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Updated: May 28, 2025
Short decisive sentences swept into every obscure corner, and from all sides we saw reflected Professor MacDowell's resolute spirit and sincerity of purpose....
There are some people all of whose emotions take the form of music; there came into Helen's mind at that instant a melody that was the very soul of her agitation and her longing MacDowell's "To a Water Lily;" the girl thought of what Mr.
The second fragment, "Die Schöne Aldâ," is, however, a more memorable work, depicting the loveliness and the grieving of Aldâ, Roland's betrothed. In spite of its strong Wagnerian leanings, the music bears the impress of MacDowell's own style, and it has moments of rare loveliness.
He didn't not only swaller the men and boys and women that I'm telling you 'bout, but he took in horses, cows, dogs, and anything in his way. If I ain't mistook, he swallered Mr. MacDowell's two horses with him." "No, he didn't; for they went by a few minutes ago. But, Jim, what makes you in such a hurry?"
To gain a true sense of MacDowell's place in American music it is necessary to remember that twenty-five years ago, when he sent from Germany, as the fruit of his apprenticeship there, the earliest outgivings of his talent, our native musical art was still little more than a pallid reproduction of European models.
B.J. Lang at Chickering Hall, Boston, MacDowell's first concerto was played by Mr. B.L. Whelpley. "The effect upon all present," wrote Mr. W.F. Apthorp in the Transcript, "was simply electric." The concerto "was a surprise, if ever there was one. The impression it made upon us, in other respects, is as yet rather undigested... But its fire and forcibleness are unmistakable."
"Wonderful tone blending in finger passages; a peculiarly crisp, yet veiled staccato; chord playing extraordinary in variety, tender, mysterious, sinister, heroic; a curiously unconventional yet effective melodic delivery; playing replete with power, vitality, and dramatic significance, always forcing upon the ear the phrase, never the tickling of mere notes; a really marvellous command and use of both pedals, these were the characteristics of MacDowell's pianistic art as he displayed it in the exposition of his own works.
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.
As in all of MacDowell's writing, its allegiance is to the basic principles of structure and design, rather than to a traditional and arbitrary formula. The succeeding opus , comprising the "Humoreske," "March," "Cradle Song," and "Czardas," is unimportant. Of the four pieces the gracious "Cradle Song" is of the most worth.
He has a WORK, a life purpose; he has found it and will follow it." Why should imitation be avoided? Should individuality in playing be developed at an early age? Should individual physical peculiarities be taken into consideration? In what way was Edward MacDowell's individuality marked? How may individuality be developed through poetry?
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