here gives way to a new kind of serious and even sombre aspect,
+and indeed the composer seems to have entered on a new period.
+Unfortunately the next work after these _Fireside Tales_ is the
+last music he published, and so the certainty of the commencement
+of a new period cannot definitely be established. The writing is
+much more masterly than in any of the earlier short pieces,
+including the _Sea Pieces_, even though these have greater
+spirit.
+
+1. _An Old Love Story (Simply and tenderly)._ This opens with the
+familiar flowing type of MacDowell melody, but with the
+succeeding section in D flat major, marked _ppp_, comes in a new
+and earnest expressiveness. After this the opening theme returns
+and the piece ends tenderly and subdued. _An Old Love Story_ is,
+on the whole, quite characteristic, and certainly very beautiful.
+It seems to bring with it an atmosphere of fading, but still
+cherished, bygone happiness, and its thought is tender and
+wistful.
+
+2. _Of Br'er Rabbit (With much spirit and humour--lightly)._ This
+opens with a roguish and catching tune which is brilliantly
+worked out with much variety, droll humour, and masterly skill.
+The piece has, of course, an affinity with _From Uncle Remus
+(Woodland Sketches, Op. 51_), since Br'er Rabbit is Uncle Remus'
+chief hero; but the maturity and masterly handling of the
+material in _Of Br'er Rabbit_ is unquestionably finer than
+anything in the earlier piece. MacDowell had much affection for
+his _Br'er Rabbit_ creation, and it is certainly one of the most
+delightful of all his brighter compositions; the humour is so
+droll and so characteristic of himself.
+
+3. _Of Salamanders (As delicately as possible)._ This is a
+fanciful, intricate piece, but very delicate in effect. It is
+technically difficult to play, requiring an absolute control of
+finger work. It was rather a favourite with the composer. 4. _A
+Haunted House (Mysteriously)._ This is one of the most imaginative
+and realistic of MacDowell's smaller pianoforte pieces. It opens
+_very dark and sombre_, developing into a wild and eerie
+_fortissimo_. The middle section requires swiftness of finger work
+to suggest the nervous expectancy aroused by the preceding
+mysteriousness. The ghost-like effect returns, then gradually
+recedes again into impenetrable gloom.
+
+6. _By Smouldering Embers (Musingly)._ This opens with a quiet,
+tender theme after the style of _An Old Love Story_. The piece is
+quite short, but displays a mastery both of harmony and
+counterpoint. The music is grave and deep, but very tender. The
+little middle section stands out in its almost passionate, but
+sonorous and controlled emotion. Toward the end, the music
+becomes very moving and subdued, dying away with careful and
+sensitive tone reduction. The impression left by this piece, and
+by the _Fireside Tales_ as a whole, is that the composer was
+conscious of a heavy responsibility in his work; that he felt, as
+Elgar has explained, that "the creative artist suffers in
+creating, or in contemplating the unending influence of his
+creation ... for even the highest ecstacy of 'Making' is mixed
+with the consciousness of the sombre dignity of the eternity of
+the artist's responsibility."
+
+
+
+OPUS 62. NEW ENGLAND IDYLS, FOR PIANOFORTE.
+
+_First Published_, 1902 (Arthur P. Schmidt).
+
+  1. _An Old Garden_.
+
+  2. _Mid-Summer_.
+
+  3. _Mid-Winter_.
+
+  4. _With Sweet Lavender_.
+
+  5. _In Deep Woods_.
+
+  6. _Indian Idyl_.
+
+  7. _To an Old White Pine_.
+
+  8. _From Puritan Days_.
+
+  9. _From a Log Cabin_.
+
+ 10. _The Joy of Autumn_.
+
+This album is the last work MacDowell published. It contains, not
+only some of his most beautiful and advanced lyrical tone poems,
+but, in _Mid-Winter_ and _From a Log Cabin_, two of the most
+significant and inspired of all his shorter pieces. In the _New
+England Idyls_ as a whole, we have the eloquence and poetry of
+MacDowell in its fullest maturity. The American atmosphere is
+strong in these pieces, the scene suggested by each one belonging
+unmistakably to New England. In addition to the expressive and
+suggestive power of these idyls, they possess a fragrance and
+freshness that are rare in music. Each piece is headed by a verse
+of the composer's, and it should also be noted that he has
+dropped his English directions as to expression, etc., and gone
+back to Italian. There is no great gain in this, for the terms he
+uses, although in the language traditionally employed for the
+purpose, are by no means always the actual terms of traditional
+standing; he simply took the unnecessary trouble to translate his
+English-thought directions into a foreign language. His Italian
+is not always that generally used in music.
+
+1. _An Old Garden_ (_Semplice, teneramente_). This opens with an
+expressive and tender little theme. In the middle part a
+beautifully formed lyricism appears. The opening theme eventually
+reappears and the piece ends with quiet, but rich and sonorous
+chords.
+
+2. _Mid-Summer_ (_Come in sogno_). This is a tone impression of a
+drowsy summer's day:--
+
+  ... _Above, the lazy cloudlets drift,
+  Below, the swaying wheat_....
+
+It is exquisitely done, with the composer's usual unerring
+instinct for creating atmosphere. The technical mastery is finer
+than that shown in the _Woodland Sketches_, and the tonality
+ranges in the thirty-six bars of its length from _fortissimo_ to
+softly breathed _ppp_, and at the end even _pppp_.
+
+3. _Mid-Winter_ (_Lento_). Here we find a piece of dramatic
+significance and great power. Its deeper meaning is expressed in
+the verses that head it:--
+
+  _In shrouded awe the world is wrapped,
+  The sullen wind doth groan,
+  'Neath winding-sheet the earth is stone,
+  The wraiths of snow have flown_.
+
+  _And lo! a thread of fate is snapped,
+  A breaking heart makes moan;
+  A virgin cold doth rule alone
+  From old Mid-winter's throne_.
+
+The piece opens with an impressive theme uttered _ppp_. The whole
+atmosphere soon becomes one of vast and solemn content, rising to
+an intense short outburst. Soon a new and rather bleak theme is
+heard with mournful, clashing harmonies; the whole effect is
+vividly recalled in _From a Log Cabin_, No. 9 of these idyls, the
+only piece in the set to equal this one in force. After some
+commentary, a series of three rushing, ascending scale passages
+are introduced, beginning _pppp_, then gradually becoming louder
+until they culminate on high and powerful chords. The opening
+theme reappears at the height of the climax and is expressed with
+passionate intensity. Gradually the music dies solemnly away
+again. The whole of this piece appears very different to anything
+of MacDowell's earlier work; its deep and almost fateful
+significance, together with its problematical character, is a bid
+for something even greater than the _Sea Pieces_ (_Op_. 55).
+
+ 4. _With Sweet Lavender_ (_Molto tenero e delicato_). This piece
+opens with a tender and expressive theme, which is one of the
+most beautiful of the composer's inspirations. The passage marked
+_la melodia con molto_ introduces that new and deeper note which
+is a feature in MacDowell's last two pianoforte albums. It breaks
+out presently into passionate longing, but the return of the
+sweet opening theme, _ppp motto delicato_, brings the feeling of
+quiet wistful contemplation back again. The verses at the head of
+the piece attribute its mood to the reading of a packet of old
+love letters.
+
+ 5. _In Deep Woods_ (_Largo impressivo_). This opens with loud
+and resounding chords, expressive of the majesty and beauty of
+American forests. At the eleventh bar a lovely theme enters, and
+the music from now onwards is written on four staves, but is
+always clear and fresh. As the full grandeur of the woods is
+felt, the theme takes on a splendid exultation, gradually sinking
+away as:--
+
+  ... _The mystery of immortal things
+  Broods o'er the woods at eve_.
+
+The piece was one of the composer's favourites; he inscribed its
+opening bar on a portrait of himself which he gave to Mr. W.W.A.
+Elkin, his London publisher and friend.
+
+6. _Indian Idyl_ (_Leggiero, ingenuo_). This is a lovely tone
+poem, opening with a characteristic little figure reminiscent of
+the opening of the _Love-Song_ in the _Indian Suite for
+Orchestra_ (_Op_. 48). The theme is punctuated by little
+flute-like embellishments. The middle section, _poco piu lento_,
+is idyllic, with a perfectly balanced, swaying rhythm. In playing
+this portion, the left hand should describe an equal series of
+semicircles as it alights first on the low chord, and then on the
+single note two octaves higher. The opening theme returns with
+the flute-like embellishments prominent, but all heard softly, as
+from
+
+  ... _afar through the summer night
+  Sigh the wooing flutes' soft strains_.
+
+ 7. _To an Old White Pine_ (_Gravemente con dignità_). The
+characteristic feature of this piece is its sense of alternate
+mounting and declining strength. At about the middle of the
+movement a deeper solemnity is noticed, in a passage suggesting
+the _swaying, gentle forest trees_ that whisper at the feet of
+the huge old pines of an American forest. Some expressive and
+ingenious little woodland touches are included in the quiet
+concluding bars.
+
+ 8. _From Puritan Days_. "_In Nomine Domini_" (_Con enfasi
+smisurata_). A stern theme opens this piece, while a passage
+marked _implorando_ seems to suggest the pious attitude of the
+immortal founders of the New England States. Soon the music
+becomes hurried and more impassioned, the pious, despairing
+motive being prominent. The opening theme is now thundered out
+_fortissimo_ and the piece ends with a sense of stern and
+rock-like strength of character.
+
+ 9. _From a Log Cabin_ (_Con profondo espressione_). This piece,
+which should be played with great expression, stands on a level
+with _Mid-Winter_, No. 3 in this album. It strikes the new and
+sombre note already referred to and carries with it a sense of
+deep and vast import. The composer's unerring feeling for
+atmosphere is given full play. The piece as a whole is deep and
+problematic. The lines at its head:
+
+  _A house of dreams untold_,
+  _It looks out over the whispering tree-tops
+  And faces the setting sun_.
+
+refer to MacDowell's log-cabin in which he used to compose, and
+they are the same that are inscribed over his grave. _From a Log
+Cabin_ opens quietly, with a grave theme and a clashing
+accompaniment that produces a different effect to that of any of
+the composer's earlier work, but recalls vividly the bleak second
+theme of _Mid-Winter_. Some powerful though small climaxes may be
+noticed, and then a new theme is heard softly, _con tenerezza,
+pensieroso_, over a florid accompaniment. After this has run its
+course, it is followed by intensely passionate outbursts of
+sorrow, the whole culminating in a thunderous repetition of the
+first theme. This reappears with great solemnity, which is
+emphasized by tolling, drum-like strokes, in the bass. The close
+is mysterious and impressive; the widespread chords, the wailing,
+clashing discords in the final bar but one, and the far away last
+chord, _pppp_, all tend to increase the depth and mystery of the
+piece. _From a Log Cabin_ is an inspired tone poem suggesting the
+atmosphere of a quiet evening in the woods, with the slow setting
+of the sun in the Golden West; a scene by which Nature often
+creates the sense of the mysterious more impressively and truly
+than any man-made attempts can equal. This view of declining day,
+the gradual shutting off of light and life, was strangely
+prophetic when MacDowell wrote it, for his own end came by a
+similar process in the form of an ever deepening gloom fatalling
+obscuring his mental light.
+
+10. _The Joy of Autumn_ (_Allegro vivace_). This is a splendidly
+exhilarating piece and the longest by far of the set. The music
+leaps along with the sheer joy of living, the themes being
+singularly fresh and bright. The whole number is written in a
+brilliant and masterly manner, requiring a polished pianoforte
+technique to secure its full effect, especially in the exultant
+whirl and rush in the final page. A comparison of this piece with
+the _In Autumn_ of the _Woodland Sketches_ (_Op_. 51) makes the
+great advancement of MacDowell in the technique of composition
+obvious even to the tyro. _The Joy of Autumn_ is one of the most
+brilliant and spontaneous things in modern music; it is never
+commonplace, it is always MacDowel-like in spirit and artistic
+worth, and shows its author at the height of his maturity. With
+this joyous and beautiful piece, MacDowell bade farewell to his
+God-given creative art. Happily he did not know at the time that
+_From a Log Cabin_ was to prove a truer-expression of his future;
+a prophetic description of the tragic end of his life.
+
+
+
+
+
+WORKS WITHOUT OPUS NUMBERS
+
+SIX LITTLE PIECES ON SKETCHES FOR PIANOFORTE, BY J.S. BACH,
+
+Published by Arthur P. Schmidt.
+
+  1. _Courante_.
+
+  2. _Menuet_.
+
+  3. _Gigue_.
+
+  4. _Menuet_.
+
+  5. _Menuet_.
+
+  6. _Marche_.
+
+These are illuminating little MacDowell-like adaptations of some
+sketches by "one of the world's mightiest tone poets," as
+MacDowell described J.S. Bach. They are charmingly and cleverly
+written, although not always satisfying, it is to be feared, to
+the strict purist.
+
+
+
+
+
+FROM THE EIGHTEENTH CENTURY (TRANSCRIPTIONS FOR PIANOFORTE OF
+HARPSICHORD AND CLAVICHORD PIECES).
+
+Published by Arthur P. Schmidt.
+
+
+BOOK I:
+
+  1. _Courante_ (_Rameau_).
+
+  2. _Sarabande_ (_Rameau_).
+
+  3. _Tempo di Minuetto_ (_Grazioli_).
+
+  4. _Le Bavolet Flottant_ (_The Waving Scarf_)(_Couperin_).
+
+  5. _Gigue_ (_Mattheson_).
+
+  6. _Sarabande_ (_Loeilly_).
+
+
+
+BOOK II:
+
+  7. _Gigue_ (_Loeilly_).
+
+  8. _La Bersan_ (_Couperin_).
+
+  9. _L'Ausonienne_ (_Couperin_).
+
+ 10. _Aria from Handel's_ "_Susanna_" (_Lavignac_).
+
+ 11. _Gigue_ (_Graun_).
+
+These pieces were much used by MacDowell in his lessons, as
+illustrations of eighteenth century music, and were published in
+two books about a dozen years after his death. They have not met
+with unanimous approval, for his transcriptions of the old pieces
+for the harpsichord and clavichord, in a manner suited to the
+modern pianoforte, is considered by many purists to be too free.
+The fact is that in their original form they are quite unsuitable
+for the modern pianoforte, being far too slight. MacDowell has,
+for many of us, done the right thing by filling in their implied
+harmonies and otherwise bringing out their qualities, so that
+they may be done justice under present-day keyboard conditions.
+
+
+
+
+TWO SONGS FROM THE THIRTEENTH CENTURY, FOR MALE CHORUS.
+
+_First Published_, 1897 (Arthur P. Schmidt).
+
+ 1. _Winter Wraps his Grimmest Spell_.
+
+ 2. _As the Gloaming Shadows Creep_.
+
+These are two effective male-voice choruses. The first number
+being a setting of MacDowell's lines after Nithart, and the
+second of verses by the composer, inspired by Frauenlob. These
+latter beautiful lines were also used in number four of the _Four
+Songs, Op. 56_.
+
+MacDowell composed three part-songs for Female-Voice Choir. They
+have no opus numbers and are entitled:--
+
+_Summer Wind_.
+_Two College Songs:
+
+  1. Alma Mater.
+
+  2. At Parting_.
+
+They are well written and effective, the _College Songs_ being
+particularly interesting, while _Summer Wind_ has one of the
+composer's beloved nature subjects as its inspiration. Published
+by Arthur P. Schmidt.
+
+
+In addition to the _Six Little Sketches_ on pieces by Bach, and
+the pieces contained in the albums entitled _From the Eighteenth
+Century_, MacDowell also revised and edited for the pianoforte
+the following compositions:--
+
+  Alkan-MacDowell,   _Perpetual Motion_.
+  Cui,               _Cradle Song_.
+  Dubois,            _Sketch_.
+  Geisler,           _Episode_.
+  Geisler,           _Pastorale_.
+  Geisler,           _The Princess Ilse_.
+  Glinka-Balakirev,  _The Lark_.
+  Huber,             _Intermezzo_.
+  Lacombe,           _Etude_.
+  Liszt,             _Eclogue_.
+  Liszt,             _Impromptu_.
+  Martucci,          _Improviso_.
+  Moszkowski,        _Air de Ballet_.
+  Moszkowski,        _Etincelles_.
+  Pierné,            _Allegro Scherzando_.
+  Pierné,            _Cradle Song_.
+  Pierné,            _Improvista_.
+  Reinhold,          _Impromptu_.
+  Rimsky-Korsakov,   _Romance in A flat_.
+  Stcherbatcheff,    _Orientate_.
+  Ten Brink,         _Gavotte in E minor_.
+  Van Westerhout,    _Gavotte in A_.
+  Van Westerhout,    _Momenta Capriccioso_.
+
+All Published by Arthur P. Schmidt.
+
+
+The following compositions were arranged for Male-Voice Choir by
+MacDowell:--
+
+  Beines,            _Spring Song_.
+  Borodine,          _Serenade_.
+  Filke,             _The Brook and the Nightingale_.
+  Moniuszko,         _The Cossack_.
+  Rimsky-Korsakov,   _Folk Song_.
+  Sokolow,           _Spring_.
+  Sokolow,           _From Siberia_.
+  Von Holstein,      _Bonnie Katrine_.
+  Von Woss,          _Under Flowering Branches_.
+
+All Published by Arthur P. Schmidt.
+
+
+MacDowell also wrote _Technical Exercises for the Pianoforte_ (_2
+Books_), in addition to the Studies comprising Ops. 39 and 46.
+They were at one time obtainable from Arthur P. Schmidt.
+
+
+
+
+
+TRANSCRIPTIONS.
+
+
+A number of well-known MacDowell pianoforte pieces have been
+transcribed for other instruments. The transcriptions are all
+published by Arthur P. Schmidt, and are as follows:--
+
+
+
+ORGAN.
+
+SIX TRANSCRIPTIONS, SERIES 1.
+
+By Frederick N. Shackley.
+
+  _Idylle_ (_Starlight, _Op. 55, No. 4_).
+
+  _Pastorale_ (_To a Wild Rose, _Op. 51, No. 1_).
+
+  _Romance_ (_At an Old Trysting Place, _Op. 51, No. 3_).
+
+  _Legend_ (_A Deserted Farm, _Op. 51, No. 8_).
+
+  _Reverie_ (_With Sweet Lavender, _Op. 62, No. 4_).
+
+  _Maestoso_ (_A.D. 1620, _Op. 55, No. 3_).
+
+
+
+SIX TRANSCRIPTIONS, SERIES 2.
+
+By C. Charlton Palmer.
+
+  _Nautilus_ (_Op. 55, No. 7_).
+
+  _Andantino_ (_Romance, _Op. 39, No. 3_).
+
+  _Sea Song_ (_Song, _Op. 55, No. 5_).
+
+  _Meditation_ (_By Smouldering Embers, _Op. 61, No. 6_).
+
+  _Mélodie_ (_To a Water Lily, _Op. 51, No. 6_).
+
+  _In Nomine Domini_ (_From Puritan Days, _Op. 62, No. 8_).
+
+
+
+VIOLIN AND PIANOFORTE.
+
+  _To a Humming Bird_ (_From Six Fancies_).
+
+  _To a Wild Rose_ (_From _Op. 51_). Original and simplified
+editions.
+
+  _Clair de Lune_ (_From _Op. 37_).
+
+  _With Sweet Lavender_ (_From _Op. 62_).
+
+
+
+VIOLONCELLO AND PIANOFORTE.
+
+WOODLAND SKETCHES. _Op. 51.
+
+Arranged by Julius Klengel.
+
+  _To a Wild Rose_.
+
+  _At an Old Trysting Place_.
+
+  _To a Water-Lily._
+
+  _A Deserted Farm_.
+
+  _Told at Sunset_.
+
+
+
+SELECTED ALBUMS.
+
+Useful albums for those who desire an introduction to MacDowell's
+music are as follows:--
+
+IN PASSING MOODS.
+
+Album of selected Pianoforte Pieces.
+
+  1. _Prologue_.
+
+  2. _Alia Tarantella_.
+
+  3. _An Old Love Story_.
+
+  4. _Melody_.
+
+  5. _The Song of the Shepherdess_.
+
+  6. _A Deserted Farm_.
+
+  7. _To the Sea_.
+
+  8. _Danse Andalouse_.
+
+  9. _From a Log Cabin_.
+
+ 10. _Epilogue_.
+
+
+
+ALBUM OF SELECTED SONGS.
+
+(Low or High Voice.)
+
+ 1. _Thy Beaming Eyes_.
+
+ 2. _The Swan Bent Low_.
+
+ 3. _O Lovely Rose_.
+
+ 4. _Deserted_.
+
+ 5. _Slumber Song_.
+
+ 6. _A Maid Sings Light_.
+
+ 7. _To a Wild Rose_.
+
+
+
+
+
+MACDOWELL LITERATURE.
+
+
+MacDowell's _Critical and Historical Essays_ (_Lectures delivered
+at Columbia University_), referred to earlier in this book, are
+published in America by Arthur P. Schmidt and in England by
+Macmillan & Co., Ltd. His _Verses_, a book of beautiful poetic
+inspirations, is published solely by Arthur P. Schmidt. An
+enthusiastic study of MacDowell, by Lawrence Gilman, an American
+musical critic, is published by John Lane & Co., in New York and
+London. Arthur P. Schmidt & Elkin & Co. stock all three books.
+
+
+
+EDGAR THORN PIECES.
+
+
+The following pieces were published by MacDowell under the
+pseudonym of _Edgar Thorn_. He stipulated that the royalties
+resulting from their sale should be paid to a nurse who was at
+one time needed in his household. They are mature pieces,
+although slight in form.
+
+
+
+AMOURETTE, FOR PIANOFORTE.
+
+This is a charming piece, published separately. It is
+characteristic, although not deeply inspired.
+
+
+FORGOTTEN FAIRY TALES, FOR PIANOFORTE.
+
+_First Published_, 1897 (P. L. Jung). Assigned, 1899, to Arthur
+P. Schmidt,
+
+  1._Sung Outside the Prince's Door_.
+
+  2. _Of a Tailor and a Bear_.
+
+  3. _Beauty in the Rose-Garden._
+
+  4. _From Dwarf-land._
+
+These trifles are of a refined and genuinely poetical order,
+possessing all the composer's suggestive tone poetry in a light
+garb.
+
+1. _Sung Outside the Prince's Door (Softly, wistfully)._ This
+opens with a tender and expressive theme. The middle section,
+_Pleadingly_, is described by this indication. Altogether, the
+piece is a little gem, full of sweet and wistful expressiveness.
+
+2. _Of a Tailor and a Bear (Gaily, pertly)._ This is a fanciful
+little piece, the antics of the bear being happily suggested. The
+tunes are lively and the whole thing has a delightful old-world
+atmosphere about it. Some of the marks of expression are very
+characteristic, including, _Growlingly, clumsily_, etc.
+
+3._Beauty in the Rose-Garden (Not fast;_ _sweetly and simply)._ A
+pleading little theme opens this number. The middle section,
+indicated _Well marked, almost roughly_, has a touch of passion
+in its feeling. The resumption of the opening tune is marked
+_Sadly_, and the piece concludes rather beautifully, with great
+tenderness.
+
+4. _From Dwarf-land (Merrily, quaintly)._ This opens with a merry
+theme, and is full of quaint and delightful little touches.
+
+
+
+TWO PIECES, IN LILTING RHYTHM, FOR PIANOFORTE.
+
+These two pieces are explained by their titles and are of little
+importance.
+
+
+
+SIX FANCIES, FOR PIANOFORTE.
+
+_First Published_, 1898 (P.L. Jung). Assigned 1899, to Arthur P.
+Schmidt.
+
+ 1. _A Tin Soldier's Love_.
+
+ 2 ._To a Humming Bird_.
+
+ 3. _Summer Song_.
+
+ 4. _Across Fields_.
+
+ 5. _Bluette_.
+
+ 6. _An Elfin Round_.
+
+This is a characteristic album, the pieces in it being
+imaginative and suggestive, in tone poetry, of their subjects,
+although not of the composer's deepest inspiration.
+
+1._A Tin Soldier's Love (Gently, with Feeling)._ This little
+piece opens with a sweet and simple theme, followed by a toy-like
+march tune, and these make up the material of the piece.
+
+2. _To a Humming Bird (As fast and light as possible)._ There is
+nothing very striking about this piece. It is imaginative, and
+when played at the required speed, with lightness of touch, is
+effective. It has been arranged as a violin solo with pianoforte
+accompaniment.
+
+3. _Summer Song (Not fast)._ This is characteristic of MacDowell
+in its clear-sounding harmonies, and has a certain charm and
+fragrance of its own.
+
+4. _Across Fields (Lightly and joyously)._ This piece opens with
+a happy and characteristic tune. The whole atmosphere suggested
+in its two pages is singularly bright, sunny and fresh.
+
+5. _Bluette (Gracefully)._ This is the most MacDowell-like piece
+of the _Six Fancies_, some of its rich harmonies and characteristic
+key transitions being reminiscent of the composer's finer work.
+
+6. _An Elfin Round (Very swift and light)._ The full effect of
+this piece can only be felt if it is played at a great speed,
+with extreme lightness of touch. The feeling is not very deep, as
+the occasion does not demand it, but it is a fanciful and
+suggestive little creation.
+
+
+
+PART-SONGS.
+
+(Published under the Pseudonym of Edgar Thorn.)
+
+  _The Witch_.
+
+  _War Song_.
+
+  _The Rose and the Gardener_.
+
+  _Love and Time_.
+
+All Published by Arthur P. Schmidt.
+
+These part-songs are extremely interesting and effective,
+particularly in the MacDowell-like manner in which they convey
+musical suggestions of their literary content.
+
+
+
+
+
+ALPHABETICAL INDEX TO MACDOWELL'S WORKS
+
+
+The works of MacDowell are reviewed in this book in order of
+_opus_ number, and the following index will enable the reader to
+find the account of any piece of which he knows the title, but
+not the number. Works without opus numbers are dealt with after
+those having one.
+
+
+TITLE:                                             OPUS NO.
+
+ORCHESTRAL WORKS:
+
+First Symphonic Poem, Hamlet and Ophelia,              22
+
+Second Symphonic Poem, Lancelot and Elaine,            25
+
+Third Symphonic Poem, Lamia,                           29
+
+First Suite, in A minor,                               42
+  _In a Haunted Forest_
+  _Summer Idyl_
+  _In October_
+  _The Song of the Shepherdess_
+  _Forest Spirits_
+
+Second Suite, Indian                                   48
+  _Legend_
+  _Love-Song_
+  _In War Time_.
+  _Dirge_
+  _Village Festival_
+
+Two Fragments, The Saracens and the Lovely Alda        30
+
+
+
+PART-SONGS:
+
+Barcarolle (Mixed chorus and Piano duet)               44
+
+Summer Wind (Female Voices)                          none
+
+Three Choruses (Male Voices)                           52
+  _Hush, hush_!
