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Updated: May 28, 2025
It deals in a truth that is no less authentic because it is conveyed in terms of a beauty that may often be in the last degree incalculable and aërial. It is to its persistent embodiment of this valid spirit of romance that MacDowell's work owes its final and particular distinction. I know of no composer who has displayed a like sensitiveness to the finer stuff of romance.
Of the six "Idyls," three "In the Woods," "Siesta," and "To the Moonlight" are memorable, though uneven; and of these the third, after Goethe's "An den Mond," adumbrates faintly MacDowell's riper manner. The "Silver Clouds," "Flute Idyl," and "Blue Bell" are decidedly less characteristic.
As a teacher he made a rather prominent place for himself; the recommendation of Raff who had said to one of MacDowell's pupils that he expected "great things" of him had helped at the start, and his personality counted for not a little.
You might like it " She was still thinking, her forehead a little wrinkled. "They are nice girls and Oh ?" the forehead suddenly lifted, "you would like it. There are sea-pieces MacDowell's. They're just the thing. " She held him hospitably. "Do come. You would be sure to enjoy it." "Like enough," said Uncle William. "It takes all kinds of singing to make a world. I might like 'em fust-rate.
Heller is indispensable, so melodious and musical. Arthur Foote's studies, Op. 27, are very useful; also MacDowell's, Op. 39 and 46. Sometimes I use a few of Cramer's and the Clementi 'Gradus, though these seem rather old-fashioned now. "For more advanced pupils I find Harberbier, Op. 53 especially applicable; there is beautiful work in them.
MacDowell's words: "Mr. MacDowell's idea was, so to speak, as follows: He wished to heighten the darkness of tragedy by making it follow closely on the heels of triumph. Therefore, he attempted to make the last movement a steadily progressive triumph, which, at its climax, is utterly broken and shattered. In doing this he has tried to epitomize the whole work.
When one thinks of how Hugo Wolf, for example, or Debussy, would have treated the phrase, "to wake again the bitter joy of love," in "Fair Springtide," it will be felt, I think, that MacDowell's setting leaves something to be desired on the score of emotional verity, although the song, as a whole, is one of the loveliest and most spontaneous he has written.
I've guessed right? Well, I don't think I shall play you Chopin to-day. You don't need that kind of of well, excitation." Musing for a moment over a soft mingling of chords she began with a little ripple of melody, MacDowell's lovely, hurrying, buoyant "Improvisation," with its aeolian vibrancies, its light, bright surges of sound, sinking at the last into cradled restfulness.
Their proper place in MacDowell's musical history is, therefore, about synchronous with the mature and characteristic "Eight Songs" of op. 47. From the five songs now published in one volume as op. 11 and 12, the progress of MacDowell's art as a song writer is both steady and intelligible.
While the modern piano sonata is to me anathema as a rule, there are none of MacDowell's works that I like better than his writings in this form. They seem to me to be of such stuff as Beethoven would have woven had he known in fact the modern piano he saw in fancy. The free fantasy is full of storm and stress, with a fierce pedal-point on the trilled leading-tone.
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