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One passes over "From an Old Garden" and "Midsummer" as belonging fundamentally to the period of the "Woodland Sketches" and "Sea Pieces." But one halts at "Mid-Winter," No. 3 of the collection; with those fifteen bars in E-flat major in the middle section, one enters upon unfamiliar ground in the various and delectable region of MacDowell's fantasy.
Careful listening to the record at this point shows that the singer really leaves the principal tone E-flat and slides with a sudden dying-down of volume. The abruptness with which the sound of the voice fades as it starts the glissando, leaves the impression of E-flat still sounding. One tone in this song is given on the inhaled breath.
As the tempo is very slow and many of the tones long drawn out, this uncertainty on the part of the second performer is not so noticeable, except on the quick runs as the leader passes to another principal tone. The song is cast in the natural minor scale of D. The E-flat near the beginning of the second line does not belong to the scale.
Then the voice died away in a solemn E-flat major chord, and everything was as if sunk in the bottom of the sea. Toward the end of the summer, Philippina, Jason Philip’s daughter, shot out the eye of her seven-year-old brother with a so-called bean-shooter. The children were playing in the yard. Willibald, the older boy, wanted the shooter.
And in a moment she was putting all of her intelligence, her training, and her capacity to charm into the tones of the E-flat Minuet. These suggestions were prefaced by the frank statement of the owner of the place that whatever else the others did, it was his own intention to take Miss Marshall through a part of his pine plantations and explain his recent forestry operations to her.
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