+  _A Voice from the Sea_
+  _The Crusaders_
+
+Three Part-songs (Male Chorus)                         27
+  _In the Starry Sky Above Us_
+  _Springtime_
+  _The Fisherboy_
+
+Two Choruses (Male Voices)                             53
+  _Bonnie Ann_
+  _The Collier Lassie_
+
+Two Choruses (Male Voices)                             54
+  _A Ballad of Charles the Bold_
+  _Midsummer Clouds_
+
+Two College Songs (Female Voices)                    none
+  _Alma Mater_
+  _At Parting_
+
+Two Northern Part-songs (Mixed Chorus)                 43
+  _The Brook_
+  _Slumber Song_
+
+Two Part-songs (Male Chorus)                           41
+  _Cradle Song_
+  _Dance of the Gnomes_
+Two Songs from the Thirteenth Century (Male Chorus)  none
+  _Winter Wraps his Grimmest Spell_
+  _As the Gloaming Shadows Creep_
+
+Published under the Pseudonym of Edgar Thorn         none
+  _The Witch_
+  _War Song_
+  _The Rose and the Gardener_
+  _Love and Time_
+
+
+
+PIANOFORTE WORKS:
+
+Air and Rigaudon                                       49
+Amourette                                            none
+Etude de Concert, in F sharp                           36
+
+Fireside Tales                                         61
+  _An Old Love Story_
+  _Of Br'er Rabbit_
+  _From a German Forest_
+  _Of Salamanders_
+  _A Haunted House_
+  _By Smouldering Embers_
+
+First Concerto, in A minor (With Orchestra)            15
+
+First Modern Suite                                     10
+  _Praeludium_
+  _Presto_
+  _Andantino and Allegretto_
+  _Intermezzo_
+  _Rhapsody_
+  _Fugue_
+
+First Sonata, Tragica                                  45
+
+Forest Idyls                                           19
+  _Forest Stillness_
+  _Play of the Nymphs_
+  _Rêverie_
+  _Dance of the Dryads_
+
+Forgotten Fairy Tales (_Published under the
+  Pseudonym of Edgar Thorn_)                         none
+  _Sung Outside the Prince's Door_
+  _Of a Tailor and a Bear_
+  _Beauty in the Rose Garden_
+  _From Dwarf-land_
+
+Four Little Poems,                                     32
+  _The Eagle_
+  _The Brook_
+  _Moonshine_
+  _Winter_
+
+Four Pieces,                                           24
+  _Humoresque_
+  _March_
+  _Cradle Song_
+  _Czardas_
+
+Fourth Sonata, Keltic,                                 59
+
+From the Eighteenth Century (Transcriptions
+for Pianoforte of Harpsichord and Clavichord
+pieces),                                             none
+
+In Lilting Rhythm (Two Pieces) (_Published
+under the Pseudonym of Edgar Thorn)_,                none
+
+Les Orientales,                                        37
+  _Clair de Lune_
+  _Dans le Hamac_
+  _Danse Andalouse_
+
+Marionettes,                                           38
+  _Prologue_
+  _Soubrette_
+  _Lover_
+  _Witch_
+  _Clown_
+  _Villain_
+  _Sweetheart_
+  _Epilogue_
+
+Moon Pictures (Duets),                                 21
+  _The Hindoo Maiden_
+  _Stork's Story_
+  _In Tyrol_
+  _The Swan_
+  _Visit of the Bear_
+
+New England Idyls,                                     62
+  _An Old Garden_
+  _Mid-Summer_
+  _Mid-Winter_
+  _With Sweet Lavender_
+  _In Deep Woods_
+  _Indian Idyl_
+  _To an Old White Pine_
+  _From Puritan Days_
+  _From a Log Cabin_
+  _The Joy of Autumn_
+
+Prelude and Fugue,                                     13
+
+Sea Pieces,                                            55
+  _To the Sea_
+  _From a Wandering Iceberg_
+  _A.D. 1620_
+  _Starlight_
+  _Song_
+  _From the Depths_
+  _Nautilus_
+  _In Mid-Ocean_
+
+Second Concerto, in D minor (With Orchestra),          23
+
+Second Modern Suite,                                   14
+  _Præludium_
+  _Fugato_
+  _Rhapsody_
+  _Scherzino_
+  _March_
+  _Fantastic Dance_
+
+Second Sonata, Eroica,                                 50
+
+Serenata,                                              16
+
+Six Fancies (_Published under the Pseudonym of
+Edgar Thorn_), none
+
+  _A Tin Soldier's Love_
+  _To a Humming Bird_
+  _Summer Song_
+  _Across Fields_
+  _Bluette_
+  _An Elfin Round_
+
+Six Idyls (after Goethe),                              28
+  _In the Woods_
+  _Siesta_
+  _To the Moonlight_
+  _Silver Clouds_
+  _Flute Idyls_
+  _Bluebell_
+
+Six Little Pieces on Sketches by J.S. Bach,          none
+  _Courante_
+  _Menuet_
+  _Gigue_
+  _Menuet_
+  _Menuet_
+  _Marche_
+
+Six Poems after Heine including,                       31
+  _Scotch Poem_
+  _Poeme érotique_
+
+Technical Exercises for the Pianoforte,              none
+
+Third Sonata, Norse,                                   57
+
+Three Poems (Duets),                                   20
+  _Nights at Sea_
+  _Tale of the Knights_
+  _Ballade_
+
+Twelve Studies for the Development of Technique and
+Style,                                                 39
+  _Hunting Song_
+  _Alla Tarantella_
+  _Romance_
+  _Arabeske_
+  _In the Forest_
+  _Dance of the Gnomes_
+  _Idyl_
+  _Shadow Dance_
+  _Intermezzo_
+  _Melody_
+  _Scherzino_
+  _Hungarian_
+
+Twelve Virtuoso Studies                                46
+  _Novelette_
+  _Moto Perpetuo_
+  _Wild Chase_
+  _Improvisation_
+  _Elfin Dance_
+  _Valse Triste_
+  _Burlesque_
+  _Bluette_
+  _Traumerei_
+  _March Wind_
+  _Impromptu_
+  _Polonaise_
+
+Two Fantastic Pieces                                   17
+  _Legend Witches' Dance (Hexentanz_)
+
+Two Pieces                                             18
+  _Barcarolle Humoresque_
+
+Woodland Sketches                                      51
+  _To a Wild Rose_
+  _Will o' the Wisp_
+  _At an Old Trysting Place_
+  _In Autumn_
+  _From an Indian Lodge_
+  _To a Water-lily_
+  _From Uncle Remus_
+  _A Deserted Farm_
+  _By a Meadow Brook_
+  _Told at Sunset_
+
+
+
+SONGS:
+
+Eight Songs_                                           47
+  _The Robin Sings in the Apple Tree_
+  _Midsummer Lullaby_
+  _Folk Song_
+  _Confidence_
+  _The West Wind Croons in the Cedar_
+  _Trees_
+  _In the Woods_
+  _The Sea_
+  _Through the Meadow_
+
+Five Songs _                                      10 & 11
+  _My Love and I_
+  _You Love Me Not_!
+  _In the Sky, where Stars are Glowing_
+  _Night Song_
+  _The Chain of Roses_
+
+Four Songs
+  _Long Ago, Sweetheart Mine_
+  _The Swan Bent Low to the Lily_
+  _A Maid Sings Light_
+  _As the Gloaming Shadows Creep_
+
+From an Old Garden                                     26
+  _The Pansy_
+  _The Myrtle_
+  _The Clover_
+  _The Yellow Daisy_
+  _The Bluebell_
+  _The Mignonette_
+
+Six Love Songs                                         40
+  _Sweet Blue-Eyed Maid_
+  _Sweetheart, Tell Me_
+  _Thy Beaming Eyes_
+  _For Sweet Love's Sake_
+  _0, Lovely Rose_
+  _I Ask But This_
+
+Three Songs                                            33
+  _Prayer_
+  _Cradle Hymn_
+  _Idyl_
+
+Three Songs                                            58
+  _Constancy_
+  _Sunrise_
+  _Merry Maiden Spring_
+
+Three Songs                                            60
+  _Tyrant Love_
+  _Fair Springtide_
+  _To the Golden-rod_
+
+Two Old Songs                                           9
+  _Deserted_
+  _Slumber Song_
+
+Two Songs                                              34
+  _Menie_
+  _My Jean_
+
+
+
+VIOLONCELLO AND ORCHESTRA:
+
+Romance                                                35
+
+
+
+
+
+Printed in Great Britain at The Devonshire Press, Torquay.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK EDWARD MACDOWELL***
+
+
+******* This file should be named 14185-8.txt or 14185-8.zip *******
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+The Project Gutenberg eBook, Edward MacDowell, by John F. Porte
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Edward MacDowell
+
+Author: John F. Porte
+
+Release Date: November 28, 2004  [eBook #14185]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK EDWARD MACDOWELL***
+
+
+E-text prepared by David Newman, Keith M. Eckrich, and the Project
+Gutenberg Online Distributed Proofreading Team
+
+
+
+EDWARD MACDOWELL
+
+A Great American Tone Poet, His Life and Music
+
+by
+
+JOHN F. PORTE
+
+Author of _Edward Elgar_, _Sir Charles V. Stanford_, etc.
+
+With a Portrait of Edward MacDowell and Musical Illustrations in
+the Text
+
+New York:
+E.P. Dutton & Company
+681 Fifth Avenue
+
+1922
+
+
+
+
+
+
+
+_I do like the works of the American composer MacDowell! What a
+musician! He is sincere and personal--what a poet--what exquisite
+harmonies!--Jules Massenet._
+
+
+_I consider MacDowell the ideally endowed composer.--Edvard
+Grieg._
+
+
+
+[Illustration]
+
+
+
+
+FROM MACDOWELL'S COLUMBIA UNIVERSITY LECTURES.
+
+(Published as _Critical and Historical Essays_).
+
+
+_For it is in the nature of the spiritual part of mankind to
+shrink from the earth, to aspire to something higher; a bird
+soaring in the blue above us has something of the ethereal; we
+give wings to our angels. On the other hand, a serpent impresses
+us as something sinister. Trees, with their strange fight against
+all the laws of gravity, striving upward unceasingly, bring us
+something of hope and faith; the sight of them cheers us. A land
+without trees is depressing and gloomy.
+
+In spite of the strange twistings of ultra modern music, a simple
+melody still embodies the same pathos for us that it did for our
+grandparents.
+
+We put our guest, the poetic thought, that comes to us like a
+homing bird from out the mystery of the blue sky--we put this
+confiding stranger straightway into that iron bed, the "sonata
+form," or perhaps even the third rondo form, for we have quite an
+assortment. Should the idea survive and grow too large for the
+bed, and if we have learned to love it too much to cut off its
+feet and thus make it fit (as did that old robber of Attica), why
+we run the risk of having some critic wise in his theoretical
+knowledge, say, as was and is said of Chopin, "He is weak in
+sonata form!"
+
+In art our opinions must, in all cases, rest directly on the
+thing under consideration and not on what is written about it.
+Without a thorough knowledge of music, including its history and
+development, and, above all, musical "sympathy," individual
+criticism is, of course, valueless; at the same time the
+acquirement of this knowledge and sympathy is not difficult, and
+I hope that we may yet have a public in America that shall be
+capable of forming its own ideas, and not be influenced by
+tradition, criticism, or fashion.
+
+Every person with even the very smallest love and sympathy for art
+possesses ideas which are valuable to that art. From the tiniest
+seeds sometimes the greatest trees are grown. Why, therefore,
+allow these tender germs of individualism to be smothered by that
+flourishing, arrogant bay tree of tradition--fashion, authority,
+convention, etc.
+
+No art form is so fleeting and so subject to the dictates of
+fashion as opera. It has always been the plaything of fashion,
+and suffers from its changes.
+
+Always respectable in his forms, no one else could have made
+music popular among the cultured classes as could Mendelssohn.
+This also had its danger; for if Mendelssohn had written an opera
+(the lack of which was so bewailed by the Philistines), it would
+have taken root all over Germany, and put Wagner back many years.
+
+Handel's great achievement (besides being a fine composer) was to
+crush all life out of the then promising school of English music,
+the foundation of which had been so well laid by Purcell, Byrd,
+Morley, etc._
+
+(On Mozart). _His later symphonies and operas show us the man at
+his best. His piano works and early operas show the effect of the
+"virtuoso" style, with all its empty concessions to technical
+display and commonplace, ear-catching melody ... He possessed a
+certain simple charm of expression which, in its directness, has
+an element of pathos lacking in the comparatively jolly
+light-heartedness of Haydn.
+
+Music can invariably heighten the poignancy of spoken words
+(which mean nothing in themselves), but words can but rarely, in
+fact I doubt whether they can ever, heighten the effect of
+musical declamation.
+
+To hear and enjoy music seems sufficient to many persons, and an
+investigation as to the causes of this enjoyment seems to them
+superfluous. And yet, unless the public comes into closer touch
+with the tone poet than the objective state which accepts with
+the ears what is intended for the spirit, which hears the sounds
+and is deaf to their import, unless the public can separate the
+physical pleasure of music from its ideal significance, our art,
+in my opinion, cannot stand on a sound basis.
+
+Music contains certain elements which affect the nerves of the
+mind and body, and thus possesses the power of direct appeal to
+the public--a power to a great extent denied to the other arts.
+This sensuous influence over the hearer is often mistaken for the
+aim and end of all music.... In declaring that the sensation of
+hearing music was pleasant to him, and that to produce that
+sensation was the entire mission of music, a certain English
+Bishop placed our art on a level with good things to eat and
+drink. Many colleges and universities of America consider music
+as a kind of boutonniere.... Low as it is, there is a possibility
+of building on such an estimate. Could such persons be made to
+recognize the existence of decidedly unpleasant music, it would
+be the first step toward a proper appreciation of the art and its
+various phases.
+
+In my opinion, Johann Sebastian Bach, one of the world's
+mightiest tone poets, accomplished his mission, not by means of
+the contrapuntal fashion of his age, but in spite of it. The laws
+of canon and fugue are based upon as prosaic a foundation as
+those of the rondo and sonata form; I find it impossible to
+imagine their ever having been a spur or an incentive to poetic
+musical speech.
+
+Overwhelmed by the new-found powers of suggestion in tonal tint
+and the riot of hitherto undreamed of orchestral combinations, we
+are forgetting that permanence in music depends upon melodic
+speech._
+
+
+
+
+PREFACE
+
+
+Owing to the high cost of book production at the present time,
+the use of illustrations, both musical and photographic, has been
+restricted in this book. It was decided only to fully illustrate
+the analysis of MacDowell's "Indian" Suite for Orchestra, _Op.
+48_, this being a work less accessible to the general reader than
+the composer's well known pianoforte pieces.
+
+The author gratefully acknowledges the help of:--
+
+Mrs. MacDowell--Information and gift of MacDowell portraits, an
+original letter and a piece of MS. of the composer.
+
+Mr. W.W.A. Elkin--Information and loan of scores.
+
+Mr. Charlton Keith--Loan of _D minor Pianoforte Concerto_.
+
+Messrs. J. and W. Chester, Ltd.--Information.
+
+
+
+
+CONTENTS
+
+
+
+
+BIOGRAPHICAL SKETCH
+
+MACDOWELL AS COMPOSER
+
+MACDOWELL THE MAN
+
+THE MACDOWELL COLONY
+
+REPRODUCTION OF A MACDOWELL LETTER
+
+THE MUSIC:
+
+  WORKS WITH OPUS NUMBERS
+
+  WORKS WITHOUT OPUS NUMBERS
+
+ALPHABETICAL INDEX TO MACDOWELL'S WORKS
+
+
+
+
+
+EDWARD MACDOWELL
+
+BIOGRAPHICAL SKETCH
+
+
+EDWARD ALEXANDER MACDOWELL was born in New York City, U.S.A., on
+December 18th, 1861, of American parents descended from a Quaker
+family of Scotch-Irish extraction who emigrated to America about
+the middle of the 18th Century. He was their third son. As a boy
+he studied the pianoforte with Juan Buitrago, a South American,
+Pablo Desvernine, a Cuban, and for a short time with the famous
+Venezuelan pianist, Teresa Carreno. He also indulged in childish
+composition on his own account. He was not a "wonderful" pupil
+and did not like the drudgery of practising "exercises."
+
+When he was fourteen years of age he went to France, accompanied
+by his mother, to study pianoforte playing and the theory of
+music at the Paris Conservatoire under Marmontel and Savard
+respectively. Here one of his fellow students was Debussy, even
+then looked upon as having curious and unconventional ideas on
+his art.
+
+MacDowell had also to learn the French language, and the person
+who taught him French discovered that the young American had a
+decided gift for drawing. He showed one of the boy's sketches to
+a teacher at the School of Fine Arts, who offered to take the boy
+as a pupil for three years free of charge, and to be responsible
+for his maintenance during that time.
+
+With his striking imaginative powers and love of Nature, and his
+appreciation of Historical and Legendary lore, it is very
+probable that MacDowell might have become distinguished as a
+painter had he applied himself to painting, for he was a born
+artist and very fond of sketching, but he refused the offer on
+the advice of his music teachers, and continued his studies at
+the Conservatoire.
+
+After persevering for a couple of years he grew dissatisfied with
+the tuition he was receiving, and upon hearing Nicholas
+Rubinstein play, he determined to go elsewhere.
+
+Careful discussion with his mother resulted in their selection of
+Stuttgart, Germany, whither they accordingly removed, MacDowell
+entering the Conservatorium there. Here he was soon convinced,
+however, that the instruction given there was of no use to him,
+and after having studied under Lebert and Louis Ehlert and having
+been refused a hearing by Hans von Buellow, he left Stuttgart and
+entered the Frankfort Conservatorium, where his teachers were
+Raff, the Principal, for composition, and Carl Heymann for
+pianoforte playing. Raff was kind and encouraging to the young
+American, and once said to him, "Your music will be played when
+mine is forgotten." The influence of Raff's teaching is evident
+in a number of MacDowell's early compositions, especially the
+_Forest Idyls, Op. 19_, and the _First Suite for Orchestra, Op.
+42_.
+
+In 1881 Heyman resigned and nominated MacDowell as his successor,
+a proposal seconded by Raff. The gifted American, however,
+possessed the criminal fault, in the eyes of jealous and
+intolerant old men, of being young; the fact that he was quite
+capable of filling the vacant post was, to them, a secondary
+consideration, and he was rejected.
+
+He now began to take private pupils, and among them was an
+American girl, Marian Nevins, who was to become his wife about
+three years afterwards; the _Forest Idyls, Op. 19_, are dedicated
+to her. Although he had failed to obtain the vacant professorship
+at Stuttgart, MacDowell was appointed head teacher of the
+pianoforte at the Conservatorium in the neighbouring town of
+Darmstadt. His work here was soul-killing in its drudgery and he
+soon relinquished it.
+
+Apart from his teaching labours, MacDowell had, in the meantime,
+been composing steadily, and had also been appearing at local
+orchestral concerts as solo pianist, and in 1882 Raff sent him to
+Liszt armed with his _First Pianoforte Concerto, Op. 15_. The
+mighty old Hungarian praised the work highly and also seemed
+impressed with MacDowell's playing. He was kind to the struggling
+young American, eventually accepted the dedication of the
+concerto, and recommended the performance and publication of some
+of MacDowell's earlier compositions, notably the _First Modern
+Suite, Op. 10_, and the _Second Modern Suite, Op. 14_.
+
+Composition now became more and more the dominating feature in
+the development of MacDowell's musical genius, although he was
+still obliged to teach for his living.
+
+He was fortunate in being able to persuade local conductors to
+try over his orchestral works, a thing that was practically
+impossible in his own country, as he afterwards found. In June,
+1884, he returned to the United States, and in the following
+month (July 21st) he married his former pianoforte pupil, Marian
+Nevins, in whom he was to find complete happiness and a devoted
+companion and sympathiser. In the same year Mr. and Mrs.
+MacDowell returned to Frankfort, after having visited England.
+
+In 1885 MacDowell applied for a professorship at the English
+Royal Academy of Music, but Lady Macfarren, wife of the
+Principal, was instrumental in securing his rejection on account
+of his youth, nationality and friendship with Liszt, who, in
+English Victorian academic eyes, was too "modern."
+
+In 1887 MacDowell and his wife, they having returned to Germany,
+bought a little cottage in the woods some distance from
+Wiesbaden. They were very friendly with Templeton Strong, another
+American composer, some of whose works have been played at the
+Queen's Hall Promenade Concerts in London.
+
+In September, 1888, the MacDowells sold their German cottage and
+returned to their native country, electing to make their home in
+Boston, Mass.
+
+MacDowell found that his European reputation and his music had
+preceded him to America, and he was well received on the occasion
+of his first concert in his native country. Most notable were his
+successes when he played his _Second Pianoforte Concerto, in D
+minor_ (_Op_. 23), at important orchestral concerts in New York
+and Boston.
+
+In 1889 MacDowell played his D minor concerto in Paris, where
+more than twelve years before he had been a student, and it was
+after his return from this visit to France that his fame as a
+pianist and composer began to spread freely in America. In 1890
+his _Second Symphonic Poem, Lancelot and Elaine_ (_Op_. 25), was
+played under Nikisch at Boston.
+
+The year 1891 was a successful one for MacDowell, for it saw two
+performances of a large orchestral work, _First Suite, in A
+minor_, he had just completed; the production of his symphonic
+_Fragments_ (_Op_. 30); and his first pianoforte recital in
+America.
+
+MacDowell's prestige continued to grow steadily. He was
+invariably received with enthusiasm on the numerous occasions of
+his public appearances as a pianist, while each new composition
+he issued was remarkably well received by the public and the
+newspaper musical critics. The Boston Symphony Orchestra was
+especially encouraging to him, placing both his _"Indian" Suite,
+Op. 48_, and his _First Concerto, in A minor, Op. 15_, on the
+programme of one of its New York concerts. Teresa Carreno, the
+famous pianist from whom he had had a few lessons when a boy,
+played some of his music at most of her recitals. She was also
+instrumental, with the ready help of Sir (then Mr.) Henry J.
+Wood, in making MacDowell's D minor concerto known in England.
+The popular London Queen's Hall conductor was impressed with the
+work, and has ever since recommended it to budding young pianists
+as a concerto worth studying.
+
+The occasion of MacDowell's performance of his D minor concerto
+with the Philharmonic Society of New York on December 14th, 1894,
+is worthy of note. He then achieved one of the most conspicuous
+triumphs of his career. His playing was described by Henry T.
+Finck, the distinguished American musical critic, as being of
+"that splendid kind of virtuosity which makes one forget the
+technique." MacDowell received a tremendous ovation such as was
+accorded only to a popular prima donna at the opera, or to a
+famous virtuoso of international reputation. The musical critics
+generally agreed that the fine feeling and the power of the
+concerto was as responsible for his remarkable success before the
+critical Philharmonic audience as his playing of it. The
+conductor was Anton Seidl.
+
+A few months after the above event, MacDowell created a deep
+impression in the same city by his playing of his _Sonata
+Tragica, Op. 45_, and some smaller pieces.
+
+In 1896 he bought some land near Peterboro, in the south of the
+state of New Hampshire. In addition to a music room connected by
+a passage with the house, he built a log cabin in the woods near
+by, where he could compose in the solitude that was needed for
+the transcribing of his dreams and inspirations into permanent
+music form.
+
+In the same year (1896) it was decided to found a department of
+music at Columbia University, New York, and MacDowell, described
+by the committee formed to appoint a Professor of Music as "the
+greatest musical genius America has produced," was offered the
+distinguished, but as it proved, laborious task of organising the
+new department. After some hesitation he accepted the post, as it
+would afford him an income free from the precariousness of
+private teaching.
+
+In a letter to the writer, Mrs. MacDowell says: "In taking the
+position of Professor of Music at Columbia University, Mr.
+MacDowell went into an environment quite different from anything
+he had ever experienced before. He had no University training, no
+knowledge of its methods, and brought to his work an enthusiasm
+and freshness which eventually meant overcrowded class rooms."
+
+During his vacation from the University in 1902-3, he undertook a
+great concert tour of the United States, going as far west as San
+Francisco. In 1903 he visited England, and on May 14th played his
+D minor pianoforte concerto at a concert of the Royal Philharmonic
+Society in Queen's Hall, London.
+
+In 1904 he resigned from Columbia because of a disagreement with
+the faculty concerning the proper position of music and the fine
+arts in the curriculum. His plans for a freer and greater
+relationship between University teaching and liberal public
+culture were considered impracticable and the authorities
+rejected them. MacDowell's attitude in the matter was criticised,
+misunderstood and misrepresented at the time. He was even accused
+of neglecting the duties of the position he held, whereas, as it
+afterwards transpired, he had laboured ungrudgingly at his task.
+It is pleasant to know that his students were among the first to
+uphold his character. His patience, his droll criticisms, and the
+illuminating quality of his teaching endeared him to all who
+studied under him.
+
+MacDowell was bitterly disappointed and hurt at the unfavourable
+reception of his reforming plans, but until the beginning of his
+fatal illness shortly afterwards, he continued his teaching
+privately, even giving free lessons to deserving students in
+whose talent he had faith.
+
+His lectures at Columbia University are preserved in permanent
+form under the title of _Critical and Historical Essays_. In a
+letter to the writer, Mrs. MacDowell says of the volume, "I think
+my husband would have felt that just such a title implies a more
+finished product than one finds, but after his death the demand
+was very great among his old students that these notes might be
+preserved in permanent form ... Mr. MacDowell had an extraordinary
+memory, and seldom had more than mere notes in delivering his
+lectures. Occasionally in preparing the lectures, without quite
+realising it, he dictated far more than he had intended, not
+always using this material in his class room. These Essays
+represent the result of what he dictated to me as he walked up
+and down his music room trying to crystallize his ideas; they were
+printed unedited. I sometimes think one reads in between the lines
+of these Essays a good deal of what the man was himself."
+
+Although the time at his command was restricted, the eight years
+of MacDowell's Columbia professorship saw the composition of most
+of his finest works. For two years he was conductor of the
+Mendelssohn Glee Club, one of the oldest and best Male-voice
+choruses in the United States, and was also, for a short time,
+President of the Manuscript Society, an association of American
+composers. Princeton University and the University of Pennsylvania
+conferred on him the honorary degree of Doctor of Music.
+
+In the spring of 1905, MacDowell began to suffer from nervous
+exhaustion. Overwork and morbid worry over disagreeable
+experiences, especially in connection with his resignation from
+Columbia, brought on insomnia. A quiet summer on his Peterboro
+property brought no improvement in his condition, and the eminent
+medical specialists who attended him soon pronounced his case to
+be a hopeless one of cerebral collapse. He should have rested
+earlier from both his crowded teaching and his composing.
+
+Slowly, but with terrible sureness, his brainpower was beginning
+to crumble away and his mind became as that of a little child.
+Day after day he would sit near a window, turning over the pages
+of one of his beloved books of fairy-tales, an infinitely moving
+and tragic figure.
+
+Time went by and the delicately poised intellect grew more and
+more dimmed, until at last he hardly recognised his dearest
+friends. A few months before the end his physical strength,
+hitherto well preserved, began to fail, until at last he sank
+rapidly, dying at 9 o'clock in the evening of January 23rd, 1908,
+at the age of forty-six, in the Westminster Hotel, New York, in
+the presence of his devoted wife.
+
+A simple service was later held at St. George's Episcopal Church,
+and he was buried on the Sunday following his death. His grave is
+on an open hilltop of his Peterboro property that he loved, and
+is marked by a granite boulder on which is a simple bronze tablet
+bearing the lines inscribed at the head of one of his last
+pieces, _From a Log Cabin_ (_Op_. 62, _No_. 9), an unconscious
+prophesy of his own tragic end:--
+
+  _A house of dreams untold,
+  It looks out over the whispering tree-tops
+  And faces the setting sun_.
+
+The last music that MacDowell published appeared in 1902, and
+indicated the beginning of a new and deeper note in his creative
+voice. He felt, too, that he was growing away from pianoforte
+work and had he lived there would have been further and more
+representative symphonic poems and at least one symphony from his
+pen, three movements of the latter being among his unfinished
+manuscripts. He had hoped for ultimate leisure in which to
+compose, free from the drudgery of earning his living by
+teaching, and his last great concert tour was undertaken with the
+idea of gathering money for the realisation of his dream.
+
+The death of MacDowell completed the blow which his failing
+brain-power had dealt to American music and his many sympathisers,
+between two and three years before. His spirit lives, however, in
+his music and in the wonderful MacDowell Colony at Peterboro, New
+Hampshire. The latter is an amazing realisation of the composer's
+dream of an ideal environment for creative work in Music, Art and
+Literature. A chapter describing the Colony will be found further
+on in this book. In addition to the central organisation, now
+known as _The Edward MacDowell Association, Incorporated_, there
+are springing up in many American cities offshoots known as
+MacDowell Clubs, which contribute towards the expenses of the
+Colony.
+
+
+
+
+MACDOWELL AS COMPOSER
+
+
+Macdowell's position to-day in creative musical art remains the
+same as it was twenty years ago--one of unassailable independence
+and individualism. Although these two factors, whether assailable
+or not, must be a feature of any composer who lays claim to
+greatness, in MacDowell's case they are so marked as to form the
+strongest bulwark of his natural position among great music
+makers. His tone poetry is of a quality and power that is not
+quite like that of any other composer, and in the portraying, or
+suggesting, as he preferred to call it, of Natural, Historical
+and Legendary subjects he stands alone. Superbly gifted as a
+lyrical poet both in the literary and the musical sense, and with
+a most refined and keen feeling for the dramatic, he spoke with a
+voice of singular eloquence and power. Probably his greatest
+achievement was his remarkable, unerring ability to create
+atmospheres of widely varied kinds in his music, and in this
+respect there is no composer quite his equal. The soft beauty,
+grandeur, vastness and might of Nature; the joys and sorrows of
+Humanity; the romance of History and imaginative Legend; the
+buoyancy of sunshine and wind; the mysteriousness of enchanted
+woods; all these he translated with inimitable vividness into
+music. He could suggest with as definite and unmistakable a
+musical atmosphere, the simple beauty of a little wild flower, as
+the might of the sea; as well the fanciful and imaginative scenes
+of fairy tale as the wild and lonely vastness of the great
+American prairies; as well the joviality and humour of his
+countrymen as the elemental strength, and rude, stern manliness
+of the North American Indian, and the heroic, stirring atmosphere
+of the ancient bards.
+
+That MacDowell was greater than is generally recognised in
+England is an opinion that increasingly forces itself on all who
+study and become closely acquainted with his best work. He is
+generally admitted to be great in small, lyrical forms, but it is
+insufficient to regard him merely as a miniaturist. The form of
+the well-known _Sea Pieces_ (_Op_. 55) for pianoforte is small,
+for example, and yet the material is big and grand enough for
+symphonic work. The equally well-known _Woodland Sketches, Op.
+51_, contain pieces of charming and delicate conception, as well
+as broader writing, and can hardly be considered as the products
+of a restricted inspiration. The poetry is so unmistakably fresh
+and individual, and the atmosphere so vividly suggested, that the
+ability of the composer to condense his material into such small
+compass is remarkable to even the most casual observer. Far from
+shewing weakness, the small form of MacDowell's compositions is a
+proof of his strength, for few other composers have been able to
+suggest such big scenes, often of far-reaching and wide
+significance, on such small canvasses as those on which he
+painted his tone poems.
+
+The outstanding reason for his preference for writing albums of
+short pieces (partly due, no doubt, to lack of time for more
+extended work) was that he loved to seize a passing impression or
+inspiration and to express it in music before it faded from his
+mind. Nearly all his small pieces are musical photographs of the
+fancies of an impressionable and sensitive imagination.
+
+The criticism sometimes heard that he was only good in small
+forms is, however, based on a fallacy due to an imperfect
+acquaintance with his work and is completely shattered by the
+indisputable greatness of his two concertos, of his four
+pianoforte sonatas and of the _"Indian" Suite_ for orchestra. The
+sonatas, although not all of equal value, comprise some of the
+finest pianoforte music in existence. They are notable for their
+passion, breadth of style, massive momentum, dramatic power and
+eloquence of expression. Admirers think them only equalled by
+such creations as Beethoven's _Sonata Appassionata_. It is
+curious that MacDowell's sonatas are infrequently performed, for
+they bring the resources of the modern pianoforte into full and
+sonorous play, sweeping the whole of the keyboard with their
+stirring expressions. It is possible that as they are not in
+general demand, the average virtuoso does not consider their
+technical difficulties worth conquering. Nay, it is even doubtful
+whether the pianist's mind could always rise to the heights of
+fervent poetry and imagination whither MacDowell was often
+carried and the memories of which are embodied in his finest
+music.
+
+As a tone poet MacDowell has none of the sensuous emotionalism
+that wins popularity in the drawing room and at the musical
+recitals of popular pianists. He is never sentimental and his
+strength and passion is always finely controlled, never feverish.
+His music is singularly free from the emotionalisms of sex, the
+love-impulse with him is always noble and restrained. In all his
+moods there is a human spirit and some definitely suggested
+content, the most notable purist exceptions being the two
+pianoforte concertos. His tone colourings are never used densely
+or oppressively, but only serve to heighten the suggestiveness of
+the whole. He loved the pianoforte as an instrument for personal
+melodic and harmonic expression, and understood the range of its
+tonal resources. His biggest music for it is written with very
+broad and extended chords, strong in character, but always
+wonderfully clear and ringing, and eminently suited for
+pianoforte sonority. His tone nuances range from a shadowy,
+mysterious _pppp_ to a virile, massive _ffff_.
+
+MacDowell's best orchestral composition is his _Second (Indian)
+Suite, Op_. 48. This is one of his most noble works, scored with
+masterly skill and vividly suggesting the great plains and
+forests, the wild and lonely retreats, the festivals, sorrows,
+rejoicings, and romances and also the stern, rude manliness of
+the North American Indians, whose pathetic annals form such a
+stirring page in American history. MacDowell also wrote three
+symphonic poems for orchestra, another suite, and some symphonic
+sketches.
+
+The songs of MacDowell make an important section of the catalogue
+of his works, and are chiefly notable for their beauty and
+tenderness of expression, and he was at his very best when
+writing in the pure lyric form. His efforts comprising Ops. 56,
+58 and 60 are of a rare and expressive order. He also composed a
+number of fine part-songs for male-voice choruses. Most of his
+best vocal works are set to his own verses, as he could seldom
+satisfy himself that words ally themselves naturally with music.
+
+Poetry furnishes a composer with inspiration for expression
+which, MacDowell felt, could not be clearly demonstrated in a
+small space, and that the music therefore is apt to distort the
+words if they are harnessed to it in song form. Most of
+MacDowell's finest pianoforte pieces bear verses in addition to
+titles, thus definitely indicating what the music is intended to
+suggest. His verses are of an uncommon and gifted order, for he
+was a true poet in both the literary and the musical sense. His
+poems were collected some years after his death and published
+under the title of _Book of Verses, by Edward MacDowell_. They
+are valuable for their own sake, quite apart from their
+connection with his music, and make very beautiful reading. A
+number of his wonderfully illuminating Columbia University
+lectures, to which we have referred more fully in the preceding
+chapter, were collected and edited by W.J. Baltzell and published
+in 1912 under the title of _Critical and Historical Essays
+(Lectures delivered at Columbia University) by Edward MacDowell_.
+
+MacDowell's work is of the kind that appeals intimately to those
+only who understand and feel the significance of things musical.
+His compositions are seldom mentioned in those terms of effusive
+adoration so often applied to the works of many well-known
+composers, neither do they figure largely in the recitals of
+popular pianists, for minds saturated with sensuous sentiment and
+the worship of tradition cannot easily follow his pure idealism
+and the significance of the things which he loved and expressed
+in his music. His compositions are "modern" in outlook, but
+remarkably free in spirit and never savour of the type of
+modernism that is little more than gilded pedanticism.
+
+Mention must be made of MacDowell as a pianist. He was capable of
+playing with remarkable swiftness of finger action, and his tone
+production ranged from the most delicate refinement to overwhelming
+floods of orchestral-like strength. In playing his larger works, he
+loved to make his music sweep in great waves, and to introduce the
+most wonderful contrasts and varieties of tone colour. At his
+recitals he played other music besides his own, and became
+distinguished as a pianist, although his interpretations were
+always more personal than traditional.
+
+
+
+
+MACDOWELL THE MAN
+
+
+The whole nature of MacDowell was singularly impressionable,
+imaginative, idealistic and romantic. He loved the beauty,
+grandeur and solemnity of Nature not only for its outward aspect,
+but for what he thought it symbolised. His sensitive character
+made him extremely sympathetic towards human nature, although he
+never used his understanding of his fellow men to cultivate by
+trickery or device their favour and praise. He loved and
+idealised the ancient days of romance and chivalry, when men
+lived the wonderful tales of heroism that are now discredited and
+fading before the materialism of modern civilisation, and in this
+respect he had an affinity with the English composer, Elgar. He
+derived enjoyment from fairy tales and folk-lore, and these were
+his apparent consolation in his tragic last years. He was a man
+of rare qualities, noble, sincere and unselfish to an extreme. He
+hated insincerity in any form, and if he had been more tolerant
+in this respect his path would have often been easier. He had a
+curious and charming love for the growing things and creatures of
+the woods, and although an excellent shot, he could never enjoy
+hunting or shooting, as it hurt him to kill birds or animals. He
+abhorred the copying, by Americans, of European aristocratic
+"sport," for the nobleness of his nature could not descend to the
+vicious customs of those only noble by assumption or in title.
+His intellectual bearing, his catholicity of tastes and his
+learning presented a striking contrast to the narrow outlook and
+brainlessness of the average high-brow type of musician, and in
+this respect again he was like Elgar.
+
+He dipped deeply into literature, both ancient and contemporary,
+and was always working out aesthetic and philosophic problems
+concerning music. His knowledge of his art would have done
+justice to a learned academician, though this he certainly was
+not, and he always held shrewdly formed opinions typical of his
+countrymen, on subjects that interested him. He had a healthy
+dislike of fashionable "at-homes" and dinner parties where music
+is "adored" and "loved" by those who may have a good knowledge of
+social matters, but who have little or no ability to comprehend
+the deeper significance and power of the art. In fact one
+suspects that they adopt high-class music chiefly in an attempt
+to indicate an intellectual status they do not possess. For
+sincere and able criticism, however, MacDowell always had respect
+and interest, and he was always touched by what he thought was
+honest praise and admiration. In quiet conversation he was the
+most charming of men, but in social gatherings he was ill at
+ease, and unable to take part in the tactful conversation and
+studied courtesies of society that make for success. His
+convictions were passionately idealistic, and he often stated
+them with a bluntness and utter lack of diplomacy that would have
+made Beethoven claim him as a brother; although MacDowell felt
+none of that old giant's bitterness towards Society. Where
+Beethoven felt contempt for even the praise of those he knew were
+not great enough to understand him, MacDowell was merely
+uncomfortable; both because he hated insincere attentions and
+because his modesty would seldom allow him to believe that he
+deserved even honest congratulations.[Note: When in London in
+1903, MacDowell was asked to give some recitals from his
+compositions, after the Philharmonic performance of his _D minor
+Piano Concerto_, but on seeing the heavy recital list at Wigmore
+(then Bechstein) Hall, he characteristically decided that nobody
+would want to hear his music after all the other pianists had
+played. His London publisher, Mr. W. Elkin. however, asked him to
+come the following year, which he promised to do, but his fatal
+illness intervened and he never saw England again.]
+
+He was often sarcastic, with the humour of his countrymen, but
+never bitter, and even when he was so cruelly misunderstood and
+misrepresented about his Columbia resignation, he was more hurt
+and disappointed than angry.
+
+In his private life MacDowell's was a healthy, manly and robust
+figure. He was fond of outdoor life, of riding and walking, and
+of the homely hobbies of gardening, photography and carpentry. He
+was fairly tall, broad-shouldered and powerfully built. His
+features were strong and intellectual, but a captivating twinkle
+and humour in his eyes and a frequent sweetness of expression
+prevented his being stern or forbidding. He had a natural, noble
+bearing and an unassuming, thoughtful dignity that often gave him
+a look of command.
+
+In short, MacDowell was as fine as a man as he was as a composer.
+He loved the traditions of the great Republic whose born citizen
+he was, and was hopeful of her future in all things, and for her art
+he worked nobly and unselfishly. He suffered from discouragement in
+an acute form, but worked steadily on with a simple, unshakable
+faith in his divine gifts. At the height of his fame he was never
+unapproachable, but always had a kindly thought for the struggling
+student of limited means; and although his plans at Columbia
+University were defeated, he gave free private lessons to poor
+students of talent. His noble and unselfish action in this regard
+has not often been equalled among past and present successful
+musicians. MacDowell was very modest about his work, but he was
+quite conscious of the greatness of his gifts, and he had the
+ambition to make a name, not merely for his own sake, but also that
+America might be able to hold up her head as proudly in music as she
+does in other things.
+
+The idea of purely personal fame seldom entered his head and when
+it did it made him rather uncomfortable, but his belief that he
+was gifted and destined to make a name for his country, sustained
+him in the struggle against the endless drudgery that always
+dogged the free use of his talents.
+
+One of MacDowell's dearest wishes was that America should have a
+musical public capable of judging in an intellectual, educated and
+sincere manner the merits of music and musicians, uninfluenced by
+traditions and reputations introduced from other countries. He
+wanted Americans to encourage their own men in Music, Art and
+Literature and not to respect a third-rate artist simply because
+he came from a foreign country having traditions of culture. He
+insisted on the American composer being treated on absolutely equal
+terms with the foreigner and according to his merits.
+
+
+
+
+THE MACDOWELL COLONY
+
+
+This account of that remarkable haven for creative artists known
+as the "MacDowell Colony," situated at Peterboro', New Hampshire,
+U.S.A., about three hours from Boston, is a reprint of the
+prospectus of the "Edward MacDowell Association." The Colony owes
+a great debt to the untiring enthusiasm and energy of Mrs.
+MacDowell, who also finds time to give frequent recitals in
+various American cities of her late husband's music. In the
+opinion of many who know of her work, she is only comparable to
+Madame Schumann, in her practical devotion to her great husband's
+music and to the realisation of his ideals.
+
+
+
+A DREAM COME TRUE
+
+
+Speaking of nationalism in music--and the remark holds true of
+nationalism in all the arts--Edward MacDowell once said: "Before
+a people can find a musical writer to echo its genius, it must
+first possess men who truly represent the people, that is to say,
+men who, being part of the people, love the country for itself,
+and put into their music what the nation has put into its life."
+
+When MacDowell defined the essentials of a characteristic
+national culture, he did not know that his name would one day be
+associated with an enterprise ideally fitted to supply these
+essentials. MacDowell had a dream which he hoped might be
+converted into reality. This dream was shaped by influences from
+two different sources--an abandoned farm in New Hampshire and the
+American Academy at Rome.
+
+He was one of the trustees of the American Academy at Rome. In
+this capacity he met intimately a remarkable group of men--John
+W. Alexander, Augustus St. Gaudens, Richard Watson Gilder,
+Charles McKim, and Frank D. Millet. Contact with these men proved
+an inspiration to MacDowell and convinced him that there was
+nothing more broadening to the worker in one art than affiliation
+with workers in the other arts.
+
+In 1895 MacDowell purchased an old farm in Peterborough. In the
+deep woods, about ten minutes from the little farmhouse he built
+a log cabin:
+
+  "A house of dreams untold
+  It looks out over the whispering tree-tops
+  And faces the setting sun."
+
+There he did much of his best work and there he liked to dream of
+a day when other artists could work in just such beautiful and
+peaceful surroundings. This is the dream that has come true.
+
+Until MacDowell went to Peterborough he had worked under the
+usual difficult conditions. During the winter he lived in the
+city amidst noisy surroundings; in the summer he went the rounds
+of country hotels and boarding-houses. Even the comparative
+independence of his own house never gave him the quiet and
+isolation that he craved at times, for there is no household
+whose wheels can be instantly adjusted to the needs of one
+member. For years MacDowell tried one makeshift after another
+until at last in the Log Cabin he found exactly what he needed.
+
+During the last year of MacDowell's life a society was
+incorporated under the name of the Edward MacDowell Memorial
+Association. The purpose of the society was to establish in
+America a fitting memorial to the work and life of the American
+composer along lines of MacDowell's own suggestion. A sum of
+about thirty thousand dollars had been raised for MacDowell's
+benefit. This amount was entrusted to the Association. Mrs.
+MacDowell deeded to the Association the farm at Peterborough and
+the contents of MacDowell's home. The Association at once
+undertook the development of what has since become known as the
+"Peterborough idea" and before MacDowell's death had actually
+established, in a modest way, a Colony for Creative Artists.
+
+
+
+LIFE IN THE COLONY
+
+
+In an article in the North American Review, Edwin Arlington
+Robinson writes: "It is practically impossible for me to say,
+even to myself, just what there is about this place that compels
+a man to work out the best that there is in him and to be
+discontented if he fails to do so. The abrupt and somewhat
+humiliating sense of isolation, liberty, and opportunity which
+overtakes one each morning has something to do with it, but this
+sense of opportunity does not in itself explain everything ...
+The MacDowell Colony is in all probabilities about the worst
+place in which to conceal one's lack of a creative faculty."
+
+There is nothing camp-like about the place either in appearance
+or in manner of life. There are comfortable living houses for the
+men and women with all the conveniences of running water,
+electric light, and telephone. A common dining room is in Colony
+Hall. Here good wholesome food is served as it would be in any
+well-managed household. This much for the creature comforts. For
+the other and the more important side of Colony life there are
+fifteen individual studios scattered here and there through the
+woods.
+
+The daily routine of life in the Colony is somewhat as follows:
+After breakfast there is a quick scattering of the residents as
+each one hurries off to his studio. It may be recalled here what
+an important place MacDowell's Log Cabin plays in this scheme,
+and how the idea has been to reproduce for as many people as
+might be in the Colony conditions similar to those MacDowell
+enjoyed--a comfortable home and an isolated workshop. Each one of
+the fifteen studios is out of sound and sight of the others. In
+order that the writer or painter may not be disturbed by the
+sound of a piano, the composers' studios are as isolated as
+possible. All the studios have open fireplaces and pleasant
+verandahs and are furnished simply but always attractively. Each
+studio has been planned for its own particular site. Some are
+hidden in the woods, some command views of Monadnock or East
+Mountain, and some long vistas through the trees.
+
+In order that the working day may be long and uninterrupted, at
+noon a basket lunch is left at each studio. Dinner is the time
+for relaxation and social intercourse. Long pleasant evenings are
+passed in the big living room of Colony Hall which is also the
+library, or in the Regina Watson Studio which is near Colony Hall
+and in the evening is used as a general music room, or in
+leisurely walks to the village.
+
+It should perhaps be added that daily life in the Colony is not
+the cut and dried affair that this quick resume might seem to
+imply. No one, of course, is required to stay in his studio all
+day. No one is required to do anything. These artists are
+independent men and women, not supervised students, and to all
+intents they are as free as the wind. There are only two rules to
+which every one must conform. One is that the studios, with the
+one exception of the music-room, shall not be used at night. The
+reason for this rule is the danger of fire. The other rule is that
+no one shall visit another's studio without invitation. The purpose
+of this rule is protection against unexpected interruptions. In all
+other ways the colonist is free to do as he pleases--free except
+for that irresistible compulsion to work which nobody who lives in
+the Colony can escape. For, as Mr. Robinson says, the Colony is
+"the worst loafing place in the world."
+
+
+
+THE TRIUMPH OF EFFORT
+
+
+A curious distrust of idealistic enterprises prevails in the
+world even among people whose own life work is idealistic. This
+distrust the MacDowell Colony has had to fight from the start. It
+has had to prove that its ideals are practical. It has had to
+demonstrate this to the very workers for whom it was founded and
+who should from their own experience have clearly understood the
+advantages it offers.
+
+Gradually, in the face of discouraging skepticism and in spite of
+inadequate equipment, it has won recognition and support. Its
+triumph over initial obstacles is best illustrated by the extent
+to which it has grown and by the number of earnest art workers
+who have availed themselves of its opportunities.
+
+Starting with MacDowell's home, his Log Cabin, and two hundred
+acres of land, the Colony now has five hundred acres of land,
+including three hundred and fifty acres of forest and a farm in
+good cultivation, well equipped farm buildings, fifteen studios,
+and five dwelling houses. There is also Colony Hall, a very large
+barn which through the generosity of Mrs. Benjamin Prince is
+being converted into a beautiful building. Colony Hall is the
+social centre of the Colony. The John W. Alexander Memorial
+Building, to be used for summer exhibitions of paintings and
+sculptures, is now under construction and will soon be completed.
+The Colony has also amassed equipment of another sort including
+the splendid Cora Dow library of some three thousand volumes and
+a most valuable collection of scores and costumes. Furthermore a
+superb open air theatre for outdoor festivals of music and drama
+has lately been completed. The beautiful stadium seats of this
+theatre are a gift from the National Federation of Musical Clubs.
+
+Such growth in the physical plant of any enterprise is evidence
+enough of an actual, tangible success. The number of artists who
+have availed themselves of the advantages offered by the Colony
+are proof of another kind of success.
+
+
+
+A SOCIAL ASSET
+
+
+It should be clearly understood that the MacDowell Colony is in
+no sense a philanthropic enterprise. Although it does strive as
+far as possible to lower the barriers which lack of means so
+often places in the path of talent, yet it is not intended
+primarily for the impecunious. The qualification for admission to
+the Colony is talent. A prospective colonist must either have
+some fine achievement to his credit, or be possessed of a talent
+for which two recognized artists in his own field are willing to
+vouch.
+
+The directors of the Association consider that it is a sound
+economic policy to offer the advantages of the Colony at a
+nominal price. They look upon the amount paid by the residents
+for board and lodging as the directors of a university look upon
+the tuition fees paid by the students. These fees are as much as
+the students can be expected to pay, yet they do not go far
+toward defraying the entire expenses of the university. The real
+return to be made by the student is that later contribution to
+society which in all likelihood will be more important on account
+of his years of study in the university. Similarly the directors
+of the Association are carrying on their undertaking for the
+enrichment of American Art and Letters. Like the university, the
+Colony must have either public or private support.
+
+In a civilization like ours where the social significance of
+creative art is not yet popularly recognized, support for an
+enterprise like the MacDowell Colony cannot be expected from the
+government. Such support must come from individuals.
+
+This is the reason why the directors of the MacDowell Association
+are appealing at this time to the friends and patrons of American
+art to help them raise an endowment of two hundred thousand
+dollars. Up to the present most of the necessary funds have been
+raised through the personal efforts of Mrs. MacDowell. The
+Directors feel that the time has come when her strength, never
+very great, must be more carefully conserved by lifting from her
+shoulders this very heavy financial burden. The Colony has had an
+amazing twelve years of life. Shall its future be threatened by
+lack of permanent income?
+
+
+
+A CHANGE IN NAME
+
+
+The name of the Edward MacDowell Memorial Association has been
+changed to the Edward MacDowell Association, Incorporated. The
+use of the word _Memorial_ has sometimes given people the
+mistaken idea that the work of the Association was in the nature
+of propaganda for the MacDowell music. MacDowell's work is
+finished.
+
+His music has long since spoken for itself and has gained
+whatever hearing it deserves. The concern of the Association is
+for contemporary work and for the future of American art in all
+its branches--this and nothing else.
+
+[Illustration: Handwritten Letter.]
+
+To the Hof-Capellmeister Dr. Haase, Darmstadt,
+
+19th Oct., 1885.
+
+DEAR MR. HOF-CAPELLMEISTER,
+
+I permit myself to address you in the hope that you may perhaps
+feel inclined to have a little work of mine listed on a
+convenient occasion at a theatre. The Opus would take _at most_
+15-20 minutes in performance. Tune and scores are throughout
+clearly and correctly copied.
+
+You would infinitely oblige me if you would have the great
+kindness to grant my request.
+
+In the hope of receiving your early and favourable answer,
+
+I am,
+
+With great respect,
+
+Yours gratefully,
+
+E.A. MACDOWELL.
+
+
+
+
+THE MUSIC
+
+
+
+ANALYTICAL AND DESCRIPTIVE NOTES ON MACDOWELL'S COMPOSITIONS IN
+ORDER OF OPUS NUMBER. WORKS UNNUMBERED FOLLOW ON
+
+
+_NOTE_.--_In the British Empire, the more important of
+MacDowell's pianoforte pieces and songs published in America by
+Arthur P. Schmidt are obtainable from Elkin & Co., Ltd_., 8 & 10,
+_Beak Street, London, W.I., who issue a list of the composer's
+works they sell. Other MacDowell compositions are mostly
+obtainable through J. & W. Chester, Ltd_., II _Great Marlborough
+Street, London, W.I. Ops_. 24, 28 & 31 _are issued by Winthrop
+Rogers, Ltd_., 18, _Berners Street, London, W.I. In America,
+Arthur P. Schmidt for all MacDowell works_.
+
+
+OPUS 1 TO OPUS 8.
+
+Destroyed by the Composer.
+
+
+
+OPUS 9. TWO OLD SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1894. (Arthur P. Schmidt).
+
+  1. _Deserted_.
+
+  2. _Slumber Song_.
+
+The _Two Old Songs, Op. 9_, head the list of MacDowell's
+published works with opus numbers. Their position in it, however,
+is somewhat misleading to the casual observer of the composer's
+artistic development, for they are the fruits of a mature period
+and were given the opus number they bear only as a matter of
+convenience. They were composed about ten or eleven years after
+the songs of Ops. 11 and 12, which in comparison with the _Two
+Old, Songs_ are weak and devoid of individuality and originality.
+The _Two Old Songs_ are very beautiful and expressive, exhibiting
+the composer's melodic gift.
+
+_Deserted_ is a setting of Robert Burns's lines, "Ye banks and
+braes o' bonnie Doon." It is one of the most expressive of
+MacDowell's songs, being full of deep and very human pathos. The
+melody is one of the most poignant he set down, but it is
+subjected to repetition that becomes monotonous. The song is
+expressively indicated _Slow: With pathos, yet simply_.
+
+_Slumber Song_ is a setting of some of the composer's own lines,
+"Dearest, sleep sound." The song presents a fairly good mating of
+words and music, and its expression is a lovable one, inimitably
+MacDowell-like in effect.
+
+
+
+OPUS 10. FIRST MODERN SUITE, FOR PIANOFORTE.
+
+_Composed, Frankfort, 1880. First Played, July 11th, 1882, by the
+composer, at the Ninth Annual Convention of the General Society
+of German Musicians, held at Zurich.
+
+First Published, 1883_ (Breitkopf & Haertel).
+
+_Dedicated to Mrs. Joachim Raff_.
+
+  1. _Praeludium_.
+
+  2. _Presto_.
+
+  3. _Andantino and Allegretto_.
+
+  4. _Intermezzo_.
+
+  5. _Rhapsody_.
+
+  6. _Fugue_.
+
+The first public performance of this suite was secured by Liszt,
+whom MacDowell had interviewed and who was entrusted with the
+making up of the programmes of the General Society of German
+Musicians at that time. It was on Liszt's recommendation, too,
+that this suite and its successor, the _Second Modern Suite for
+Pianoforte, Op. 14_, were published by Breitkopf and Haertel at
+Leipzig. The _First Modern Suite_ is of comparatively little
+importance to-day as music, but it is well written and interesting
+as an early work by MacDowell. Some significance may be attached
+to the fact that we find two movements of the suite bearing
+quotations showing their source of inspiration and suggesting
+their poetic content. Suggestive titles and verses are an
+outstanding feature of all MacDowell's later and finest works.
+Two movements of the suite were first heard in London in March,
+1885, at a concert composed of American music.
+
+
+
+OPUS 11 AND OPUS 12. FIVE SONGS, FOR VOICE AND PIANOFORTE.
+
+
+_First Published_, 1883 (C.F. Kahnt Nachfolger. British
+Empire--Elkin & Co.).
+
+  1. _My Love and I_ (_Op. 11, No. 1_).
+
+  2. _You Love Me Not!_ (_Op. 11, No. 2_).
+
+  3. _In the Sky, where Stars are Glowing_ (_Op. 11, No. 3_).
+
+  4. _Night Song_ (_Op. 12, No. 1_).
+
+  5. _The Chain of Roses_ (_Op. 12, No. 2_).
+
+These songs are interesting as the first examples published of
+MacDowell's work in this form of composition. They are well
+written and obviously sincere, which is in itself a merit rare in
+song writing, but they have little of the individual charm and
+beauty of expression found in the composer's later song groups.
+_My Love and I_ is the most popular of the set, having a certain
+distinctive charm of its own.
+
+
+
+OPUS 13. PRELUDE AND FUGUE, FOR PIANOFORTE.
+
+_First Published_, 1883. (Revised Edition--Arthur P. Schmidt).
+
+This is a well-written number in conventional form, but it is
+obviously foreign to MacDowell's temperament, which was only at
+its best in subjects having some definite poetical basis. The
+work was later revised by the composer, and while quite a good
+example of its form, as a MacDowell work it is unconvincing.
+
+
+
+OPUS 14. SECOND MODERN SUITE, FOR PIANOFORTE.
+
+_Composed, Frankfort-Darmstadt_, 1881. _First Published_, 1883
+(Breitkopf & Haertel).
+
+_Dedicated to Camille Saint-Saens._
+
+  1. _Praeludium_.
+
+  2. _Fugato_.
+
+  3. _Rhapsody_.
+
+  4. _Scherzino_.
+
+  5. _March_.
+
+  6. _Fantastic Dance_.
+
+Much of this music was composed in the makeshift studio of a
+German railway carriage, while the composer was travelling to and
+fro to give lessons, between Frankfort and Darmstadt and from one
+of these to Erbach-Fuerstenau, the latter place entailing a
+typically tiring Continental journey. The suite, like its
+predecessor, the _First Modern Suite for Pianoforte, Op. 10_, was
+published at Leipzig by Breitkopf and Haertel on the recommendation
+of Liszt. The music is of little importance to-day, although it is
+melodious and well written. The opening _Praeludium_ foreshadows
+the composer's later regard for significance of expression, for it
+bears an explanatory quotation from Byron's _Manfred_. Teresa
+Carreno, the masculine woman pianist, from whom MacDowell had
+received one or two early lessons in pianoforte playing, performed
+the _Suite_ in New York City on March 8th, 1884, and toured three
+movements of it in the following year, in other parts of the United
+States.
+
+
+
+OPUS 15. FIRST CONCERTO, IN A MINOR, FOR PIANOFORTE AND
+ORCHESTRA.
+
+_Composed, Frankfort_, 1882. _First Published_, 1885 (Breitkopf &
+Haertel).
+
+_Dedicated to Franz Liszt._
+
+  1. _Maestoso, Allegro con fuoco._
+
+  2. _Andante Tranquillo._
+
+  3. _Presto_--_Maestoso_--_Molto piu lento_--_Presto_.
+
+Joachim Raff frightened MacDowell into composing this concerto.
+He called on his young American pupil one day and asked him what
+he had in hand? MacDowell, who stood in great awe of his master,
+was confused and hardly knowing what he was saying replied that
+he "was working at a concerto." Raff told him to bring it along
+on the following Sunday, but when that day arrived MacDowell had
+only the first movement completed, which had been commenced as
+soon as Raff had left him. He evaded his appointment, and his
+master named the following Sunday for their meeting, but
+MacDowell's visit had to be further postponed until the following
+Tuesday, and by that day he had finished the concerto. On Raff's
+advice he took the work to Liszt, arranging a second pianoforte
+part for the purpose. The old master received him kindly and
+asked D'Albert, who was present, to play the second pianoforte.
+At the finish he not only complimented MacDowell on his
+composition, but on his ability as a pianist, which pleased the
+young American immensely, for he had not yet come to regard his
+compositions as of any value, and pianoforte playing was his
+first study. Afterwards MacDowell wrote to Liszt asking him to
+accept the dedication of the concerto, which the venerable
+Hungarian did.
+
+The _First Pianoforte Concerto_ hardly ranks as one of
+MacDowell's finest works, it having been written before he had
+attained, in any notable degree, to his mature impressionist
+style. It is, however, brilliantly written, bold and original in
+harmonic treatment and full of youthful fire and vigour. With the
+second concerto (_Op. 23_), it is one of his few large works not
+having some definitely indicated poetic content. If it has not
+the significant expression of its greater successors, it has at
+least a strength and fervency that indicate a youthful genius of
+no common order. Its interest is not of mere historic value as an
+early example of MacDowell's work, for it can be performed to-day
+with success. It has a lasting white heat of inspiration and even
+in the light of the composer's greater works it still sounds
+remarkably brilliant and fresh. The influence of Teutonic
+training is evident and although the concerto cannot now be
+considered as thoroughly representative of MacDowell, it has a
+confident bearing and a certain individuality that mark it as
+something considerably more than a mere academic experiment. It
+must always be remembered, however, that a two-page piece from
+_Sea Pieces, Op. 55_, or _New England Idyls, Op. 62_, or any
+mature work by MacDowell is of greater artistic value than the
+whole of the concerto in question.
+
+
+
+OPUS 16. SERENATA, FOR PIANOFORTE.
+
+_First Published_, 1883. (Revised Edition--Arthur P. Schmidt.)
+
+This is a weak and unimportant work in MacDowell's catalogue. The
+conventional _morceau_ style did not suit his type of genius even
+before it was fully developed. Some years later the composer
+revised the piece, but it is still of little value, despite its
+outward grace and charm.
+
+
+
+OPUS 17. TWO FANTASTIC PIECES, FOR PIANOFORTE.
+
+_First Published_, 1884 (J. Hainauer). (Revised Edition of No.
+2--Arthur P. Schmidt.)
+
+  1. _Legend._
+
+  2. _Witches' Dance_ (_Hexentanz_).
+
+The _Legend_ is interesting and by stretching the imagination may
+suggest some fantastic fairy tale, but its chief merit is that it
+is more in keeping with MacDowell's natural gift for musical
+suggestion than are the preceding pianoforte pieces, and also the
+succeeding ones comprising _Op. 18_.
+
+The _Witches' Dance_ became popular with pianoforte virtuosi,
+being better known under its German title of _Hexentanz_.
+MacDowell grew to detest its shallow outlook and the appeal it
+made to the flashy pianist, although he himself played it in
+public as late as 1891. He revised both the _Two Fantastic
+Pieces_ some years after their original publication.
+
+
+
+OPUS 18. TWO PIECES, FOR PIANOFORTE.
+
+_First Published_, 1884 (J. Hainauer). (Revised Edition of No.
+1--Arthur P. Schmidt.)
+
+  1. _Barcarolle in F._
+
+  2. _Humoresque in A._
+
+These are two more unimportant pieces in conventional style,
+indicating that MacDowell had not realized at that time just
+where his true genius lay. The revised version of _Barcarolle_
+made some years after its original publication, fails to make it
+convincing, although it has a certain outward charm and is well
+written in the particular style of piece of which it is an
+example. Poetic significance, as we know it in MacDowell's
+representative works, is conspicuous by its absence in these two
+compositions.
+
+
+
+OPUS 19. FOREST IDYLS, FOR PIANOFORTE.
+
+_First Published_, 1884. New Edition, 1912 (C. F. Kahnt
+Nachfolger. British Empire--Elkin & Co.).
+
+_Dedicated to Miss Marian Nevins._
+
+  1. _Forest Stillness._
+
+  2. _Play of the Nymphs._
+
+  3. _Reverie._
+
+  4. _Dance of the Dryads._
+
+These pieces are noteworthy as early attempts at significant
+expression and the consequent foreshadowing of MacDowell's mature
+period. Their suggesting of their particular subjects as
+indicated in the titles is fairly well done, but they are of
+little importance as music, reflecting as they do the nineteenth
+century German romanticism that had already been fully exploited
+by Schumann and others. There is little of the individuality of
+MacDowell in any of the _Forest Idyls_. The dedication is
+interesting, for Miss Marian Nevins became Mrs. MacDowell in the
+year of the original publication of the pieces. The revised
+edition of _Forest Idyls_ now in circulation in England is by
+Robert Teichmueller, and was issued in 1912. MacDowell himself
+revised the _Reverie_ (No. 3) and the _Dance of the Dryads_ (No.
+4) in his later period, and these are published in America by
+Arthur P. Schmidt.
+
+1. _Forest Stillness_ is an _Adagio_, opening with softly
+breathed chords _misterioso_. The effect is one of deep
+stillness, but soon becomes dull and burdensome, seeming to lack
+that touch of genius found in the composer's later works, which
+are able to preserve their interest throughout.
+
+2. _Play of the Nymphs_ is technically clever and brilliant, but
+lacks interest and is too spun out.
+
+3. _Reverie_ is a short and tuneful little piece with little or
+nothing MacDowell-like in it and much of nineteenth century
+German romanticism and harmonies. It has been arranged for
+orchestra, and for pianoforte and strings.
+
+4. _Dance of the Dryads_ would doubtless attract lovers of the
+Sydney Smith type of salon music, if there are any of them left.
+It opens in quite a bewitching dance manner and then goes on
+tinkling away on top notes, with chromatic runs, half floating
+arpeggios and all the rest of the stock-in-trade of pretty salon
+music. There are, however, some rather characteristic touches in
+it, which distinguish it from its companions. The key transitions
+from A flat major through distant D major and then F sharp major
+in bars 22, 23 and 24 (Teichmueller 1912 Edition) respectively are
+quite personal.
+
+
+
+OPUS 20. THREE POEMS, FOR PIANOFORTE DUET.
+
+_Composed, Winter_, 1884-5. _First Published_, 1886 (J.
+Hainauer).
+
+  1. _Nights at Sea._
+
+  2. _Tale of the Knights._
+
+  3. _Ballade._
+
+Like the _Forest Idyls, Op. 19_, these pieces have a definite
+poetic basis, but are conceived in a manner that only slightly
+suggests the individuality of the composer. They are quite
+musical and well written for a pianoforte duet, but lack the
+sustained interest one expects to find in MacDowell's work.
+
+
+
+OPUS 21. MOON PICTURES AFTER HANS CHRISTIAN ANDERSEN, FOR
+PIANOFORTE DUET.
+
+_Composed, Winter_, 1884-5. _First Published_, 1886 (J.
+Hainauer).
+
+  1. _The Hindoo Maiden._
+
+  2. _Stork's Story._
+
+  3. _In Tyrol._
+
+  4. _The Swan._
+
+  5. _Visit of the Bear._
+
+The titles of these pieces are quite characteristic of MacDowell,
+and are early indications of his love of the imaginative and
+fanciful atmosphere of fairy tales. The pieces were originally
+intended to form a suite for orchestra, but the opportunity arose
+to have them printed as pianoforte duets and the composer was not
+in a financial position to refuse the offer. Unfortunately he
+destroyed the orchestral sketches. The _Moon Pictures_ are as a
+whole charming and imaginative in conception, and represent the
+fancies of the immortal Hans Andersen, although they are far from
+being truly representative of MacDowell as we now know him.
+
+
+
+OPUS 22. FIRST SYMPHONIC POEM, HAMLET AND OPHELIA, FOR FULL
+ORCHESTRA.
+
+_Composed, Frankfort, Winter_, 1884-5. _First Published_, 1885
+(J. Hainauer).
+
+_Dedicated to Henry Irving and Ellen Terry._
+
+With the appearance of _Hamlet and Ophelia_ MacDowell found his
+reputation considerably increasing. The work was performed in a
+number of German towns soon after its first appearance, and
+within a year following its publication the _Ophelia_ section was
+performed in the composer's native city, New York. In the year
+following this latter event, the _Hamlet_ section was played in
+the same city. The first complete performance at Boston, Mass.,
+was on January 28th, 1893, the Boston Symphony Orchestra playing
+with Nikisch as conductor. _Hamlet and Ophelia_ really consists
+of two separate poems for orchestra, and was first published in
+that form, but MacDowell himself afterwards authorised its
+alteration into one work, and he named it _First Symphonic Poem_.
+The piece is not an altogether unworthy product of his genius. It
+bears unmistakable evidence of Teutonic influence, but there is a
+certain originality of thought and a freshness of spirit about it
+that make for serious work. It was by far the most important of
+MacDowell's music up to this period, for in addition to a skill
+and brilliance of harmonic and orchestral colouring, it has a
+depth of feeling and fuller exposition of personality than its
+predecessors. It has a sense of romance, a beauty of melodic
+outline and an attempted justification of title that are, at
+least, sincerely effected, and although it is far from being one
+of its author's representative works, it must be remembered that
+he was but twenty-four years of age at its completion. As a
+youthful achievement it is very fine, the creation of a gifted,
+though immature, tone poet, and full of a promise that the future
+was to amply fulfil. The title and dedication of the work are
+interesting, and both indicate its link with the English dramatic
+world. The performance of the English Shakespearian actors, Sir
+Henry Irving and Ellen Terry, inspired MacDowell whilst in London
+in 1884, on his honeymoon trip with Mrs. MacDowell.
+
+
+
+OPUS 23. SECOND CONCERTO, IN D MINOR, FOR PIANOFORTE AND
+ORCHESTRA.
+
+_Probably Commenced Early in 1885 at Frankfort. Completed at
+Wiesbaden the same year._
+
+_First Performance in New York City, March 5th 1889, at
+Chickering Hall, by the Composer and Orchestra Conducted by
+Theodore Thomas._
+
+_First Published_, 1890 (Breitkopf & Haertel).
+
+_Dedicated to Teresa Carreno._
+
+  1. _Larghetto calmato_--_Poco piu mosso._
+
+  2. _Presto giocoso._
+
+  3. _Largo_--_molto Allegro, etc._
+
+This is the most frequently played of MacDowell's two concertos
+for pianoforte. It is much the finer of the two, being constructed
+with greater skill and artistic confidence than the _First
+Concerto, Op. 15_, and of all the works of MacDowell's early
+period it is the most enduring. Like its predecessor, it is
+one of the composer's few compositions that have no definitely
+indicated poetic content. As a whole it is a work full of
+feeling, brilliantly cohesive and logical, with good material
+that is handled with confident skill, but it is not to be
+compared with even the small works of the composer's mature
+period, which commences with his _Opus_ 47. Its character,
+however, is altogether strong and virile, containing many
+passages of pure tonal beauty and eloquent expressiveness. The
+orchestra is written for with skill and imagination and is on
+equal terms with the solo instrument. The only fault of the work
+is that its pianoforte part is far too continuously brilliant.
+
+The concerto was enthusiastically received on MacDowell's first
+performances of it in New York in March, 1889, and in Boston a
+month later. On July 12th of the same year he played it in Paris.
+His playing of it at a concert of the New York Philharmonic
+Society on December 14th, 1894, was a memorable one and created a
+furore, and he not only had to bow several times after each
+movement, but at the end was given a storm of cheering and
+recalled again and again to receive the acknowledgments of the
+Philharmonic audience, which could be very critical when occasion
+demanded. On May 14th, 1903, MacDowell visited London and played
+the concerto at a concert given by the venerable Royal Philharmonic
+Society held at Queen's Hall. The work had been first played in
+London (Crystal Palace) three years previously, by Carreno.
+
+
+
+OPUS 24. FOUR PIECES, FOR PIANOFORTE.
+
+_Composed, Wiesbaden, Early Summer_, 1887.
+
+_First Published_, 1887 (J. Hainauer. British Empire--Winthrop
+Rogers, Ltd.).
+
+  1. _Humoresque._
+
+  2. _March._
+
+  3. _Cradle Song._
+
+  4. _Czardas_ (_Friska_).
+
+The interval of time between the preceding work and these pieces
+is explained by the fact that MacDowell and his wife had been
+travelling, and the latter had passed through a dangerous illness
+at Wiesbaden. The _Four Pieces for Pianoforte_ (__ 24) were among
+the first productions of the composer after his return to
+Wiesbaden, and date from that delightful period when he lived
+with his wife in a cottage in the woods, some way from the town.
+The pieces under notice are tuneful and well written, but quite
+devoid of the individuality that distinguishes the composer's
+later works. The brilliant _Czardas_ was revised by MacDowell in
+his later period.
+
+
+
+OPUS 25. SECOND SYMPHONIC POEM, LANCELOT AND ELAINE, FOR FULL
+ORCHESTRA.
+
+_Composed, Wiesbaden_, 1887-8. _First American Performance at
+Boston, Mass., January 10th_, 1890, _at a Symphony Concert
+Conducted by Nikisch. First Published_, 1888 (J. Hainauer).
+
+_Dedicated to Templeton Strong._
+
+MacDowell was not long in returning to the domain of symphonic
+music, the _First Symphonic Poem_, _Hamlet and Ophelia, Op. 22_,
+and the _Second Pianoforte Concerto, Op. 23_, having been
+composed only about two or three years previously and separated
+from it in order of opus number merely by a group of unimportant
+piano pieces comprising _Op. 24_. _Lancelot and Elaine_ has its
+poetical basis in the legends of King Arthur's days, which
+MacDowell loved to read about and idealize. The work as a whole
+follows Tennyson's poem and is essentially programme music. It is
+impressively scored, rich and sonorous in harmonic treatment and
+full of strikingly vivid and expressive poetical feeling. The
+brilliance of the tournament; the loveliness of Elaine; the
+nobleness of Lancelot; the scene of the maiden's funeral barge
+floating down the river, and the knight's ensuing grief--all are
+graphically illustrated in MacDowell's tone poem. The work
+embraces moods and colours from brilliant exhilaration to
+sombreness and poignant emotion. The climaxes are stirring and
+coherent, and in many places the music really attains to a
+considerable amount of dramatic power, contrasted by passages of
+infinitely expressive tenderness. The whole thing was evidently
+composed in a state of fervent inspiration and the feeling of
+Teutonic influence, which was still over MacDowell at that time,
+is forgotten in the power and beauty of his tone poetry, already
+becoming individual and distinct from that of other composers.
+
+
+
+OPUS 26. FROM AN OLD GARDEN, FOR VOICE AND PIANOFORTE.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1887 (G.
+Schirmer).
+
+  1. _The Pansy._
+
+  2. _The Myrtle._
+
+  3. _The Clover._
+
+  4. _The Yellow Daisy._
+
+  5. _The Bluebell._
+
+  6. _The Mignonette._
+
+These songs are purely lyrical and are quite delightful examples
+of MacDowell's work in this form, which he was to afterwards
+uphold as a beautiful medium for song writing. They are not quite
+of his very best output, but make charming solo numbers and are
+free from vocal emotionalism. Many flower songs of other
+composers are harnessed to highly emotional subjects and tend to
+become love-songs, MacDowell's songs are a welcome relief in
+their purely lyrical outlook. It will be noticed that the titles
+of the songs in this group are all of the simple type of flowers
+such as he loved, the gaudy, heavy and carefully cultivated
+blossoms being conspicuous by their absence. It will serve no
+purpose here to suggest which of the songs is the best, for each
+has its own particular charm and it is more a matter of taste and
+fancy than judgment as to which are the favourites.
+
+
+
+OPUS 27. THREE PART-SONGS, FOR MALE CHORUS.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1890 (Arthur P.
+Schmidt).
+
+  1. _In the Starry Sky Above Us._
+
+  2. _Springtime._
+
+  3. _The Fisher-boy._
+
+These are spirited and well written part-songs. They contain
+expressive matter and make good and contrasting numbers for
+male-voice choirs. The fact that they savour of the influence of
+the German romantic school does not detract from their general
+merit, although they are not truly MacDowell-like.
+
+
+
+OPUS 28. SIX LITTLE PIECES, IDYLS (AFTER GOETHE), FOR PIANOFORTE.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1887 (J. Hainauer.
+Revised Edition--Arthur P. Schmidt. British Empire--Winthrop
+Rogers, Ltd.).
+
+  1. _In the Woods_.
+
+  2. _Siesta_.
+
+  3. _To the Moonlight_.
+
+  4. _Silver Clouds_.
+
+  5. _Flute Idyl_.
+
+  6. _The Bluebell_.
+
+These pieces were suggested to the composer by lines by the
+German poet, Goethe. The music attempts to suggest the various
+scenes indicated by the verses quoted at the head of each piece.
+It is an advance on the preceding small pieces for pianoforte,
+and foreshadows the later MacDowell of inimitable poetic
+suggestion in music. The whole set was later revised by the
+composer in his mature period, and in this form they are
+acceptable, but even now not satisfying to those who are
+acquainted with his greater work.
+
+
+
+OPUS 29. THIRD SYMPHONIC POEM, LAMIA (AFTER KEATS), FOR FULL
+ORCHESTRA.
+
+_Commenced, Wiesbaden_, 1888. _Completed, Boston,_ _Winter,_
+1888-9. _First Published_, 1908 (_Posthumously_) (Arthur P.
+Schmidt). _Dedicated to Henry T. Finck_.
+
+MacDowell refrained from publishing this work because he had been
+unable to try it over in America with an orchestra, as he had
+been able to do in Germany with his earlier symphonic works, and
+he was not altogether certain of its effect. He, however,
+published his two later suites for orchestra, Ops. 42 and 48,
+with confidence.
+
+The chief demerit of _Lamia_ is that it is obviously influenced
+by the music of Wagner, and has but little of MacDowell's
+customary individual expression. Apart from this defect, however,
+it is undoubtedly effective, strongly and well written, and
+interestingly scored. MacDowell himself considered it at least
+the equal of his two earlier symphonic poems, _Hamlet and
+Ophelia, Op. 22_, and _Lancelot and Elaine, Op. 25_, and intended
+revising it. The work was published after his death by friends
+who were anxious to provide against any future doubt as to its
+authenticity. The composer dedicated it to Henry T. Finck, the
+distinguished American musical critic, who was one of the first
+to recognise the significance of MacDowell's music.
+
+_Lamia_ has its poetic basis in the romantic, legendary poem by
+John Keats. An introductory note by the composer in the full
+score briefly outlines the meaning of the music:--
+
+_Lamia, an enchantress in the form of a serpent, loves Lycius, a
+young Corinthian. In order to win him she prays to Hermes, who
+answers her appeal by transforming her into a lovely maiden.
+Lycius meets her in the wood, is smitten with love for her and
+goes with her to her enchanted palace, where the wedding is
+celebrated with great splendour. But suddenly Apollonius the
+magician appears; he reveals the magic. Lamia again assumes the
+form of a serpent, the enchanted palace vanishes, and Lycius is
+found lifeless._
+
+The music commences with a sinister theme, _Lento misterioso, con
+tristezza_, given out by bassoon and celli, accompanied by a soft
+drum roll. This motive is the main one of the work, and may be
+regarded as that of Lamia. After some impassioned development,
+the music leads quietly into an _Allegro con fuoco_. This opens
+with a strong tune, having a distinctly Teutonic flavour. It is
+announced by the horns _con sordini_, accompanied very softly by
+held notes in the strings, except viola, _pizzicato_ in the
+celli, and tympani. From now onwards the music is graphic, and
+contains some passages of unmistakable dramatic power. The
+presence of the sinister opening theme is frequently felt. Near
+the end the whole sinks away, a plaintive little clarinet solo,
+_Lento_, indicating the death of Lycius. This is followed by a
+short and vigorous conclusion.
+
+
+
+OPUS 30. TWO FRAGMENTS, THE SARACENS AND THE LOVELY ALDA, FOR
+ORCHESTRA.
+
+_Composed, Wiesbaden, about_ 1887-8. _First Performed, November,_
+1891, _at Boston, U.S.A., by Listemann and the Boston Philharmonic
+Orchestra. First Published_, 1891 (Breitkopf & Haertel).
+
+These two orchestral pieces have their poetic basis in _The Song
+of Roland_, and were at first intended by the composer to form
+movements, or at least important parts, of a symphony on the same
+subject. The description, _Fragments_, under which MacDowell
+published them, after his plan for a symphony had been abandoned,
+is a very modest one for two such fine pieces of orchestral tone
+poetry. _The Saracens_ is a piece of great power, dramatic and
+wild in spirit and vivid in harmonic and instrumental colouring.
+It represents the scene in which the traitor, Ganelon, determines
+on the deed that results in the death of Roland. The whole
+passage is vividly suggested by the music.
+
+_The Lovely Alda_ is a very beautiful and human piece. Alda was
+Roland's bethrothed and the music aims at suggesting her
+loveliness and her mourning for her lover. There are passages of
+intensely impressive melancholy in the _Fragment_ and its human
+feeling is typical of MacDowell. Altogether the two pieces are
+music on a high plane and worth attention for their own intrinsic
+value, quite apart from their connection with the symphony that
+never materialised. They bear a stamp of seriousness of effort
+and a conscious responsibility that only the really great
+composer is able to indicate.
+
+
+
+OPUS 31. SIX POEMS AFTER HEINE, FOR PIANOFORTE.
+
+_Composed, Wiesbaden_, 1887. _First Published_, 1887 (J. Hainauer.
+Revised Edition--Arthur P. Schmidt. British Empire--Winthrop
+Rogers, Ltd.).
+
+  1. _We Sat by the Fisherman's Cottage._
+
+  2. _Far Away, on the Rock-coast of Scotland._ (Scotch poem.)
+
+  3. _My Child, We Were Once Children._
+
+  4. _We Travelled Alone in the Gloomy Post-chaise._
+
+  5. _Shepherd Boy's a King._
+
+  6. _Death Nothing is but Cooling Night._ (_Poeme erotique_.)
+
+Certain of these pieces, in the edition revised by the composer,
+are rather good, and are full of suggestive effort. They have,
+too, a touch of the composer's individuality about them, although
+not of his greater kind. The pianoforte writing is well done and
+effective, but lacks the sweep of line and power of the later
+works. As a whole, however, the _Six Poems after Heine_ are quite
+creditable and self contained pieces, each number bearing some
+Heine verses indicating its poetic basis.
+
+The first piece is contemplative and contains some distinctly
+MacDowell-like harmonic touches.
+
+The second graphically depicts the raging sea of the rocky coast
+of Scotland, a grey old castle and a beautiful, but ailing, woman
+harpist, whose gloomy song goes out into the storm. The music is
+powerful and picturesque in the storm passages, while the sad
+Scottish song of the woman adds vivid local colour to the whole.
+
+The third number is rather poor and devoid of any real interest.
+
+The journey in the post-chaise is told fairly graphically in the
+fourth piece. The music is not very interesting, although its
+hurried progress suggests the monotony of travel in a rumbling
+vehicle on a night journey.
+
+The fifth piece is lovely and tender, but not particularly
+expressive. The last of the set opens with a noble, half-sad
+melody that is typical of MacDowell. Its agitated middle section
+provides a good contrast.
+
+Two of the poems were played in orchestral garb for the first
+time in England at a London Queen's Hall Promenade Concert on
+October 3rd, 1916. They were No. 6, _Poeme erotique_, and No. 2,
+_Scotch Poem_.
+
+
+
+OPUS 32. FOUR LITTLE POEMS, FOR PIANOFORTE.
+
+_Composed, Wiesbaden, about_ 1888. _Revised by the Composer_,
+1906. _Copyrighted_ 1894 _and_ 1906 (Breitkopf & Haertel).
+
+  1. _The Eagle._
+
+  2. _The Brook._
+
+  3. _Moonshine._
+
+  4. _Winter._
+
+These pieces are, in their revised version, more individual and
+more worth playing than any of the preceding small pianoforte
+works by MacDowell. They have his true ring and stamp, although
+even here not in its most highly-developed form, and they
+exemplify his already unerring power to create atmospheres of
+far-reaching significance, even in tiny spaces, for all four
+poems are but two-page pieces, and the most striking, _The
+Eagle_, is but twenty-six bars in length.
+
+1. _The Eagle_ is a tone picture of Tennyson's lines:--
+
+  _He clasps the crag with crooked hands;
+  Close to the sun in lonely lands,
+  Ring'd with the azure world, he stands.
+
+  The wrinkled sea beneath him crawls;
+  He watches from his mountain walls,
+  And like a thunderbolt he falls._
+
+The opening high, wind-swept chords; the succeeding
+softly-breathed, high chromatics, with the deep-voiced bass,
+creating an atmosphere of the vast loneliness of wild mountain
+heights; the gradual descent to spell-binding silence and then
+the startling shriek and swoop down of the eagle--all these are
+suggested in this tiny piece with unmistakable power. _The Eagle_
+is remarkable for its programme music aspect in the light of
+MacDowell's later works, for in these it is perfected suggestion
+and not realism that we find.
+
+2. _The Brook_ is a clever little piece, delicate and refined. It
+begins with lovable simplicity, which is broken for a time by an
+expressive and characteristic passage marked _sotto voce_. The
+piece as a whole has for its motto Bulwer's lines:--
+
+  _Gay below the cowslip bank, see the billow dances;
+  There I lay, beguiling time--when I liv'd romances;
+  Dropping pebbles in the wave, fancies into fancies._
+
+3. _Moonshine_ opens softly with a broad and dignified melody. The
+expression soon becomes tender, but is interspersed with jocular
+little passages. MacDowell illustrates in his characteristic
+manner a lonely tramp at night, with the grotesque streaks of the
+moonlight breaking quaintly into the pedestrian's contemplative
+mood. The music is curiously lonely and suggestive of a quiet
+moonlight night in the country. Particularly lovable are the soft,
+characteristic chord progressions, followed by lonely silence, on
+the second page, just before the opening melody returns. The
+piece ends with the moon kissing the traveller good-night.
+
+4. _Winter_ is a piece of deep feeling, quite haunting in its
+expression of lonely grief. Its motto is taken from some lines by
+Shelley:--
+
+  _A widow bird sate mourning for her love
+  Upon a wintry bough;
+  The frozen wind crept on above,
+  The freezing stream below.
+
+  There was no leaf upon the forest bare,
+  No flower upon the ground,
+  And little motion in the air
+  Except the mill-wheel's round._
+
+The music is of the kind that remains in the memory for a long
+time and is of a quality as moving in its sadness as anything
+MacDowell ever composed. Its suggested scene seems to be the
+bleak and icy winter of North America.
+
+
+
+OPUS 33. THREE SONGS, FOR TENOR OR SOPRANO AND PIANOFORTE.
+
+_Composed, Wiesbaden_, 1888. _First Published_, 1894 (J.
+Hainauer. Revised Edition of Nos. 2 & 3--Arthur P. Schmidt).
+
+  1. _Prayer._
+
+  2. _Cradle Hymn._
+
+  3. _Idyl._
+
+These songs are rather beautiful, and sincerely, although not
+grandly, inspired. They are probably the least known in America
+and England of MacDowell's songs, but they do not lack a fine,
+spiritual outlook.
+
+
+
+OPUS 34. TWO SONGS, FOR VOICE AND PIANOFORTE.
+
+_Composed_, 1888. _First Published_, 1889 (Arthur P. Schmidt).
+
+  1. _Menie._
+
+  2. _My Jean._
+
+These two songs are full of freshness and charm of expression.
+_Menie_ is a beautiful song; _My Jean_ is, however, the more
+important of the two, it is inspired and characteristically human
+in spirit. Neither of these songs, however, can be compared for
+spontaneous beauty and expression with MacDowell's later groups.
+
+
+
+OPUS 35. ROMANCE, FOR VIOLONCELLO AND ORCHESTRA.
+
+_Composed, Wiesbaden_, 1888. _First Published_, 1888 (J.
+Hainauer).
+
+_Dedicated to David Popper._
+
+This is an outwardly charming and melodious work, but strangely
+alien to MacDowell's general high tone. The usual significant
+poetic matter is absent, but unlike the pianoforte concertos
+(_Ops._ 15 and 23), which are also abstract works, the piece is
+altogether inferior in artistic value, even if we look upon it as
+an early attempt, for preceding pieces are, at least, more
+sincere. The two following numbers, 36 (_Etude de Concert for
+Pianoforte_) and 37 (_Les Orientales for Pianoforte_), and this
+_Romance for Violoncello and Orchestra_ present a sequence of
+creative work unworthy of MacDowell, a falling off common to most
+composers of standing at some time or other. The technical side
+of the work is fair, the tone quality of the violoncello having
+been evidently considered. The piece is dedicated to Popper,
+whose name is familiar to all 'cello players.
+
+
+
+OPUS 36. ETUDE DE CONCERT, IN F SHARP, FOR PIANOFORTE.
+
+_Composed, Boston, U.S.A._, 1889. _First Published_, 1889 (Arthur
+P. Schmidt).
+
+"Don't put that dreadful thing on your programme," was the burden
+of a telegram MacDowell once despatched to Teresa Carreno when he
+heard she was to play the _Etude de Concert in F sharp_, so we
+know that the composer himself came, later on, to recognise the
+inferior quality of this work. It is good enough for the salon
+composer and the show pianist, but as coming from MacDowell's pen
+it made a poor start as practically the first thing he composed
+on his return to his native country in 1888, especially as he had
+been preceded there by his good European reputation. The
+brilliant pianistic effect of the piece, however, is undeniable.
+
+
+
+OPUS 37. LES ORIENTALES, FOR PIANOFORTE.
+
+_Composed, Boston_, 1889. _First Published_, 1889 (Arthur P.
+Schmidt).
+
+  1. _Clair de Lune._
+
+  2. _Dans le Hamac._
+
+  3. _Danse Andalouse._
+
+The first work produced by MacDowell in Boston, _Etude de
+Concert, Op. 36_, was followed by music of equally poor quality,
+in the composer's opinion. The pieces under notice are after
+Hugo's _Les Orientales_, and although tolerably suggestive of
+their titles, are of such poor inspiration that they have little
+or no musical value outside the salon type of compositions that
+the composer himself abhorred. Even the pretty _Clair de Lune_ is
+shallow stuff, although it has attained some popularity as a
+melodious solo, both in its original version and in its
+arrangement for violin and pianoforte.
+
+
+
+OPUS 38. EIGHT (formerly Six) LITTLE PIECES, MARIONETTES, FOR
+PIANOFORTE.
+
+_Composed about_ 1888. _Revised and rearranged by the Composer_,
+1901. _First Published_, 1888 (J. Hainauer. Revised Version,
+1901--Arthur P. Schmidt).
+
+_Dedicated to Miss Nina Nevins._
+
+ORIGINAL VERSION:        REVISED VERSION:
+
+  1. _Soubrette._          1. _Prologue._
+
+  2. _Lover._              2. _Soubrette._
+
+  3. _Villain._            3. _Lover._
+
+  4. _Lady-Love._          4. _Witch._
+
+  5. _Clown._              5. _Clown._
+
+  6. _Witch._              6. _Villain._
+
+                           7. _Sweetheart._
+
+                           8. _Epilogue._
+
+These little pieces are quite notable and extremely interesting
+both in their original and revised versions. Although the
+subjects they portray are the stiff-moving and grotesque figures
+of Marionettes, their general effect is often intensely human.
+The set as a whole may be viewed as a half serious, half
+whimsical study of characters in human life, issued under the
+disguise of jointed and painted dummies. Beneath the quaint,
+stiff movement of the music there is just that touch of
+seriousness, a sort of droll sadness, that makes of it something
+more than a doll's play. The revised edition of _Marionettes_ is
+the best and most characteristic, and in the United States is the
+accepted one. In England, however, the original edition,
+published at Breslau in 1888 by Julius Hainauer, is still being
+sold.
+
+_Soubrette_ is a stiff, but bright little piece. In places it has
+a wistfulness that seems to suggest that the human counterpart of
+the character has feelings, not being merely an emotionless
+puppet for public amusement.
+
+_Lover_ has much the same stiff movement as the preceding piece,
+but is more tender and subdued, dying softly away in the final
+bars. There is much human feeling in this number.
+
+_Villain_ is a realistic Marionette piece, with a quaint,
+foreboding and sardonic spirit, the little climax being quite
+villainous.
+
+_Lady-love_ brings a gentle and charming study to view, the
+typical quaint movement of the pieces as a whole being here
+considerably softened and made more flowing and graceful.
+
+_Clown_ makes a jolly number, but beneath its outward dummy-like
+comicalness there runs a strain of human feeling that towards the
+end comes uppermost, the music becoming quite subdued, growing
+fainter and fainter until nothing is left but a few little final
+jerks.
+
+_Witch_ has a grotesque and mechanical jauntiness. There are some
+powerful and sinister passages in it, the final gesture, with its
+sudden tonic minor chord, capping the realism of the piece.
+
+In the revised version of _Marionettes_ the character drawing is
+more skilful, and we incidentally notice the illuminating and
+characteristic English used in the works of MacDowell's mature
+period instead of the conventional Italian musical terms. The
+little comedy-drama is opened by a _Prologue_, in which jovial,
+wistful and sardonic motives variously indicate the types of
+characters in the play, and is rounded off by an _Epilogue_,
+which is one of the most beautiful of MacDowell's smaller pieces,
+being full of tender feeling, and indicating unmistakably the
+deeper and human significance of the composer's Marionette
+studies. The whole album comprises one of MacDowell's most
+interesting portrayals of everyday human nature, standing quite
+alone in its droll half-amusing, half-pathetic mode of expression.
+It is something quite apart from the more specialised romantic
+and heroic figures of the three symphonic poems, _Hamlet and
+Ophelia, Op. 22_, _Lancelot and Elaine, Op. 25_, and _Lamia,
+Op. 29_; the three last pianoforte sonatas, _Eroica, Op. 50_,
+_Norse, Op. 57_, and _Keltic, Op. 59_; or of the noble _"Indian"
+Suite, Op. 48_.
+
+
+
+OPUS 39. TWELVE ETUDES FOR THE DEVELOPMENT OF TECHNIQUE AND
+STYLE, FOR PIANOFORTE.
+
+_Composed, about_ 1889-90. _First Published_, 1890 (Arthur P.
+Schmidt).
+
+BOOK I:
+
+  1. _Hunting Song_.
+
+  2. _Alla Tarantella_.
+
+  3. _Romance_.
+
+  4. _Arabeske_.
+
+  5. _In the Forest_.
+
+  6. _Dance of the Gnomes_.
+
+
+BOOK II:
+
+  1. _Idyl_.
+
+  2. _Shadow Dance_.
+
+  3. _Intermezzo_.
+
+  4. _Melody_.
+
+  5. _Scherzino_.
+
+  6. _Hungarian_.
+
+
+These pieces have as their chief object the development of
+pianoforte technique, but are quite interesting as poetical
+music. In his technical instruction, whether through musical
+examples or verbally, MacDowell inspired his subject with the
+idealism and vivid thought of the true poet. The poetry of these
+studies is not of the composer's finest inspiration, but it is of
+a quality sufficient to prevent their being viewed solely as
+technical exercises. Generally, they do not require advanced
+executive ability to play.
+
+_Hunting Song _(_Allegretto_) is a study for accent and grace,
+but not particularly interesting as music.
+
+_Alla Tarantella _(_Prestissimo_) is a fairly effective study for
+speed and lightness of touch. It is not very difficult to play,
+having convenient three-note phrases.
+
+_Romance_ (_Andantino_) is fairly tuneful, but not particularly
+interesting. It is a study for the development of the singing
+touch.
+
+_Arabeske_ (_Allegro scherzando_) is a sparkling wrist study.
+
+_In the Forest_ (_Allegretto con moto_) is suggestive enough, but
+not in MacDowell's finest style. It does not compare favourably
+with the forest pieces in his delightful _Woodland Sketches, Op.
+51, or with the deeply inspired and mature _New England Idyls,
+Op. 62_. Its technical object is the development of delicate
+rhythmical playing.
+
+_Dance of the Gnomes_ (_Prestissimo confuoco_), the last study of
+Book I, is another piece of imperfectly realised suggestive tone
+poetry. It is difficult to play, requiring great crispness of
+finger action combined with perfect control of tone volume.
+
+_Idyl_ (_Allegretto_) is No. I of Book II, and has a certain
+charm and lyrical beauty, although not one of the composer's best
+efforts. It is a study for the cultivation of delicacy, singing
+tone and grace.
+
+_Shadow Dance_ (_Allegrissimo_) has just that touch of fanciful
+romanticism that MacDowell knew how to infuse into a piece, thus
+heightening its interest. The piece is one of the most popular of
+MacDowell's shorter pieces and makes a fine solo. From a
+technical point of view, it is a valuable study for development
+of finger agility combined with lightness of touch.
+
+_Intermezzo_ (_Allegretto_) is tuneful and pleasing, but does not
+reach a very high level of poetic writing. It is, however, a
+useful exercise for development of independent action of the two
+middle fingers of the hand.
+
+_Melodie_ (_Andantino_) is a melodious exercise for cultivating
+independence of fingers.
+
+_Scherzino_ (_Allegro_) is a tuneful study for double note
+playing with the right hand.
+
+_Hungarian_ (_Presto con fuoco_) has the characteristic fire and
+syncopated rhythm of a Brahms' Hungarian Dance, and is a study
+for the development of dash, speed and virtuoso playing.
+
+
+
+OPUS 40. SIX LOVE SONGS, FOR VOICE AND PIANOFORTE.
+
+_Composed_, 1890. _First Published_, 1890 (Arthur P. Schmidt).
+
+  1. _Sweet Blue-Eyed Maid_.
+
+  2. _Sweetheart, Tell Me_.
+
+  3. _Thy Beaming Eyes_.
+
+  4. _For Sweet Love's Sake_.
+
+  5. _O Lovely Rose_.
+
+  6. _I Ask But This_.
+
+These songs, although not absolutely of the composer's best, have
+a charm, tenderness of feeling and beauty of expression that is
+often irresistible. They are essentially the love songs of a
+romantic, but refined and gifted poet. As a whole they are
+singularly free from sexual sensuousness, which is so often a
+trait in songs of their type. There is an idealism, wonderfully
+fresh and pure, about them, that is antagonistic to the
+composer's own assertion that verse often becomes doggerel when
+harnessed to music in song form.
+
+_Sweet Blue-Eyed Maid._ (_Daintily, not too sentimentally._) The
+spirit of this song is happy and it is beautifully, although
+simply, expressed.
+
+_Sweetheart, Tell Me._ (_Softly, tenderly_.) The ability of
+MacDowell to suggest a definite mood in music is clearly
+demonstrated in this song, which has a simple melody of wonderful
+appeal and tenderness.
+
+_Thy Beaming Eyes._ (_With sentiment, passionately._) This is the
+most widely known of all MacDowell's songs. The composer himself
+thought it too sentimental and was not pleased with the
+popularity it gained. There is no mistaking its passionate
+feeling, however, and it strikes the human note frankly and
+spontaneously, without becoming commonplace. The song is at least
+sincere, and its popularity can do no harm to its composer's
+deeper music, which is less easily understood.
+
+Gramophone records of _Thy Beaming Eyes_ have been made for
+"Columbia" by Charles W. Clarke, baritone, and for "His Master's
+Voice" by Sophie Breslau, contralto.
+
+_For Sweet Love's Sake_. (_Simply, with feeling_.) This song is
+not a very successful alliance of words and music. The former are
+of tender content, while the latter is after the style of a
+pleasant lullaby. The music does not in the least reflect the
+spirit of the words.
+
+_O Lovely Rose_. (_Slowly, with great simplicity_.) This is the
+pure lyric gem of the _Six Love Songs_ by MacDowell. It is very
+short, but has a rare charm and fragrance.
+
+_I Ask But This_. (_Moderately fast, almost banteringly_.) There
+is an attractive piquancy and lightness about this song that
+makes it distinct from its companions. It suggests light-hearted
+love, and its demure ending, as the lovers part, was a happy
+thought on the part of the composer.
+
+
+
+OPUS 41. TWO PART-SONGS, FOR MALE CHORUS.
+
+_Composed_, 1890. _First Published_, 1890 (Arthur P. Schmidt).
+
+  1. _Cradle Song_.
+
+  2. _Dance of the Gnomes_.
+
+These two part-songs are effectively written and sharply
+contrasted. Their contrast furnishes good reason why both should
+be sung in the order given, and not robbed of their natural
+companionship.
+
+
+
+OPUS 42. FIRST SUITE, IN A MINOR, FOR FULL ORCHESTRA.
+
+_Composed, about_ 1890-91. _First Performed, September,_ 1891,
+_at the Worcester, U.S.A., Musical Festival. First, Second,
+Fourth and Fifth Movements First Published_, 1891. _Third
+Movement First Published_, 1893 (Complete--Arthur P. Schmidt).
+
+  1. _In a Haunted Forest_.
+
+  2. _Summer Idyl_.
+
+  3. _In October_.
+
+  4. _The Song of the Shepherdess_.
+
+  5. _Forest Spirits_.
+
+This suite, although reminiscent of the nineteenth century German
+romanticism amongst which MacDowell was educated, has an
+atmosphere of its own that at once distinguishes it as an example
+of the highly sensitive and suggestive tone poetry peculiar to
+its composer. The work is very skilfully written and is
+remarkable for its freshness and buoyancy of spirit. The scoring
+is exquisite and always illustrative of the poetical subjects of
+the suite. Each of the pieces has in its title a suggestion of a
+scene of Nature, the first and last having also the fanciful and
+imaginative atmosphere of folk-lore; this provided MacDowell with
+a task in tone painting such as he loved. In _In a Haunted
+Forest_ and _Forest Spirits_ we have examples of the romantic and
+fanciful sort of tone poetry characteristic of the composer. In
+the _Summer Idyl_, in the fine, mellow beauty of _In October_ and
+in the lovely _Song of the Shepherdess_ we have MacDowell
+composing in his beloved Nature style, although not in a manner
+quite comparable with the pianoforte pieces, _Woodland Sketches,
+Op. 51_, and _New England Idyls, Op. 62_. As a whole, the _First
+Suite for Orchestra_ is not the finest of MacDowell's orchestral
+works up to this stage, but it stands alone in the style of its
+poetic subject matter. It has not the same bearing as _Hamlet and
+Ophelia, Op. 22_, Lancelot and Elaine, Op. 25_, _Lamia, Op. 29_,
+or _The Saracens and the Lovely Alda, Op. 30_, which all have an
+historical or romantic outlook, but it possesses instead the
+wonderful spirit of mysterious Nature. Even the noble _Second
+(Indian) Suite for Orchestra_, the grandest of MacDowell's
+orchestral works, cannot alter the position of this first suite,
+which has an interest entirely its own. In performance the work
+is notable for its fresh and finely-coloured material, and makes
+a fine item in a concert because of its brilliancy and the
+charmingly interesting suggestions of its poetic sub-titles.
+
+
+
+OPUS 43. TWO NORTHERN PART-SONGS, FOR MIXED CHORUS.
+
+_Composed_, 1891. _First Published_, 1891 (Arthur P. Schmidt).
+
+  1. _The Brook_.
+
+  2. _Slumber Song_.
+
+These are well written and effective part-songs, making lovely
+unaccompanied choral numbers. They have been undeservedly
+overshadowed by the composer's instrumental and solo songs. Both
+should be sung together for the sake of the intentional contrast.
+
+
+
+OPUS 44. BARCAROLLE, FOR MIXED CHORUS AND ACCOMPANIMENT FOR
+PIANOFORTE DUET.
+
+_First Appeared_, 1892 (Arthur P. Schmidt).
+
+This is a meritorious choral piece, skilfully written. The
+somewhat elaborate accompaniment for pianoforte requires two
+players.
+
+
+
+OPUS 45. FIRST SONATA, TRAGICA, IN G MINOR, FOR PIANOFORTE.
+
+_Composed_, 1892-3. _Third Movement First Publicly Played, March
+18th_, 1892, _at Checkering Hall, Boston, U.S.A., by the
+Composer. First Public Complete Performance, March_, 1893, _at a
+Kneisal Quartet Concert at Chickering Hall, Boston. Played by the
+Composer. First Published_, 1893 (Breitkopf & Haertel).
+
+  1. _Largo maestoso--Allegro risoluto_.
+
+  2. _Molto allegro, vivace_.
+
+  3. _Largo con maesta_.
+
+  4. _Allegro eroico_.
+
+Huneker, the celebrated American writer on music, described this
+sonata, soon after its appearance, as "the most marked contribution
+to solo sonata literature since Brahms' F minor piano sonata." The
+work is chiefly notable for its general boldness and strength,
+punctuated by passages of intimate tenderness and deepness of
+expression, and its slow movement is one of MacDowell's most
+inspired efforts. The great demerit of the sonata, however, is its
+lack of cohesive thought. As a whole it suggests the spectacle of
+a highly gifted poet, full of emotional ardour and desire for self
+expression, but lacking the requisite skill to bind long continued
+effort into a cohesive whole; and who makes the mistake of trying
+to cramp his undoubtedly beautiful ideas by compressing them into
+a set form. The _Sonata Tragica_ is more of a traditional sonata
+than its successors, the _Eroica, Op. 50_, the _Norse, Op. 57_, and
+the _Keltic, Op. 59_, but as a work of art is less successful. Its
+subjects are quite fine, showing, individually, great strength of
+character and tender feeling, but they often appear to have no
+definite connection with each other. In the first movement
+especially we find this defect, for the second subject, with its
+lovely tenderness, contrasts awkwardly with the boldness and
+strength of the first. The cause of this would seem to be that a
+quieter second subject is demanded by the form of the sonata, but
+its effect on the movement as a whole is patchy and illogical.
+MacDowell evidently made some efforts to effect cohesion,
+transferring ideas from one movement to another in the process,
+but the attempts generally are not successful. He tries to write
+in the traditional form, and only succeeds in drawing the
+student's attention to the futility of it. Later, in the _Norse_
+and the _Keltic_ sonatas, he threw form overboard when it suited
+him; and wrote far greater works in doing so. There is no
+doubting the quality of the music in the _Sonata Tragica_,
+however, for it contains passages of dramatic fire, breadth and
+sweep of line, beauty of expression and a strength of character
+that can only be the work of a great tone poet. The work was
+undoubtedly written at a white heat of inspiration, for at the
+time MacDowell was not only grieved over the death of his old
+master and friend, Joachim Raff, but was also harrassed by the
+drudgery and struggle of his own existence. He poured out his
+passionate feelings into the sonata, which is largely a
+reflection of the hopeless outlook of his own care-laden life.
+
+1. The introductory _Largo maestoso_ opens with a figure of
+striking aspect, like a clenched, upraised fist. Immediately
+following this comes a quieter, more serious strain, but only to
+be succeeded by loud chords again, now punctuated by rushing
+ascents in scale and arpeggio figures, the whole culminating in a
+tremendous descent of double octaves bringing almost the whole
+range of the pianoforte keyboard into action. After a pause, the
+_Allegro risoluto_ enters _ppp_. Its bearing is strong and proud
+and has much that is akin to the nervous, resolute martial energy
+of Elgar. The second subject, _Dolce con tenerezza_, is
+exquisitely tender and contemplative, but it follows the first
+awkwardly, and the two as MacDowell left them are like detached
+scraps having no relation to one another. As we proceed the music
+becomes mysterious and restless until a more solid chord passage
+appears. The whole is soon interrupted by the arresting figure of
+the introduction, now appearing softly, with foreboding
+seriousness. With the resumption of the _Allegro risoluto_ the
+striving commences again and is even more restless than before.
+From now onwards the music becomes increasingly significant,
+graduating in tone power from a shadowy _ppp_ to solid and virile
+loud chords. The first and second subjects formally reappear and
+the end comes with a short coda, the feature of which is its
+powerful upward expansion, culminating in chords of great
+strength, the striking opening figure being again heard.
+
+2. The scherzo-like second movement is inferior in quality to the
+rest of the sonata, and apart from some ejaculations suggesting
+the dramatic opening of the first movement, does not appear to
+have any connection with the work as a whole. Its themes are not
+distinguished, although there are touches of strength in many
+places, and the movement savours generally of Teutonic romantic
+influence and probably only exists at all as a concession to
+form.
+
+3. The _Largo con maesta_ is the outstanding movement of the
+sonata, remaining to this day one of MacDowell's most impressive
+creations. It is full of deep feeling and gravity, contrasted
+with passages of tender contemplation and the impassioned poetry
+of despair. The whole aspect of the movement is lofty in thought,
+vast in tonality and altogether indicative of power and of
+genius. MacDowell was harassed by drudgery and care when he wrote
+it and the tragic note is sounded from its first bars. After
+exhausting itself in intense expression, the opening theme makes
+way for a mood of quiet, although still despairing, contemplation.
+This wanders on, until the music becomes impassioned and more
+intricate. Rushing ascending scale passages add to the restless
+movement of the whole, culminating in a tumultuous and despairing
+utterance of the contemplative theme. This gradually dies down
+and soon the impressive strains of the first theme are heard, now
+softly breathed and portraying a deep and broken sadness in place
+of the clenched fist attitude of their first appearance. The
+music becomes more and more subdued, finally becoming extinct in
+_pppp_ chords. The whole of this last page is one of the most
+impressive and soul-stirring things in contemporary pianoforte
+music.
+
+4. The final movement, _Allegro eroico_, opens with a bold,
+heroic theme in spread chords, followed by a quieter subject. The
+music goes triumphantly on with increasing brilliance, complexity
+and heroic ardour. At length a great final version of the heroic
+theme is heard, _Maestoso_, and soon we come to the dramatic
+moment of the whole sonata. At the very height of exaltation we
+are overwhelmed by a shattering descent of double octaves,
+_precipitate_. The heroism and self-confident ardour so carefully
+built up are swept away and the significant strains of the
+introduction to the work are heard, now augmented in time value.
+The music bursts into fury and the sonata ends with immensely
+powerful and ringing chords, but it is the shout of tragedy and
+not of victory. Thus closes a work that may well stand to-day as
+a musical representation of the composer's own life story. The
+sonata was first played in London on February 25th, 1902, by
+Lucie Mawson.
+
+
+
+OPUS 46. TWELVE VIRTUOSO STUDIES, FOR PIANOFORTE.
+
+_Composed_, 1893-94. _First Published_, 1894 (Breitkopf &
+Haertel).
+
+  1. _Novelette_.
+
+  2. _Moto Perpetuo_.
+
+  3. _Wild Chase_.
+
+  4. _Improvisation_.
+
+  5. _Elfin Dance_.
+
+  6. _Valse Triste_.
+
+  7. _Burlesque_.
+
+  8. _Bluette_.
+
+  9. _Traumerei_.
+
+ 10. _March Wind_.
+
+ 11. _Impromptu_.
+
+ 12. _Polonaise_.
+
+These studies, while indicated by the composer as requiring
+advanced technique for performance, are full of poetical thought
+and tonal beauty that make them worthy of study. Many of them
+possess that Nature tone painting, that mystic, subtle romanticism
+of whispering tree-tops and elfin glades, that freshness and open
+air spirit which distinguish MacDowell's later short pieces.
+
+_Novelette_ is an attractive study and full of the composer's own
+individual spirit. It is considered to be one of the best of the
+set.
+
+_Moto Perpetuo_ is cleverly written and musical.
+
+_Wild Chase_ is one of those exhilarating, imaginative pieces so
+characteristic of MacDowell. It is full of outdoor poetry and
+suggestive of a wild and glorious ride over the great American
+prairies, or of a dream gallop full of breathless fancy.
+
+_Improvisation_ exhibits the composer's finer poetry and mastery
+of his art.
+
+_Elfin Dance_ is suggestive and imaginative.
+
+_Valse Triste_ is expressive and interesting, although not one of
+the most distinguished of the set.
+
+_Burlesque_ is a musical number, bright in spirit and free from
+commonplace.
+
+_Bluette_ is a beautiful piece of tone painting.
+
+_Traumerei_ has a certain beauty of its own, indicating the
+composer's capacity for deep expression.
+
+_March Wind_ is full of the wild open-air breeziness associated
+in our thoughts with the subject of its inspiration, and captures
+the imagination. For a minute or so we can escape the heavy
+atmosphere confined within four walls and rush with the sweeping
+wind, high above cities and out over the broad, rolling country
+beyond. The study has a background of spaciousness that suggests
+American scenery.
+
+_Impromptu_ is interesting and musical.
+
+_Polonaise_ has brilliance and is well and effectively conceived
+for big pianoforte tone production.
+
+
+
+OPUS 47. EIGHT SONGS, FOR VOICE AND PIANOFORTE.
+
+_Composed_, 1893. _First Published_, 1893 (Breitkopf & Haertel).
+
+  1. _The Robin Sings in the Apple Tree._
+
+  2. _Midsummer Lullaby._
+
+  3. _Folk Song._
+
+  4. _Confidence._
+
+  5. _The West Wind Croons in the Cedar Trees._
+
+  6. _In the Woods._
+
+  7. _The Sea._
+
+  8. _Through the Meadow._
+
+With the composition of these songs, MacDowell fairly entered
+into his finest and most mature period. They are beautiful,
+characteristic, and full of that engaging romance, piquancy and
+poetic charm that distinguishes his best lyrical work.
+
+_The Robin Sings in the Apple Tree_ is written to the composer's
+own words, which may be found in the published book of his
+verses. The song is infinitely tender and tinged with that
+wistfulness that he so often infused into his music. Particularly
+beautiful is the spirit of the last verse:--
+
+  _O robin, and thou blackbird brave,
+  My songs of love have died;
+  How can you sing as in byegone days,
+  When she was at my side._
+
+_Midsummer Lullaby_ has much charm and grace in its refined and
+sensitive verse inspiration.
+
+_Folk Song_ is characteristic and melodious.
+
+_Confidence_ shows a lyric power of unusual quality and although
+the music is not always in sympathy with the verse, the true
+spirit of poetry is there.
+
+_The West Wind Croons in the Cedar Trees_ is written to the lines
+of MacDowell's little poem entitled, _To Maud_. This song is
+beautiful and full of feeling, and tells in its three verses of
+Love's expectation, doubt and disappointment. The music is allied
+with perfect sympathy to the words.
+
+_In the Woods_ was written to the composer's lines after Goethe.
+This song is a pure lyric, touched with just enough romance to
+deepen its significance.
+
+_The Sea_ is well written, showing some of the power and
+healthiness of the true MacDowell open-air spirit.
+
+_Through the Meadow_ makes an exquisite vocal piece, thoroughly
+attractive in its freshness. It is a song of the true nature-poet,
+breathing the atmosphere of its title in the most delightful and
+sensitive manner.
+
+
+
+OPUS 48. SECOND SUITE (INDIAN), FOR FULL ORCHESTRA.
+
+_First Performed, January_, 1896, _by the Boston Symphony
+Orchestra, in New York. First Performance in England, October
+23rd,_ 1901, _at a London Queen's Hall Promenade Concert.
+Conductor, Sir (then Mr.) Henry J. Wood. First Published,_ 1897
+(Breitkopf and Haertel).
+
+_Dedicated to Emil Paur and the Boston Symphony Orchestra._
+
+_Optional Titles to Movements, Furnished by the Composer._
+
+  1. _Legend._
+
+  2. _Love-Song._
+
+  3. _In War Time._
+
+  4. _Dirge._
+
+  5. _Village Festival._
+
+In the _Indian Suite_ we have one of the most graphic examples of
+MacDowell's power of creating atmospheres and impressions of big
+subjects. It is the finest and most mature of his orchestral
+works, thoroughly individual and without a trace of the
+nineteenth century German romanticism that is found in his
+earlier productions. Its musical declamation is commanding and
+infinitely noble. The atmosphere of the great rolling plains,
+mighty forests, and vast and lonely retreats is unerringly
+created. The notes of wildness and an indescribably touching
+spirit of far away romance are sounded, telling of a forgotten
+and dying elemental race. In the _Suite_ the lodges of the Red
+men rise again before our eyes; their old legends, savage war
+dances, love romances, their sorrows, joys and festivities live
+once more. MacDowell has caught the spirit of the days when the
+rude, but curiously interesting aborigines of America lived; of
+days that are now but treasured legends that still stir the
+hearts of the young in many lands. He conveyed a feeling of this
+atmosphere in his music with an unerring touch, the effect of
+which is heightened by the use of material derived from the
+native tunes of the North American Indians. The _Indian Suite_ is
+undoubtedly one of the most noble and impressive works that
+MacDowell ever composed, containing in the _Dirge_ movement one
+of his most striking utterances. In his last days he expressed a
+preference for this above anything else he had composed. The
+_Suite_ is full of stirring strength, vast tonalities, depth of
+feeling and elemental greatness, and is scored with a mastery of
+orchestral tone colour used solely and unerringly to enhance the
+poetic suggestiveness of the whole. It was fully sketched between
+three and four years before its first appearance, as the composer
+spent much time in becoming more closely acquainted with Red
+Indian tunes.
+
+1. _Legend_ (_Not fast. With much dignity and character_). This
+opens with a romantic horn-call of the plains that is significant
+of the whole _Suite_:--
+
+[Music.]
+
+It is heard again at the end of the last movement. Indescribable
+is the effect of the paused note, the silence, and then the far
+away answer. The call is elaborated with rich effect, but the
+atmosphere of vastness and loneliness is preserved. The
+suggestiveness of this introduction is wonderfully vivid, for in
+a moment we are transported from the civilisation of to-day to
+the wildness and romance of the old days on the plains of the
+great West. The introduction finished, the movement proper begins
+(_Twice as fast. With decision._) with a long tremolo on the note
+B. At the fifth bar a harvest song of the Iroquois Indians
+appears:--
+
+[Music.]
+
+Vivid in effect is the following striving figure:--
+
+[Music.]
+
+The Indian theme is now elaborated at some length with much richness,
+and is wild in effect. After this a tender MacDowell-like second
+subject appears:--
+
+[Music.]
+
+This contemplative atmosphere is soon broken as the influence of
+the native theme is felt, and the striving figure is also heard.
+The music grows more and more wild and intricate, working up to a
+tearing intensity and then dying away until only a few deep
+murmurs remain. The striving figure is heard twice, and then
+follows a small bridge to a repetition of the tender second
+subject, now heard pianissimo under a swaying, chord accompaniment.
+After a time it grows in intensity and imperceptibly merges into
+the romantic call of the introduction, the influence of which,
+however, is at once felt. The music now mounts to a tremendous
+pose of strength, double _fortissimo_, the final bars striking the
+same attitude in a deeper and more stolid form. There is little in
+music of such iron-like force as the conclusion of this _Legend_.
+The thundering tremolos and chords are not intricate or beautiful,
+their very splendour lying in their stark, magnificent elemental
+power.
+
+2. _Love-Song_ (_Not fast. Tenderly_). This opens with the tune
+of a love song of the Iowa Indians:--
+
+[Music.]
+
+This little after thought brings a touch of romance:--
+
+[Music.]
+
+A new and equally tender theme follows:--
+
+[Music.]
+
+Although not of great importance, this little episode is notable
+for its poetic suggestion of the Red Indian atmosphere:--
+
+[Music.]
+
+The music now goes on its way, rich in harmonic and instrumental
+colour, but always clear, now soft and lulling, now approaching
+the passionate. The first theme is heard again, and the
+_Love-Song_ is then concluded by the little after thought.
+
+3. _In War Time_ (_With rough vigour, almost savagely_). A rude
+war song of the Iroquois Indians opens this movement:--
+
+[Music.]
+
+The rhythm of its continuation is afterwards made much of,
+particularly the active semiquaver figure:--
+
+[Music.]
+
+The opening theme is now repeated with the implied harmonies, the
+whole progressing with increasing intensity, the figure of the
+second illustration being prominent. The music surges wildly,
+undulating in a manner that suggests a Redskin scalp dance, the
+hideous, painted figures now bending low, now holding their
+weapons high above their heads. At length the fury of the war
+dance reaches an elan that exhausts it, the barbaric figure
+referred to in our second illustration becoming more and more
+prominent, then sinking lower and lower until it is nothing more
+than a series of thudding accents, broken by periods of silence
+of increasing length. The effect is one of horses galloping
+further and further away into the distance. After this the whole
+atmosphere changes, and a mournful, lonely cry is heard:--
+
+[Music.]
+
+We may find the significance of this in the fact that it is a
+prominent figure of the _Dirge_, No. 4 of the suite. The active
+figure is now heard again, deep and almost inaudible, softly
+ushering in the barbaric opening theme, now heard in the bass.
+The warriors appear to be returning as the music once more grows
+in volume. Wilder and wilder it grows--a moment's silence--only
+to begin again faster and faster. Still faster does it become
+until it is almost a scream, the conclusion coming in a
+magnificent series of reiterated chords thundered out with the
+full strength of the orchestra employed. There is no doubt that
+this piece is one of the most vividly imaginative and brilliant
+in the whole range of orchestral music, although it is rarely
+performed with the skill and insight it requires.
+
+4. _Dirge_ (_Dirge-like, mournfully_). "Of all my music," said
+MacDowell after his last music had been published, "the _Dirge_
+in the _Indian Suite_ pleases me most. It affects me deeply and
+did when I was writing it. In it an Indian woman laments the
+death of her son; but to me, as I wrote it, it seemed to express
+a world-sorrow rather than a particularised grief." The piece is
+undoubtedly one of its composer's most melancholy utterances.
+Under a long series of reiterated key notes of the tonic minor,
+the wailing phrase heard in _In War Time_ (No. 3 of the suite)
+appears:--
+
+[Music.]
+
+It goes on at some length with increasing sadness and richer
+harmonic and instrumental colouring (indescribable is the effect
+of a muted horn heard off the platform). Soon comes a deep and
+solemn bass uttering, heart-shaking in its grief. We give it with
+the passage leading up to it:--
+
+
+[Music.]
+
+After a while the music rises with the same lonely mournfulness
+to an outburst of despair:--
+
+[Music.]
+
+The sad opening phase follows and after this the solemn bass
+figure. The close is mysterious but piercing in its sobbing,
+inconsolable grief.
+
+[Music.]
+
+This _Dirge_ is indisputably the cry of a great soul, and there
+is little in music which expresses grief so effectively. The
+sense it gives of loneliness and sombreness has never been quite
+equalled by any other composer. The piece is not a funeral
+oration weighed down with pomp, but the spontaneous grief of
+elemental humanity. The scene is of a mother mourning for her
+son; its significance is of a world sorrow. The music would
+honour any composer, living or dead.
+
+5. _Village Festival_ (_Swift and light_). This number is the
+longest of the Suite. It opens with the tune of a squaws' dance
+of the Iroquois Indians:--
+
+[Music.]
+
+This is soon followed by another of festivity:--
+
+[Music.]
+
+The music proceeds, rich in harmonic and instrumental colouring,
+and vividly suggesting the wild orgies of the village festivities
+of the Red Indians. The whole works up to frenzied power until
+exhaustion comes and it dies down again. Indicated as _slightly
+broader_, the opening tune is now heard softly over mysterious
+tremolos. Particularly subdued is the wild and sombre after
+thought:--
+
+[Music.]
+
+After a time, the striving figure first heard early in the first
+number of this suite, _Legend_, appears. The thumping accents of
+the festal dance are now heard again, softly, and soon we hear
+the opening tune. The wild excitement begins to return, growing
+to a frenzy in which a reminiscence of the first theme of the
+_Legend_ may be noticed. Soon the music sinks down again, but
+never losing its strongly-marked accents, and now hastening its
+course. The second festive theme is heard softly, high in the
+scale. Faster and faster, but still subdued, grows the music, the
+striving figure of the _Legend_ being prominent. A broadening out
+then comes and with it a magnificent, raw strength, in which is
+heard the romantic call that opens the whole work in the
+introduction to the first movement. The bare tonic is now struck
+with a gesture of great force. A roll of sound follows. Again the
+bare note is sounded, and again the roll of sound succeeds. The
+last dozen bars thunder solely on the tonic note, with a rude,
+but stern and manly elemental absence of harmonic colouring,
+typifying with undeniable dignity the savage, but often
+impressive and noble figure of the Red Man, forgotten now that
+his great race has been succeeded by the greatest and most
+striking nation of the white races--the Republic of the West.
+
+The _Indian Suite_ is obtainable in pianoforte score.
+
+
+
+OPUS 49. AIR AND RIGAUDON, FOR PIANOFORTE.
+
+_First Published_, 1894 (Breitkopf & Haertel).
+
+This work has been curiously neglected. It comes just at the
+beginning of MacDowell's more mature period, but nobody seems to
+know much about it. It is true that it lacks the definitely
+indicated poetic basis that is a feature of the composer's finest
+work, but it is a well written and melodious composition. It is
+at least more deserving of attention than the popular _Hexentanz,
+Op. 17_, and the _Etude de Concert in F sharp, Op. 36_, but these
+two owe their popularity to the virtuoso pianist. Grove's
+_Dictionary of Music and Musicians_ refers to _Op. 49_ as "some
+dances published in a Boston collection."
+
+
+
+OPUS 50. SECOND SONATA, EROICA, IN G MINOR, FOR PIANOFORTE.
+
+_First Published_, 1895 (Breitkopf & Haertel).
+
+_Dedicated to William Mason._
+
+"_Flos regum Arthurus._"
+
+  1. _Slow, with nobility_--_Fast, passionately, etc._
+
+  2. _Elf-like, as light and swift as possible._
+
+  3. _Tenderly, longingly, yet with passion._
+
+  4. _Fiercely, very fast._
+
+The _Sonata Eroica_ is perhaps the most beautiful and noble,
+although not the grandest or most stirring, of MacDowell's four
+pianoforte sonatas. It has not the weight and power of the
+_Sonata Tragica, Op. 45_, but in its beauty and noble dignity it
+is infinitely more impressive. The whole work was inspired by the
+Arthurian legends that MacDowell, with his love of ancient
+chivalry and romance, loved to idealise. In the sonata he has
+illuminated his subject with compelling nobleness of thought and
+beauty of effect, freely adapting the traditional musical form to
+the needs of his poetic purpose. The work requires a considerable
+amount of study for its finished performance, as well as a
+knowledge and understanding of its source of inspiration. Heard
+at its best it is a magnificent solo piece, only surpassed by the
+composer's own two later sonatas, the _Norse, Op. 57_, and the
+_Keltic, Op. 59_.
+
+1. The first movement is notable for its variety of _tempo_ and
+expression, every page containing new indications as to these in
+the illuminating and characteristic English of the composer. He
+has told us that the movement as a whole typifies the coming of
+Arthur, and as such we may leave it. The traditional sonata form
+is freely adapted to the poetic requirements of the movement, but
+the result is rather ragged. The music itself, however, is deeply
+inspired and full of fire. The simple, yet pathetic second
+subject is recalled again in the slow movement.
+
+2. The fanciful and "elf-like" _scherzo_ movement was suggested
+to the composer by Dore's picture of a knight in a wood,
+surrounded by mythological forest folk. The music is imaginative
+and cleverly written, but MacDowell afterwards considered the
+movement as a whole to be "an aside" from the general content of
+the sonata. The present writer thinks that this _scherzo_ may be
+omitted by a performer who satisfies himself that it is not an
+essential part of the Arthurian concept of the whole. If the
+sonata is played simply as programme music, however, it benefits
+by the inclusion of this movement.
+
+3. This movement is headed, _Tenderly, longingly, yet with
+passion_, and is considered by many of the composer's admirers to
+be one of his most beautiful inspirations. It is, according to
+MacDowell himself, a musical representation of Guinevere,
+Arthur's lovely queen. Quite independent of the rest of the
+sonata, the movement is a tone poem of rare beauty, expressiveness
+and passion, although the melody entering at its eleventh bar
+connects it with the preceding movement.
+
+4. The last movement represents the passing of Arthur. It is
+strikingly suggestive of the closing days of the Arthurian drama,
+the tragic note being often impressively struck, although not so
+definitely as in the _Sonata Tragica_. The import of the movement
+is satisfying to those who believe that the days of romance and
+chivalry closed with the fall of Arthur and his knights, despite
+the attempts in the Middle Ages to revive the past. The movement
+as a whole is physically exhausting, except to the very strong.
+The great climax arrives some way before the end of the work, the
+music seeming gradually to ebb away after it as though it were
+but recounting the last scenes of Arthur's death. The two final
+pages sadly recall the opening theme of the first movement,
+typifying the coming of Arthur. The coda is of moving tenderness,
+indicating the tragedy of Guinevere. A final and elevated
+outburst is heard and then the sonata ends with a prolonged
+chord. Altogether there is something very noble and beautiful
+about this sonata, from which the magnificence and surpassing
+power and beauty of the two later ones do not detract.
+
+
+
+OPUS 51. WOODLAND SKETCHES, FOR PIANOFORTE.
+
+_First Published_, 1896 (P.L. Jung. Assigned, 1899 to Arthur P.
+Schmidt).
+
+  1. _To a Wild Rose._
+
+  2. _Will o' the Wisp._
+
+  3. _At an Old Trysting-place._
+
+  4. _In Autumn._
+
+  5. _From an Indian Lodge._
+
+  6. _To a Water-lily._
+
+  7. _From Uncle Remus._
+
+  8. _A Deserted Farm._
+
+  9. _By a Meadow Brook._
+
+ 10. _Told at Sunset._
+
+These widely known pieces were composed during the last part of
+MacDowell's residence at Boston, just before he left for New York
+to take up his duties as professor of music at Columbia
+University. In these _Woodland Sketches_ we come for the first
+time to the point at which his pianoforte poems are absolutely
+responsive to elemental moods, unaffected in style and yet
+distinguished, free from commonplace, speaking with a personal
+note that is inimitable. They are, as a whole, mature Nature
+poems of an exquisite and charming order, beautiful not only for
+their outward manifestations, but for the deeper significance
+they give to their sources of inspiration.
+
+1. _To a Wild Rose_ (_with simple tenderness_). This is one of
+the most charming and well known of MacDowell's small pieces. It
+is founded on a simple melody of the Brotherton Indians, and has
+a poise of the most refined and beautiful order. The composer was
+always afraid of the less intelligent music lovers "tearing it up
+by the roots." A vocal arrangement has been made by Herman
+Hagedorn, but the words are sickly and commonplace in sentiment,
+and so unnaturally cramped, that the song is artistically
+worthless.
+
+2. _Will o' the Wisp_ (_Swift and light; fancifully_). This is a
+very imaginative piece, full of mysterious and shadowy lightness,
+and swift of movement. It seems to just float over the keys and
+in its general effect is fascinating and spirit-like, with
+dancing little lights flickering in the shadows.
+
+3. _At an Old Trysting-place_ (_Somewhat quaintly; not too
+sentimentally_). This is the shortest piece of the set, and is
+only thirty bars long. It is cramped into one page in the current
+edition of the sketches. The melody is tender, undulating and
+expressive and is supported by full but always clear chords, with
+typical modulations. The broadness of the chord writing, together
+with the general tone of the piece as a whole, seems to call for
+orchestral colouring and foreshadows MacDowell's most advanced
+period. As a whole, it is contemplative, expressing the
+wistfulness of one who stands at a quiet place, musing on bygone
+meetings there.
+
+4. _In Autumn_ (_Buoyantly, almost exuberantly_). MacDowell threw
+an irresistible joyous excitement into this piece (as he did
+later in the superb _The Joy of Autumn_, from _New England Idyls,
+Op. 62_). _In Autumn_ opens with a brisk staccato theme, followed
+by little chromatic runs which seem to suggest the whistling of
+the wind through the tree-tops. A middle section brings a
+complete change of mood, as if questioning the elements. A
+mysterious and fanciful little passage leads to a resumption of
+the opening joy of existence. In short, this piece is most
+exhilarating, and pulsates with life and with an exuberance that
+is most infectious.
+
+5. _From an Indian Lodge_ (_Sternly, with great emphasis_). This
+is as strong and impressive a piece as MacDowell ever composed
+for the pianoforte. From the first bar the note of the stern
+stolidity of the Red man is struck. The rude, elemental power of
+the bare octaves of the introductory bars is unmistakable. The
+ensuing stolid oration, punctuated by emotionless grunts, is an
+ingenious musical sketch of a pow-wow scene in an Indian wigwam.
+The piece closes with a reminiscence of the last part of the
+introduction, first softly and then very loudly, the final chords
+being of orchestral-like sonority. The whole composition is one
+of the best in the set for showing MacDowell's ability to create
+atmosphere. The scene of the Indian lodge is unmistakable.
+
+6. _To a Water-lily_ (_In dreamy, swaying rhythm_). This is a
+remarkable little piece of lyrical tone painting. It is in the
+key of F sharp major, and is mostly played on the black keys. Its
+chords are rich and, except in the short middle section, scored
+on three staves, yet always with an effect of the utmost
+lightness of poise. The piece is vividly suggestive of a
+water-lily floating delicately on quiet water, but in the
+questioning little middle section something seems to disturb the
+water, and for a moment the flower rocks uneasily. The opening
+theme returns and the piece ends with the utmost delicacy of
+effect. _To a Water-lily_ is generally admitted to be one of the
+most exquisite and perfect lyrics MacDowell ever composed for the
+pianoforte.
+
+7. _From Uncle Remus_ (_With much humour; joyously_). American
+youngsters delight in the negro tales of "Uncle Remus," and this
+piece opens with an unbridled joviality that continues to the
+end. There is a wealth of jolly humour that is delightfully frank
+and infectious without being commonplace. It is rich and real,
+with a breadth that was a captivating feature of MacDowell's
+personal sense of humour.
+
+8. _A Deserted Farm_ (_With deep feeling_). A deeper note is
+struck in this piece, the opening theme being very grave. Later a
+wistful tenderness comes over the whole, but the grave melody
+returns and in this mood the piece ends. The whole atmosphere of
+it is one of loneliness, and, except for a sonorous bar or two,
+its expression is subdued. It gives an impression of the quiet
+that hangs around an old country home long since deserted, where
+human life once existed with all its joys and sorrows.
+
+9. _By a Meadow Brook_ (_Gracefully, merrily_). This goes
+bubbling and sparkling along, now swirling round a little rock,
+now running over a little waterfall, but always going merrily on
+until softer and softer grows the tonality, finally vanishing
+from musical sight. The piece is purely a play of tone, but never
+shallow, for it suggests not only a particular type of Nature
+scene, but the significance of the beauty and goodness it
+symbolises.
+
+10. _Told at Sunset_ (_With pathos_). This piece is of some
+importance from the fact that it contains thematic allusions to
+two of the preceding numbers. It opens with a sad, reflective
+theme that is reminiscent of _A Deserted Farm_. It proceeds for
+nineteen bars, dying softly away high in the scale. After a
+moment's silence, a softly breathed, but firmly emphasised
+marching tune appears, marked _Faster sturdily_. It grows
+gradually louder until it is thundered out in its full strength,
+with something of the nervous accentuation peculiar to Elgar's
+music. It dies gradually away again, until nothing is left but a
+few last faint references to its sturdy quality. The grave theme
+of _A Deserted Farm_ (_No._ 8) is now introduced (transposed a
+semitone lower than the original to F minor), freely altered, and
+infused with more intense expressiveness. The conclusion is
+dramatic, for after twenty-four bars of deep and tender
+contemplation comes an impressive silence--and then the stern and
+solemn chords of the latter part of the introduction to _From an
+Indian Lodge_ are heard, first softly and then with virile
+orchestral _fortissimo_, and with this the piece closes.
+
+
+
+OPUS 52. THREE CHORUSES, FOR MALE VOICES.
+
+_First Published_, 1897 (Arthur P. Schmidt).
+
+  1. _Hush, hush!_
+
+  2. _A Voice from the Sea._
+
+  3. _The Crusaders._
+
+These part-songs are finely written and full of suggestiveness.
+_Hush, hush!_ creates the atmosphere suggested by its title. _A
+Voice from the Sea_ and _The Crusaders_ are settings of some of
+the composer's own verses. The sea song tells of the north wind's
+wrath, the roaring sea on the rugged shore and of a woman with a
+torch, looking out into the darkness, moaning: "Thy will be
+done." The whole song graphically suggests the dangers of the
+sea. The third chorus is heroic and strong, not treating of the
+forces of nature, as does the preceding number, but with the
+bold, adventurous daring, fired with religious zeal, of the old
+Crusaders. The music of _The Crusaders_ is worthy of its theme.
+
+
+
+OPUS 53. TWO CHORUSES, FOR MALE VOICES.
+
+_First Published_, 1898 (Arthur P. Schmidt).
+
+  1. _Bonnie Ann._
+
+  2. _The Collier Lassie._
+
+These are charming part-songs, and bear the composer's individual
+stamp. The groups of male voice choruses of Ops. 52, 53 and 54,
+present a fine aspect of MacDowell's work, although they are not
+of his most important output. Presumably a good reason why they
+are so seldom performed in Europe is that they are little known
+here; it is certainly not because their inspiration or effect is
+poor. The composer was conductor of the Mendelssohn Glee Club, an
+old-established American Male Voice Choir, about the date when
+these part-songs were written.
+
+
+
+OPUS 54. TWO CHORUSES, FOR MALE VOICES.
+
+_First Published_, 1898 (Arthur P. Schmidt).
+
+  1. _A Ballad of Charles the Bold._
+
+  2. _Midsummer Clouds._
+
+These two choruses are some of the finest of MacDowell's little
+known part-songs for male voices, and are both written to his own
+lines. The first is a stirring ballad of olden times:--
+
+  _Duke Charles rode forth at early dawn
+  Through drifting morning mists,
+  His armour frosted by the dew
+  Gleamed sullenly defiance....
+
+  ... All day long the battle raged.
+  And spirits mingled with the mist
+  That wreathed the warring knights...._
+
+Charles, although his charger is led by Death against the foe,
+himself falls a victim to the tireless Reaper.
+
+The second chorus, _Midsummer Clouds_, is in pleasant contrast to
+the blood and war spirit of the first. In it we have the
+imaginative charm and beauty of lines like the following:--
+
+  _Through the clear meadow blue
+  Wander fleecy white lambs...._
+
+There is a certain depth about the song, however, as if the
+scenic suggestion is only a symbol of something greater and more
+human, and this feeling is increased by the last verse:--
+
+  _And the light dies away
+  As the silent dim shapes
+  Sail on through the gloaming,
+  Towards dreamland's gates._
+
+
+
+OPUS 55. SEA PIECES, FOR PIANOFORTE.
+
+_First Published_, 1898 (P.L. Jung. Assigned 1899 to Arthur P.
+Schmidt).
+
+  1. _To the Sea._
+
+  2. _From a Wandering Iceberg._
+
+  3. _A.D. 1620._
+
+  4. _Starlight._
+
+  5. _Song._
+
+  6. _From the Depths._
+
+  7. _Nautilus._
+
+  8. _In Mid-Ocean._
+
+The _Sea Pieces_ contain some of the finest of MacDowell's
+suggestive tone poetry. They are chiefly remarkable for their
+exhibiting the composer's ability to suggest a big scene, or a
+dramatic or emotional content of far-reaching significance, in an
+incredibly small space. The power and breadth of some of the
+pieces is great, while their beauty of tone, displaying the
+powers of the pianoforte from _pppp_ to _fff_, is rich and full
+in its harmonic construction. Although the chords seem to call
+for orchestral colouring, the effect is always clear and ringing
+on the pianoforte, whilst the melodies are some of the most noble
+and dignified of MacDowell's short pieces. As a contrast to the
+strength of some of the numbers in the set, others are of an
+exquisite and quiet beauty. Altogether the _Sea Pieces_ make up
+one of the most superb pianoforte albums in existence, for they
+are tone poems of unsurpassed beauty, strength of character,
+nobleness of thought and unerring atmospheric suggestion,
+touching the high water mark of the composer's inspirations. Each
+piece is headed by a verse of the composer's own writing, except
+the first, sixth and seventh, which have single lines only. The
+poems are included in the published book of his verse.
+
+1. _To the Sea_ (_With dignity and breadth_). This is headed:--
+
+  _Ocean, thou mighty monster_,
+
+and is a tone poem of remarkable power. It is but thirty-one bars
+in length and yet it contains more solid material, breadth and
+perfectly concentrated splendour than many an orchestral tone
+poem of symphonic proportions. The graduations of tone found in
+the piece are very fine and could only have been written by one
+who knew intimately the tonal resources of the modern pianoforte.
+The chord writing spreads over a wide area of the keyboard, but
+is remarkable for its clarity. It is indeed extremely difficult
+to call to mind any other composer who could have painted a tone
+picture so big in outlook and so complete in itself, in such a
+small space as MacDowell has done here.
+
+2. _From a Wandering Iceberg_ (_Serenely_). This piece suggests a
+towering iceberg gradually approaching, passing by in all its
+splendour, and going on toward _realms of burning light_. The
+tone variety ranges from _as soft and smooth as possible_ to a
+virile, orchestral _fff_. The melody of the piece is very
+beautiful and the whole thing has a curious icy clearness about
+it that is remarkably realistic. The last seven bars contain
+music as tender and serene as anything MacDowell ever composed.
+
+3. _A.D. 1620_ (_In unbroken rolling rhythm_). This represents
+the voyage of the pilgrim fathers and is a four-page piece, about
+double the length of the preceding two. Its character is
+generally stern, and the rolling of the lumbering ship is vividly
+suggested. The middle portion consists of a magnificent song
+marked _Sturdily and sternly, but without change of rhythm_. The
+tune is not beautiful, but it is strong and inspiring, and in
+these respects it is unique. Its power is remarkable even for
+MacDowell. As the preceding part gradually led up to the song, so
+in its repetition it gradually dies away, as if the ship had
+approached and passed by, bearing its load of the men, women and
+children who were to found the great Republic of the West.
+
+4. _Starlight_ (_Tenderly_). This is a tender and beautiful
+little inspiration. It has a melodic and harmonic outlook of the
+exquisite poise that marks MacDowell's finest work. The light and
+shade of the piece call for perfect control of tone production on
+the part of the performer. It is lighter and more finely
+conceived than the preceding pieces in this set, and is a very
+perfect tone suggestion of the loveliness of a quiet, starlit
+sea.
+
+5. _Song_ (_In changing moods_). This opens softly with a cheery
+song which has a rough and hearty chorus. A deeper emotion is
+sounded where the music is marked _passionately_, and after this
+comes a passage of wistful tenderness. The song is resumed,
+together with its chorus, but near the end the tender portion is
+recalled, and the piece ends with a subdued and thoughtful
+reminiscence of the air.
+
+6. _From the Depths_ (_In languid swaying rhythm_).This is one of
+MacDowell's greater inspirations and is headed:--
+
+  _And who shall sound the mystery of the seas._
+
+This is a magnificent tone poem. We first have a picture of the
+sea, calm, but sinister, and then we see it working up to its
+full power and fury in a storm. The gradations of tone range from
+a sombre, mysterious _ppp_ to an _fff_ of furious power. The
+writing is very full and rich, and there are passages of a
+stupendous strength and magnificence of effect seldom found
+outside MacDowell's own music.
+
+7. _Nautilus_ (_Delicately, gracefully_). This is headed:--
+
+  _A fairy sail and a fairy boat_
+
+and is the gem of the set. The writing is of exquisite
+gracefulness and charm. The scenery, as the little voyage
+proceeds, is of fresh loveliness and constantly changing, while
+the curious, indecisive rhythm is unmistakably suggestive of an
+uncanny boat trip in quiet water. The whole piece is one of
+perpetual charm and delight to the ear.
+
+8. _In Mid-Ocean_ (_With deep feeling_). Here we find the deeper
+note struck again:--
+
+  _Inexorable! Thou straight line of eternal fate...._
+
+The music of this piece is transporting in its majestic nobility
+and magnificent, sweeping strength. It is one of the most superb
+of MacDowell's short pieces. From the deep and sonorous opening
+bars, through passionately mounting fury, to the sombre and
+mysterious close--in all of it we are confronted with the work of
+an unmistakably inspired master. With this fitting, unsurpassed
+picture, not of the outward might of the sea alone, but of the
+mysterious, relentless and terrible beauty of its significance as
+Fate, MacDowell concluded his _Sea Pieces_--Tone poems of
+artistic supremacy, of inimitable strength and loveliness of
+expression, that will live as long as there are men and women who
+are stirred by the deep power of music to give expression to
+God's Creation.
+
+
+
+OPUS 56. FOUR SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1898 (P.L. Jung. Later assigned to Arthur P.
+Schmidt).
+
+  1. _Long Ago, Sweetheart Mine._
+
+  2. _The Swan Bent Low to the Lily._
+
+  3. _A Maid Sings Light._
+
+  4. _As the Gloaming Shadows Creep._
+
+This is a very beautiful group of songs, made from the best of
+the composer's artistic material. They are of pure and uncommonly
+high quality, expressing happiness, tenderness and irresistible
+charm. The verses of each are the composer's own, those of the
+last number being after Frauenlob.
+
+1. _Long Ago_ (_Simply, with pathos_). This song has a sadness
+and tenderness which, together with its words, give it an
+irresistible appeal. The scene it suggests is that of an elderly
+couple, for whom life is drawing to a close, recalling the
+far-off days when their undying love for each other commenced.
+The expression of the music is very human and free from any
+commonplace sentiment.
+
+2. _The Swan Bent Low to the Lily_ (_With much feeling_). This
+song is an exquisite and charming little lyric.
+
+3. _A Maid Sings Light_ (_Brightly, archly_). This song has a
+captivating delightfulness and warns off a lad, lest he lose his
+heart to the fair maid who not only sings light, but loves light.
+
+4. _As the Gloaming Shadows Creep_ (_Tenderly_). This is one of
+MacDowell's finest songs. The words are "after Frauenlob," and
+were used previously by the composer in _As the Gloaming Shadows
+Creep_ in _Songs from the Thirteenth Century_ (without opus
+number) _for Male Chorus_. The music is very tender and beautiful
+in expression, and these qualities atone for the fact that the
+song does not always show a perfect alliance between words and
+music; its chief merit is in the outstanding quality of the
+latter.
+
+_Long Ago_ and _A Maid Sings Light_ form one of the gramophone
+records made for "His Master's Voice" series by Alma Gluck. This
+lyric soprano has sung the two MacDowell songs with sympathy and
+perfect phrasing. The accompaniments were played by a Mr.
+Bourdon, who unfortunately disregarded the composer's tone and
+legato indications.
+
+
+
+OPUS 57. THIRD SONATA, NORSE, IN D MINOR, FOR PIANOFORTE.
+
+_First Published_, 1900 (Arthur P. Schmidt).
+
+  1. _Impressively; at times with impetuous vigour._
+
+  2. _Mournfully, yet with great tenderness._
+
+  3. _With much character and fire._
+
+The two last sonatas, the _Norse, Op. 57_, and, the _Keltic, Op.
+59_, are MacDowell's most superb achievements, banishing for ever
+the mistaken and ignorant assertion that he was only a miniaturist
+in composition. The _Norse_ sonata is separated by a wide gulf of
+progress from its predecessor, the _Sonata Eroica_, being greater
+in outlook, freer in form and altogether more strongly determined
+and personal in character. It has a more mature strength, nobleness
+and dignity, together with an inspiring and magnificent beauty and
+splendour of tone power. The subject of the work was one that
+MacDowell loved to dwell upon--the stirring tales of love and
+mighty heroism told in the ancient Norse sagas. The barbaric, but
+undoubtedly splendid spirit of those dim days seized upon his
+imagination as it did upon that of the English composer, Elgar,
+when he wrote his _Scenes from the Sagas of King Olaf_. The writing
+in the _Norse_ sonata is of tremendous breadth and sweep of line,
+only surpassed by that of the _Keltic_ sonata, (_Op. 59_), often
+calling forth the utmost power of which the modern pianoforte is
+capable and altogether ignoring the stretch of one pair of hands,
+which have to leap the huge chordal stretches very smartly.
+Notwithstanding this fullness of writing, however, the effect is
+always ringing and clear. The third and fourth of MacDowell's
+sonatas were dedicated by him to Grieg, but the printed copies of
+the former do not bear the inscription, though those of the _Keltic_
+do so.
+
+1. The first movement opens darkly and sombrely, suggesting the
+lines of the verse that heads the sonata as a whole, telling of
+the great rafters in the hall at night, flashing crimson in the
+flickering light of a dying log fire. The strong voice of a bard
+rings out, and through this medium the tales of battles, love and
+heroic valour is told. The movement has passages of tremendous
+vigour, passion and depth, all painted with the unerring skill of
+the composer. The final bars are of fierce and elemental power.
+
+2. The second movement opens with a theme of tender beauty. It
+develops into passionate strength, involving much intricacy of
+writing and wide spread chordal work.
+
+3. The third and last movement (it will be noted that MacDowell
+abandons the scherzo movement in this sonata, as it had proved an
+_aside_ in the two earlier ones) is impetuous and, as it
+proceeds, becomes increasingly difficult to play. The theme of
+the second movement is recalled in a passage of extreme pathos.
+The final coda is most impressive, beginning _Dirge-like_--_very
+heavy and somber_; five bars from the end there is a moment's
+silence, and then the opening theme of the first movement rings
+out and the sonata ends with the utmost breadth and strength.
+
+
+
+OPUS 58. THREE SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1899 (Arthur P. Schmidt).
+
+  1. _Constancy_ (_New England, A.D. 1899_).
+
+  2. _Sunrise._
+
+  3. _Merry Maiden Spring._
+
+The verses of these songs are MacDowell's own, and both words and
+music here go to make up song writing of an order that is rare in
+its beauty of expression, tender thought and pure lyricism.
+
+In _Constancy_ (_New England, A.D. 1899_), indicated _Simply, but
+with deep feeling_, we have one of MacDowell's best songs. It has
+a tenderness and wistfulness about it that is irresistible, and
+sung in the spirit of its words, which tell of an empty house and
+neglected garden, it is a very beautiful thing.
+
+_Sunrise_, marked _With power and authority_, is short and tells
+of the sorrowful spectacle of a wrecked and broken ship. The
+actual scene, however, seems secondary to its own significance as
+a symbol of human life. The music is heavy after the style of
+certain of the composer's pianoforte _Sea Pieces_ (_Op_. 55).
+
+The third and last song, _Merry Maiden Spring_, is charming, with
+a singularly bright and captivating freshness. It is indicated to
+be sung _Lightly, gracefully_.
+
+
+
+OPUS 59. FOURTH SONATA, KELTIC, IN E MINOR, FOR PIANOFORTE.
+
+_First Published_, 1901 (Arthur P. Schmidt).
+
+_Dedicated to Edvard Grieg_.
+
+  1. _With great power and dignity_.
+
+  2. _With naive tenderness_.
+
+  3. _Very swift and fierce_.
+
+The _Keltic Sonata_ is generally considered MacDowell's supreme
+achievement, the great culmination of his evolution toward
+musical expression of immense and rare power. The sonata is a
+work of great breadth and vitality, and has a sweep of line and
+noble beauty of expression that is only equalled in the supreme
+efforts of genius, such as Beethoven's _Appassionata_ sonata for
+instance. It is a most superb poetical romance, full of the
+passion and heroic fervour of the Celtic strain in MacDowell's
+own nature. It searched out his finest and deepest inspiration
+when he wrote it and it grew to be part of his very being
+afterwards. The whole thing is a reflection of the heroic and
+stirring romances in Celtic legend. It is full of a wild beauty
+and sorrow, and carries us back to those far-off days when men
+lived the lives that now to us seem mythical. The graduations of
+tone in the sonata range from _pppp_ to _ffff_, and although its
+technical difficulties are considerable, they are worth
+conquering, which is more than can be said of many things over
+which the modern pianist takes infinite pains. The virtuoso
+aspect of the _Keltic_ sonata, however, is always lost in the
+magnificent spirit of the music. All MacDowell's finest works
+require not mechanical technique only, but deep intellectual and
+poetical thought to bring out their finest qualities.
+
+1. From the first bars the majesty of the work becomes apparent.
+The first movement as a whole is full of the fire of Celtic
+inspiration, tinged with a wild and piercing sorrow. The final
+page of it contains music of stupendous power, and the limit of
+extremity of tone contrast is reached in the two last bars, one
+of which is to be played _pppp_ and the other _ffff_.
+
+2. The second movement opens with a tender and exquisite beauty,
+but the music soon becomes impassioned, the dominant mood being
+that wild sorrow we have already referred to.
+
+3. The final movement is generally dark and fierce, moving
+swiftly and of great technical difficulty. Near the end we notice
+the direction, _Gradually increasing in violence and intensity_,
+and later an unforgettable passage occurs _With tragic pathos_.
+The sonata ends with a fierce rush, of enormous and elemental
+power. The key to the meaning of the _Keltic_ sonata is given in
+some lines of his own which MacDowell placed at its head, but
+they are only part of all that he expressed in it. They should be
+read together with the lines entitled _Cuchullin_ in the book of
+his verses. _Cuchullin_ was considered unconquerable and even his
+form, when at last frozen in death, awed all who saw it; and it
+is of the might and tragedy of this old figure in Celtic legend
+that the sonata seems to tell. The final pages of the last
+movement may be considered as a vivid expression of the scene
+which Standish O'Grady, whose work MacDowell loved, has so
+superbly described:--"Cuculain sprang forth, but as he sprang,
+Lewy MacConroi pierced him through the bowels. Then fell the
+great hero of Gael. Thereat the sun darkened, and the earth
+trembled ... when, with a crash, fell that pillar of heroism, and
+that flame of the warlike valour of Erin was extinguished." The
+stricken warrior made his way painfully to a tall pillar, the
+grave of some bygone fighter, and tied himself to it, dying with
+his sword in his hand and his terrifying helmet flashing in the
+sun. In O'Grady's words:--"So stood Cuculain, even in death-pangs,
+a terror to his enemies, for a deep spring of stern valour was
+opened in his soul, and the might of his unfathomable spirit
+sustained him. Thus perished Cuculain." ... Superb as these lines
+are, they are equalled in expression by the music of MacDowell's
+_Keltic_ sonata.
+
+
+
+OPUS 60. THREE SONGS, FOR VOICE AND PIANOFORTE.
+
+_First Published_, 1902 (Arthur P. Schmidt).
+
+  1. _Tyrant Love._
+
+  2. _Fair Springtide._
+
+  3. _To the Golden-rod._
+
+This is the last song group that MacDowell published. It contains
+music of great charm and poetic beauty, with a grave tenderness
+that was ever his own. The verses are all from his pen and show
+his unusual literary gifts.
+
+_Tyrant Love_ (_Lightly, yet with tenderness_). This is the least
+fine of the three, and yet in itself it is a song of rare quality
+and far above the commonplace. The music is beautiful, although
+not free from distortion of the words.
+
+_Fair Springtide_ (_Very slow, with pathos_). This is one of the
+best and most mature of MacDowell's songs. It makes a lovely
+solo, full of sweet and tender sadness, seldom failing to move
+its hearers. Both as regards words and music, it comes straight
+from the soul of its composer.
+
+_To the Golden-rod_ (_With tender grace_). This is a pure and
+delectable piece of lyrical work, in MacDowell's most delightful
+style. The verse tells of a lissom maid whose wayward grace
+neither sturdy Autumn nor the frown of Winter can ever efface.
+The words are obviously fanciful, but the song has a graceful
+charm and fragrance.
+
+
+
+OPUS 61. FIRESIDE TALES, FOR PIANOFORTE.
+
+_First Published_, 1902 (Arthur P. Schmidt).
+
+_Dedicated to Mrs. Seth Low_.
+
+  1. _An Old Love Story._
+
+  2. _Of Br'er Rabbit._
+
+  3. _Of Salamanders._
+
+  4. _A Haunted House._
+
+  5. _By Smouldering Embers._
+
+These pieces show a significant change in the voice of MacDowell.
+A certain strange, farawayness of thought is apparent, and a
+grave tenderness that is not quite like anything he had
+previously written. The fine beauty of the previous short pieces
+here gives way to a new kind of serious and even sombre aspect,
+and indeed the composer seems to have entered on a new period.
+Unfortunately the next work after these _Fireside Tales_ is the
+last music he published, and so the certainty of the commencement
+of a new period cannot definitely be established. The writing is
+much more masterly than in any of the earlier short pieces,
+including the _Sea Pieces_, even though these have greater
+spirit.
+
+1. _An Old Love Story (Simply and tenderly)._ This opens with the
+familiar flowing type of MacDowell melody, but with the
+succeeding section in D flat major, marked _ppp_, comes in a new
+and earnest expressiveness. After this the opening theme returns
+and the piece ends tenderly and subdued. _An Old Love Story_ is,
+on the whole, quite characteristic, and certainly very beautiful.
+It seems to bring with it an atmosphere of fading, but still
+cherished, bygone happiness, and its thought is tender and
+wistful.
+
+2. _Of Br'er Rabbit (With much spirit and humour--lightly)._ This
+opens with a roguish and catching tune which is brilliantly
+worked out with much variety, droll humour, and masterly skill.
+The piece has, of course, an affinity with _From Uncle Remus
+(Woodland Sketches, Op. 51_), since Br'er Rabbit is Uncle Remus'
+chief hero; but the maturity and masterly handling of the
+material in _Of Br'er Rabbit_ is unquestionably finer than
+anything in the earlier piece. MacDowell had much affection for
+his _Br'er Rabbit_ creation, and it is certainly one of the most
+delightful of all his brighter compositions; the humour is so
+droll and so characteristic of himself.
+
+3. _Of Salamanders (As delicately as possible)._ This is a
+fanciful, intricate piece, but very delicate in effect. It is
+technically difficult to play, requiring an absolute control of
+finger work. It was rather a favourite with the composer. 4. _A
+Haunted House (Mysteriously)._ This is one of the most imaginative
+and realistic of MacDowell's smaller pianoforte pieces. It opens
+_very dark and sombre_, developing into a wild and eerie
+_fortissimo_. The middle section requires swiftness of finger work
+to suggest the nervous expectancy aroused by the preceding
+mysteriousness. The ghost-like effect returns, then gradually
+recedes again into impenetrable gloom.
+
+6. _By Smouldering Embers (Musingly)._ This opens with a quiet,
+tender theme after the style of _An Old Love Story_. The piece is
+quite short, but displays a mastery both of harmony and
+counterpoint. The music is grave and deep, but very tender. The
+little middle section stands out in its almost passionate, but
+sonorous and controlled emotion. Toward the end, the music
+becomes very moving and subdued, dying away with careful and
+sensitive tone reduction. The impression left by this piece, and
+by the _Fireside Tales_ as a whole, is that the composer was
+conscious of a heavy responsibility in his work; that he felt, as
+Elgar has explained, that "the creative artist suffers in
+creating, or in contemplating the unending influence of his
+creation ... for even the highest ecstacy of 'Making' is mixed
+with the consciousness of the sombre dignity of the eternity of
+the artist's responsibility."
+
+
+
+OPUS 62. NEW ENGLAND IDYLS, FOR PIANOFORTE.
+
+_First Published_, 1902 (Arthur P. Schmidt).
+
+  1. _An Old Garden_.
+
+  2. _Mid-Summer_.
+
+  3. _Mid-Winter_.
+
+  4. _With Sweet Lavender_.
+
+  5. _In Deep Woods_.
+
+  6. _Indian Idyl_.
+
+  7. _To an Old White Pine_.
+
+  8. _From Puritan Days_.
+
+  9. _From a Log Cabin_.
+
+ 10. _The Joy of Autumn_.
+
+This album is the last work MacDowell published. It contains, not
+only some of his most beautiful and advanced lyrical tone poems,
+but, in _Mid-Winter_ and _From a Log Cabin_, two of the most
+significant and inspired of all his shorter pieces. In the _New
+England Idyls_ as a whole, we have the eloquence and poetry of
+MacDowell in its fullest maturity. The American atmosphere is
+strong in these pieces, the scene suggested by each one belonging
+unmistakably to New England. In addition to the expressive and
+suggestive power of these idyls, they possess a fragrance and
+freshness that are rare in music. Each piece is headed by a verse
+of the composer's, and it should also be noted that he has
+dropped his English directions as to expression, etc., and gone
+back to Italian. There is no great gain in this, for the terms he
+uses, although in the language traditionally employed for the
+purpose, are by no means always the actual terms of traditional
+standing; he simply took the unnecessary trouble to translate his
+English-thought directions into a foreign language. His Italian
+is not always that generally used in music.
+
+1. _An Old Garden_ (_Semplice, teneramente_). This opens with an
+expressive and tender little theme. In the middle part a
+beautifully formed lyricism appears. The opening theme eventually
+reappears and the piece ends with quiet, but rich and sonorous
+chords.
+
+2. _Mid-Summer_ (_Come in sogno_). This is a tone impression of a
+drowsy summer's day:--
+
+  ... _Above, the lazy cloudlets drift,
+  Below, the swaying wheat_....
+
+It is exquisitely done, with the composer's usual unerring
+instinct for creating atmosphere. The technical mastery is finer
+than that shown in the _Woodland Sketches_, and the tonality
+ranges in the thirty-six bars of its length from _fortissimo_ to
+softly breathed _ppp_, and at the end even _pppp_.
+
+3. _Mid-Winter_ (_Lento_). Here we find a piece of dramatic
+significance and great power. Its deeper meaning is expressed in
+the verses that head it:--
+
+  _In shrouded awe the world is wrapped,
+  The sullen wind doth groan,
+  'Neath winding-sheet the earth is stone,
+  The wraiths of snow have flown_.
+
+  _And lo! a thread of fate is snapped,
+  A breaking heart makes moan;
+  A virgin cold doth rule alone
+  From old Mid-winter's throne_.
+
+The piece opens with an impressive theme uttered _ppp_. The whole
+atmosphere soon becomes one of vast and solemn content, rising to
+an intense short outburst. Soon a new and rather bleak theme is
+heard with mournful, clashing harmonies; the whole effect is
+vividly recalled in _From a Log Cabin_, No. 9 of these idyls, the
+only piece in the set to equal this one in force. After some
+commentary, a series of three rushing, ascending scale passages
+are introduced, beginning _pppp_, then gradually becoming louder
+until they culminate on high and powerful chords. The opening
+theme reappears at the height of the climax and is expressed with
+passionate intensity. Gradually the music dies solemnly away
+again. The whole of this piece appears very different to anything
+of MacDowell's earlier work; its deep and almost fateful
+significance, together with its problematical character, is a bid
+for something even greater than the _Sea Pieces_ (_Op_. 55).
+
+ 4. _With Sweet Lavender_ (_Molto tenero e delicato_). This piece
+opens with a tender and expressive theme, which is one of the
+most beautiful of the composer's inspirations. The passage marked
+_la melodia con molto_ introduces that new and deeper note which
+is a feature in MacDowell's last two pianoforte albums. It breaks
+out presently into passionate longing, but the return of the
+sweet opening theme, _ppp motto delicato_, brings the feeling of
+quiet wistful contemplation back again. The verses at the head of
+the piece attribute its mood to the reading of a packet of old
+love letters.
+
+ 5. _In Deep Woods_ (_Largo impressivo_). This opens with loud
+and resounding chords, expressive of the majesty and beauty of
+American forests. At the eleventh bar a lovely theme enters, and
+the music from now onwards is written on four staves, but is
+always clear and fresh. As the full grandeur of the woods is
+felt, the theme takes on a splendid exultation, gradually sinking
+away as:--
+
+  ... _The mystery of immortal things
+  Broods o'er the woods at eve_.
+
+The piece was one of the composer's favourites; he inscribed its
+opening bar on a portrait of himself which he gave to Mr. W.W.A.
+Elkin, his London publisher and friend.
+
+6. _Indian Idyl_ (_Leggiero, ingenuo_). This is a lovely tone
+poem, opening with a characteristic little figure reminiscent of
+the opening of the _Love-Song_ in the _Indian Suite for
+Orchestra_ (_Op_. 48). The theme is punctuated by little
+flute-like embellishments. The middle section, _poco piu lento_,
+is idyllic, with a perfectly balanced, swaying rhythm. In playing
+this portion, the left hand should describe an equal series of
+semicircles as it alights first on the low chord, and then on the
+single note two octaves higher. The opening theme returns with
+the flute-like embellishments prominent, but all heard softly, as
+from
+
+  ... _afar through the summer night
+  Sigh the wooing flutes' soft strains_.
+
+ 7. _To an Old White Pine_ (_Gravemente con dignita_). The
+characteristic feature of this piece is its sense of alternate
+mounting and declining strength. At about the middle of the
+movement a deeper solemnity is noticed, in a passage suggesting
+the _swaying, gentle forest trees_ that whisper at the feet of
+the huge old pines of an American forest. Some expressive and
+ingenious little woodland touches are included in the quiet
+concluding bars.
+
+ 8. _From Puritan Days_. "_In Nomine Domini_" (_Con enfasi
+smisurata_). A stern theme opens this piece, while a passage
+marked _implorando_ seems to suggest the pious attitude of the
+immortal founders of the New England States. Soon the music
+becomes hurried and more impassioned, the pious, despairing
+motive being prominent. The opening theme is now thundered out
+_fortissimo_ and the piece ends with a sense of stern and
+rock-like strength of character.
+
+ 9. _From a Log Cabin_ (_Con profondo espressione_). This piece,
+which should be played with great expression, stands on a level
+with _Mid-Winter_, No. 3 in this album. It strikes the new and
+sombre note already referred to and carries with it a sense of
+deep and vast import. The composer's unerring feeling for
+atmosphere is given full play. The piece as a whole is deep and
+problematic. The lines at its head:
+
+  _A house of dreams untold_,
+  _It looks out over the whispering tree-tops
+  And faces the setting sun_.
+
+refer to MacDowell's log-cabin in which he used to compose, and
+they are the same that are inscribed over his grave. _From a Log
+Cabin_ opens quietly, with a grave theme and a clashing
+accompaniment that produces a different effect to that of any of
+the composer's earlier work, but recalls vividly the bleak second
+theme of _Mid-Winter_. Some powerful though small climaxes may be
+noticed, and then a new theme is heard softly, _con tenerezza,
+pensieroso_, over a florid accompaniment. After this has run its
+course, it is followed by intensely passionate outbursts of
+sorrow, the whole culminating in a thunderous repetition of the
+first theme. This reappears with great solemnity, which is
+emphasized by tolling, drum-like strokes, in the bass. The close
+is mysterious and impressive; the widespread chords, the wailing,
+clashing discords in the final bar but one, and the far away last
+chord, _pppp_, all tend to increase the depth and mystery of the
+piece. _From a Log Cabin_ is an inspired tone poem suggesting the
+atmosphere of a quiet evening in the woods, with the slow setting
+of the sun in the Golden West; a scene by which Nature often
+creates the sense of the mysterious more impressively and truly
+than any man-made attempts can equal. This view of declining day,
+the gradual shutting off of light and life, was strangely
+prophetic when MacDowell wrote it, for his own end came by a
+similar process in the form of an ever deepening gloom fatalling
+obscuring his mental light.
+
+10. _The Joy of Autumn_ (_Allegro vivace_). This is a splendidly
+exhilarating piece and the longest by far of the set. The music
+leaps along with the sheer joy of living, the themes being
+singularly fresh and bright. The whole number is written in a
+brilliant and masterly manner, requiring a polished pianoforte
+technique to secure its full effect, especially in the exultant
+whirl and rush in the final page. A comparison of this piece with
+the _In Autumn_ of the _Woodland Sketches_ (_Op_. 51) makes the
+great advancement of MacDowell in the technique of composition
+obvious even to the tyro. _The Joy of Autumn_ is one of the most
+brilliant and spontaneous things in modern music; it is never
+commonplace, it is always MacDowel-like in spirit and artistic
+worth, and shows its author at the height of his maturity. With
+this joyous and beautiful piece, MacDowell bade farewell to his
+God-given creative art. Happily he did not know at the time that
+_From a Log Cabin_ was to prove a truer-expression of his future;
+a prophetic description of the tragic end of his life.
+
+
+
+
+
+WORKS WITHOUT OPUS NUMBERS
+
+SIX LITTLE PIECES ON SKETCHES FOR PIANOFORTE, BY J.S. BACH,
+
+Published by Arthur P. Schmidt.
+
+  1. _Courante_.
+
+  2. _Menuet_.
+
+  3. _Gigue_.
+
+  4. _Menuet_.
+
+  5. _Menuet_.
+
+  6. _Marche_.
+
+These are illuminating little MacDowell-like adaptations of some
+sketches by "one of the world's mightiest tone poets," as
+MacDowell described J.S. Bach. They are charmingly and cleverly
+written, although not always satisfying, it is to be feared, to
+the strict purist.
+
+
+
+
+
+FROM THE EIGHTEENTH CENTURY (TRANSCRIPTIONS FOR PIANOFORTE OF
+HARPSICHORD AND CLAVICHORD PIECES).
+
+Published by Arthur P. Schmidt.
+
+
+BOOK I:
+
+  1. _Courante_ (_Rameau_).
+
+  2. _Sarabande_ (_Rameau_).
+
+  3. _Tempo di Minuetto_ (_Grazioli_).
+
+  4. _Le Bavolet Flottant_ (_The Waving Scarf_)(_Couperin_).
+
+  5. _Gigue_ (_Mattheson_).
+
+  6. _Sarabande_ (_Loeilly_).
+
+
+
+BOOK II:
+
+  7. _Gigue_ (_Loeilly_).
+
+  8. _La Bersan_ (_Couperin_).
+
+  9. _L'Ausonienne_ (_Couperin_).
+
+ 10. _Aria from Handel's_ "_Susanna_" (_Lavignac_).
+
+ 11. _Gigue_ (_Graun_).
+
+These pieces were much used by MacDowell in his lessons, as
+illustrations of eighteenth century music, and were published in
+two books about a dozen years after his death. They have not met
+with unanimous approval, for his transcriptions of the old pieces
+for the harpsichord and clavichord, in a manner suited to the
+modern pianoforte, is considered by many purists to be too free.
+The fact is that in their original form they are quite unsuitable
+for the modern pianoforte, being far too slight. MacDowell has,
+for many of us, done the right thing by filling in their implied
+harmonies and otherwise bringing out their qualities, so that
+they may be done justice under present-day keyboard conditions.
+
+
+
+
+TWO SONGS FROM THE THIRTEENTH CENTURY, FOR MALE CHORUS.
+
+_First Published_, 1897 (Arthur P. Schmidt).
+
+ 1. _Winter Wraps his Grimmest Spell_.
+
+ 2. _As the Gloaming Shadows Creep_.
+
+These are two effective male-voice choruses. The first number
+being a setting of MacDowell's lines after Nithart, and the
+second of verses by the composer, inspired by Frauenlob. These
+latter beautiful lines were also used in number four of the _Four
+Songs, Op. 56_.
+
+MacDowell composed three part-songs for Female-Voice Choir. They
+have no opus numbers and are entitled:--
+
+_Summer Wind_.
+_Two College Songs:
+
+  1. Alma Mater.
+
+  2. At Parting_.
+
+They are well written and effective, the _College Songs_ being
+particularly interesting, while _Summer Wind_ has one of the
+composer's beloved nature subjects as its inspiration. Published
+by Arthur P. Schmidt.
+
+
+In addition to the _Six Little Sketches_ on pieces by Bach, and
+the pieces contained in the albums entitled _From the Eighteenth
+Century_, MacDowell also revised and edited for the pianoforte
+the following compositions:--
+
+  Alkan-MacDowell,   _Perpetual Motion_.
+  Cui,               _Cradle Song_.
+  Dubois,            _Sketch_.
+  Geisler,           _Episode_.
+  Geisler,           _Pastorale_.
+  Geisler,           _The Princess Ilse_.
+  Glinka-Balakirev,  _The Lark_.
+  Huber,             _Intermezzo_.
+  Lacombe,           _Etude_.
+  Liszt,             _Eclogue_.
+  Liszt,             _Impromptu_.
+  Martucci,          _Improviso_.
+  Moszkowski,        _Air de Ballet_.
+  Moszkowski,        _Etincelles_.
+  Pierne,            _Allegro Scherzando_.
+  Pierne,            _Cradle Song_.
+  Pierne,            _Improvista_.
+  Reinhold,          _Impromptu_.
+  Rimsky-Korsakov,   _Romance in A flat_.
+  Stcherbatcheff,    _Orientate_.
+  Ten Brink,         _Gavotte in E minor_.
+  Van Westerhout,    _Gavotte in A_.
+  Van Westerhout,    _Momenta Capriccioso_.
+
+All Published by Arthur P. Schmidt.
+
+
+The following compositions were arranged for Male-Voice Choir by
+MacDowell:--
+
+  Beines,            _Spring Song_.
+  Borodine,          _Serenade_.
+  Filke,             _The Brook and the Nightingale_.
+  Moniuszko,         _The Cossack_.
+  Rimsky-Korsakov,   _Folk Song_.
+  Sokolow,           _Spring_.
+  Sokolow,           _From Siberia_.
+  Von Holstein,      _Bonnie Katrine_.
+  Von Woss,          _Under Flowering Branches_.
+
+All Published by Arthur P. Schmidt.
+
+
+MacDowell also wrote _Technical Exercises for the Pianoforte_ (_2
+Books_), in addition to the Studies comprising Ops. 39 and 46.
+They were at one time obtainable from Arthur P. Schmidt.
+
+
+
+
+
+TRANSCRIPTIONS.
+
+
+A number of well-known MacDowell pianoforte pieces have been
+transcribed for other instruments. The transcriptions are all
+published by Arthur P. Schmidt, and are as follows:--
+
+
+
+ORGAN.
+
+SIX TRANSCRIPTIONS, SERIES 1.
+
+By Frederick N. Shackley.
+
+  _Idylle_ (_Starlight, _Op. 55, No. 4_).
+
+  _Pastorale_ (_To a Wild Rose, _Op. 51, No. 1_).
+
+  _Romance_ (_At an Old Trysting Place, _Op. 51, No. 3_).
+
+  _Legend_ (_A Deserted Farm, _Op. 51, No. 8_).
+
+  _Reverie_ (_With Sweet Lavender, _Op. 62, No. 4_).
+
+  _Maestoso_ (_A.D. 1620, _Op. 55, No. 3_).
+
+
+
+SIX TRANSCRIPTIONS, SERIES 2.
+
+By C. Charlton Palmer.
+
+  _Nautilus_ (_Op. 55, No. 7_).
+
+  _Andantino_ (_Romance, _Op. 39, No. 3_).
+
+  _Sea Song_ (_Song, _Op. 55, No. 5_).
+
+  _Meditation_ (_By Smouldering Embers, _Op. 61, No. 6_).
+
+  _Melodie_ (_To a Water Lily, _Op. 51, No. 6_).
+
+  _In Nomine Domini_ (_From Puritan Days, _Op. 62, No. 8_).
+
+
+
+VIOLIN AND PIANOFORTE.
+
+  _To a Humming Bird_ (_From Six Fancies_).
+
+  _To a Wild Rose_ (_From _Op. 51_). Original and simplified
+editions.
+
+  _Clair de Lune_ (_From _Op. 37_).
+
+  _With Sweet Lavender_ (_From _Op. 62_).
+
+
+
+VIOLONCELLO AND PIANOFORTE.
+
+WOODLAND SKETCHES. _Op. 51.
+
+Arranged by Julius Klengel.
+
+  _To a Wild Rose_.
+
+  _At an Old Trysting Place_.
+
+  _To a Water-Lily._
+
+  _A Deserted Farm_.
+
+  _Told at Sunset_.
+
+
+
+SELECTED ALBUMS.
+
+Useful albums for those who desire an introduction to MacDowell's
+music are as follows:--
+
+IN PASSING MOODS.
+
+Album of selected Pianoforte Pieces.
+
+  1. _Prologue_.
+
+  2. _Alia Tarantella_.
+
+  3. _An Old Love Story_.
+
+  4. _Melody_.
+
+  5. _The Song of the Shepherdess_.
+
+  6. _A Deserted Farm_.
+
+  7. _To the Sea_.
+
+  8. _Danse Andalouse_.
+
+  9. _From a Log Cabin_.
+
+ 10. _Epilogue_.
+
+
+
+ALBUM OF SELECTED SONGS.
+
+(Low or High Voice.)
+
+ 1. _Thy Beaming Eyes_.
+
+ 2. _The Swan Bent Low_.
+
+ 3. _O Lovely Rose_.
+
+ 4. _Deserted_.
+
+ 5. _Slumber Song_.
+
+ 6. _A Maid Sings Light_.
+
+ 7. _To a Wild Rose_.
+
+
+
+
+
+MACDOWELL LITERATURE.
+
+
+MacDowell's _Critical and Historical Essays_ (_Lectures delivered
+at Columbia University_), referred to earlier in this book, are
+published in America by Arthur P. Schmidt and in England by
+Macmillan & Co., Ltd. His _Verses_, a book of beautiful poetic
+inspirations, is published solely by Arthur P. Schmidt. An
+enthusiastic study of MacDowell, by Lawrence Gilman, an American
+musical critic, is published by John Lane & Co., in New York and
+London. Arthur P. Schmidt & Elkin & Co. stock all three books.
+
+
+
+EDGAR THORN PIECES.
+
+
+The following pieces were published by MacDowell under the
+pseudonym of _Edgar Thorn_. He stipulated that the royalties
+resulting from their sale should be paid to a nurse who was at
+one time needed in his household. They are mature pieces,
+although slight in form.
+
+
+
+AMOURETTE, FOR PIANOFORTE.
+
+This is a charming piece, published separately. It is
+characteristic, although not deeply inspired.
+
+
+FORGOTTEN FAIRY TALES, FOR PIANOFORTE.
+
+_First Published_, 1897 (P. L. Jung). Assigned, 1899, to Arthur
+P. Schmidt,
+
+  1._Sung Outside the Prince's Door_.
+
+  2. _Of a Tailor and a Bear_.
+
+  3. _Beauty in the Rose-Garden._
+
+  4. _From Dwarf-land._
+
+These trifles are of a refined and genuinely poetical order,
+possessing all the composer's suggestive tone poetry in a light
+garb.
+
+1. _Sung Outside the Prince's Door (Softly, wistfully)._ This
+opens with a tender and expressive theme. The middle section,
+_Pleadingly_, is described by this indication. Altogether, the
+piece is a little gem, full of sweet and wistful expressiveness.
+
+2. _Of a Tailor and a Bear (Gaily, pertly)._ This is a fanciful
+little piece, the antics of the bear being happily suggested. The
+tunes are lively and the whole thing has a delightful old-world
+atmosphere about it. Some of the marks of expression are very
+characteristic, including, _Growlingly, clumsily_, etc.
+
+3._Beauty in the Rose-Garden (Not fast;_ _sweetly and simply)._ A
+pleading little theme opens this number. The middle section,
+indicated _Well marked, almost roughly_, has a touch of passion
+in its feeling. The resumption of the opening tune is marked
+_Sadly_, and the piece concludes rather beautifully, with great
+tenderness.
+
+4. _From Dwarf-land (Merrily, quaintly)._ This opens with a merry
+theme, and is full of quaint and delightful little touches.
+
+
+
+TWO PIECES, IN LILTING RHYTHM, FOR PIANOFORTE.
+
+These two pieces are explained by their titles and are of little
+importance.
+
+
+
+SIX FANCIES, FOR PIANOFORTE.
+
+_First Published_, 1898 (P.L. Jung). Assigned 1899, to Arthur P.
+Schmidt.
+
+ 1. _A Tin Soldier's Love_.
+
+ 2 ._To a Humming Bird_.
+
+ 3. _Summer Song_.
+
+ 4. _Across Fields_.
+
+ 5. _Bluette_.
+
+ 6. _An Elfin Round_.
+
+This is a characteristic album, the pieces in it being
+imaginative and suggestive, in tone poetry, of their subjects,
+although not of the composer's deepest inspiration.
+
+1._A Tin Soldier's Love (Gently, with Feeling)._ This little
+piece opens with a sweet and simple theme, followed by a toy-like
+march tune, and these make up the material of the piece.
+
+2. _To a Humming Bird (As fast and light as possible)._ There is
+nothing very striking about this piece. It is imaginative, and
+when played at the required speed, with lightness of touch, is
+effective. It has been arranged as a violin solo with pianoforte
+accompaniment.
+
+3. _Summer Song (Not fast)._ This is characteristic of MacDowell
+in its clear-sounding harmonies, and has a certain charm and
+fragrance of its own.
+
+4. _Across Fields (Lightly and joyously)._ This piece opens with
+a happy and characteristic tune. The whole atmosphere suggested
+in its two pages is singularly bright, sunny and fresh.
+
+5. _Bluette (Gracefully)._ This is the most MacDowell-like piece
+of the _Six Fancies_, some of its rich harmonies and characteristic
+key transitions being reminiscent of the composer's finer work.
+
+6. _An Elfin Round (Very swift and light)._ The full effect of
+this piece can only be felt if it is played at a great speed,
+with extreme lightness of touch. The feeling is not very deep, as
+the occasion does not demand it, but it is a fanciful and
+suggestive little creation.
+
+
+
+PART-SONGS.
+
+(Published under the Pseudonym of Edgar Thorn.)
+
+  _The Witch_.
+
+  _War Song_.
+
+  _The Rose and the Gardener_.
+
+  _Love and Time_.
+
+All Published by Arthur P. Schmidt.
+
+These part-songs are extremely interesting and effective,
+particularly in the MacDowell-like manner in which they convey
+musical suggestions of their literary content.
+
+
+
+
+
+ALPHABETICAL INDEX TO MACDOWELL'S WORKS
+
+
+The works of MacDowell are reviewed in this book in order of
+_opus_ number, and the following index will enable the reader to
+find the account of any piece of which he knows the title, but
+not the number. Works without opus numbers are dealt with after
+those having one.
+
+
+TITLE:                                             OPUS NO.
+
+ORCHESTRAL WORKS:
+
+First Symphonic Poem, Hamlet and Ophelia,              22
+
+Second Symphonic Poem, Lancelot and Elaine,            25
+
+Third Symphonic Poem, Lamia,                           29
+
+First Suite, in A minor,                               42
+  _In a Haunted Forest_
+  _Summer Idyl_
+  _In October_
+  _The Song of the Shepherdess_
+  _Forest Spirits_
+
+Second Suite, Indian                                   48
+  _Legend_
+  _Love-Song_
+  _In War Time_.
+  _Dirge_
+  _Village Festival_
+
+Two Fragments, The Saracens and the Lovely Alda        30
+
+
+
+PART-SONGS:
+
+Barcarolle (Mixed chorus and Piano duet)               44
+
+Summer Wind (Female Voices)                          none
+
+Three Choruses (Male Voices)                           52
+  _Hush, hush_!
+  _A Voice from the Sea_
+  _The Crusaders_
+
+Three Part-songs (Male Chorus)                         27
+  _In the Starry Sky Above Us_
+  _Springtime_
+  _The Fisherboy_
+
+Two Choruses (Male Voices)                             53
+  _Bonnie Ann_
+  _The Collier Lassie_
+
+Two Choruses (Male Voices)                             54
+  _A Ballad of Charles the Bold_
+  _Midsummer Clouds_
+
+Two College Songs (Female Voices)                    none
+  _Alma Mater_
+  _At Parting_
+
+Two Northern Part-songs (Mixed Chorus)                 43
+  _The Brook_
+  _Slumber Song_
+
+Two Part-songs (Male Chorus)                           41
+  _Cradle Song_
+  _Dance of the Gnomes_
+Two Songs from the Thirteenth Century (Male Chorus)  none
+  _Winter Wraps his Grimmest Spell_
+  _As the Gloaming Shadows Creep_
+
+Published under the Pseudonym of Edgar Thorn         none
+  _The Witch_
+  _War Song_
+  _The Rose and the Gardener_
+  _Love and Time_
+
+
+
+PIANOFORTE WORKS:
+
+Air and Rigaudon                                       49
+Amourette                                            none
+Etude de Concert, in F sharp                           36
+
+Fireside Tales                                         61
+  _An Old Love Story_
+  _Of Br'er Rabbit_
+  _From a German Forest_
+  _Of Salamanders_
+  _A Haunted House_
+  _By Smouldering Embers_
+
+First Concerto, in A minor (With Orchestra)            15
+
+First Modern Suite                                     10
+  _Praeludium_
+  _Presto_
+  _Andantino and Allegretto_
+  _Intermezzo_
+  _Rhapsody_
+  _Fugue_
+
+First Sonata, Tragica                                  45
+
+Forest Idyls                                           19
+  _Forest Stillness_
+  _Play of the Nymphs_
+  _Reverie_
+  _Dance of the Dryads_
+
+Forgotten Fairy Tales (_Published under the
+  Pseudonym of Edgar Thorn_)                         none
+  _Sung Outside the Prince's Door_
+  _Of a Tailor and a Bear_
+  _Beauty in the Rose Garden_
+  _From Dwarf-land_
+
+Four Little Poems,                                     32
+  _The Eagle_
+  _The Brook_
+  _Moonshine_
+  _Winter_
+
+Four Pieces,                                           24
+  _Humoresque_
+  _March_
+  _Cradle Song_
+  _Czardas_
+
+Fourth Sonata, Keltic,                                 59
+
+From the Eighteenth Century (Transcriptions
+for Pianoforte of Harpsichord and Clavichord
+pieces),                                             none
+
+In Lilting Rhythm (Two Pieces) (_Published
+under the Pseudonym of Edgar Thorn)_,                none
+
+Les Orientales,                                        37
+  _Clair de Lune_
+  _Dans le Hamac_
+  _Danse Andalouse_
+
+Marionettes,                                           38
+  _Prologue_
+  _Soubrette_
+  _Lover_
+  _Witch_
+  _Clown_
+  _Villain_
+  _Sweetheart_
+  _Epilogue_
+
+Moon Pictures (Duets),                                 21
+  _The Hindoo Maiden_
+  _Stork's Story_
+  _In Tyrol_
+  _The Swan_
+  _Visit of the Bear_
+
+New England Idyls,                                     62
+  _An Old Garden_
+  _Mid-Summer_
+  _Mid-Winter_
+  _With Sweet Lavender_
+  _In Deep Woods_
+  _Indian Idyl_
+  _To an Old White Pine_
+  _From Puritan Days_
+  _From a Log Cabin_
+  _The Joy of Autumn_
+
+Prelude and Fugue,                                     13
+
+Sea Pieces,                                            55
+  _To the Sea_
+  _From a Wandering Iceberg_
+  _A.D. 1620_
+  _Starlight_
+  _Song_
+  _From the Depths_
+  _Nautilus_
+  _In Mid-Ocean_
+
+Second Concerto, in D minor (With Orchestra),          23
+
+Second Modern Suite,                                   14
+  _Praeludium_
+  _Fugato_
+  _Rhapsody_
+  _Scherzino_
+  _March_
+  _Fantastic Dance_
+
+Second Sonata, Eroica,                                 50
+
+Serenata,                                              16
+
+Six Fancies (_Published under the Pseudonym of
+Edgar Thorn_), none
+
+  _A Tin Soldier's Love_
+  _To a Humming Bird_
+  _Summer Song_
+  _Across Fields_
+  _Bluette_
+  _An Elfin Round_
+
+Six Idyls (after Goethe),                              28
+  _In the Woods_
+  _Siesta_
+  _To the Moonlight_
+  _Silver Clouds_
+  _Flute Idyls_
+  _Bluebell_
+
+Six Little Pieces on Sketches by J.S. Bach,          none
+  _Courante_
+  _Menuet_
+  _Gigue_
+  _Menuet_
+  _Menuet_
+  _Marche_
+
+Six Poems after Heine including,                       31
+  _Scotch Poem_
+  _Poeme erotique_
+
+Technical Exercises for the Pianoforte,              none
+
+Third Sonata, Norse,                                   57
+
+Three Poems (Duets),                                   20
+  _Nights at Sea_
+  _Tale of the Knights_
+  _Ballade_
+
+Twelve Studies for the Development of Technique and
+Style,                                                 39
+  _Hunting Song_
+  _Alla Tarantella_
+  _Romance_
+  _Arabeske_
+  _In the Forest_
+  _Dance of the Gnomes_
+  _Idyl_
+  _Shadow Dance_
+  _Intermezzo_
+  _Melody_
+  _Scherzino_
+  _Hungarian_
+
+Twelve Virtuoso Studies                                46
+  _Novelette_
+  _Moto Perpetuo_
+  _Wild Chase_
+  _Improvisation_
+  _Elfin Dance_
+  _Valse Triste_
+  _Burlesque_
+  _Bluette_
+  _Traumerei_
+  _March Wind_
+  _Impromptu_
+  _Polonaise_
+
+Two Fantastic Pieces                                   17
+  _Legend Witches' Dance (Hexentanz_)
+
+Two Pieces                                             18
+  _Barcarolle Humoresque_
+
+Woodland Sketches                                      51
+  _To a Wild Rose_
+  _Will o' the Wisp_
+  _At an Old Trysting Place_
+  _In Autumn_
+  _From an Indian Lodge_
+  _To a Water-lily_
+  _From Uncle Remus_
+  _A Deserted Farm_
+  _By a Meadow Brook_
+  _Told at Sunset_
+
+
+
+SONGS:
+
+Eight Songs_                                           47
+  _The Robin Sings in the Apple Tree_
+  _Midsummer Lullaby_
+  _Folk Song_
+  _Confidence_
+  _The West Wind Croons in the Cedar_
+  _Trees_
+  _In the Woods_
+  _The Sea_
+  _Through the Meadow_
+
+Five Songs _                                      10 & 11
+  _My Love and I_
+  _You Love Me Not_!
+  _In the Sky, where Stars are Glowing_
+  _Night Song_
+  _The Chain of Roses_
+
+Four Songs
+  _Long Ago, Sweetheart Mine_
+  _The Swan Bent Low to the Lily_
+  _A Maid Sings Light_
+  _As the Gloaming Shadows Creep_
+
+From an Old Garden                                     26
+  _The Pansy_
+  _The Myrtle_
+  _The Clover_
+  _The Yellow Daisy_
+  _The Bluebell_
+  _The Mignonette_
+
+Six Love Songs                                         40
+  _Sweet Blue-Eyed Maid_
+  _Sweetheart, Tell Me_
+  _Thy Beaming Eyes_
+  _For Sweet Love's Sake_
+  _0, Lovely Rose_
+  _I Ask But This_
+
+Three Songs                                            33
+  _Prayer_
+  _Cradle Hymn_
+  _Idyl_
+
+Three Songs                                            58
+  _Constancy_
+  _Sunrise_
+  _Merry Maiden Spring_
+
+Three Songs                                            60
+  _Tyrant Love_
+  _Fair Springtide_
+  _To the Golden-rod_
+
+Two Old Songs                                           9
+  _Deserted_
+  _Slumber Song_
+
+Two Songs                                              34
+  _Menie_
+  _My Jean_
+
+
+
+VIOLONCELLO AND ORCHESTRA:
+
+Romance                                                35
+
+
+
+
+
+Printed in Great Britain at The Devonshire Press, Torquay.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK EDWARD MACDOWELL***
+
+
+******* This file should be named 14185.txt or 14185.zip *******
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