Professional Documents
Culture Documents
The Short Piano Works of Edward MacDowell
The Short Piano Works of Edward MacDowell
1982
This work is made publicly available by the City University of New York (CUNY).
Contact: [email protected]
INFORMATION TO USERS
This reproduction was made from a copy o f a document sent to us for microfilming.
While the most advanced technology has been used to photograph and reproduce
this document, the quality o f the reproduction is heavily dependent upon the
quality o f the material submitted.
1.The sign or “ target” for pages apparently lacking from the document
photographed is “Missing Page(s)” . I f it was possible to obtain the missing
page(s) or section, they are spliced into the film along with adjacent pages. This
may have necessitated cutting through an image and duplicating adjacent pages
to assure complete continuity.
3. When a map, drawing or chart, etc., is part o f the material being photographed,
a definite method o f “sectioning” the material has been followed. It is
customary to begin filming at the upper left hand comer o f a large sheet and to
continue from left to right in equal sections with small overlaps. I f necessary,
sectioning is continued again-beginning below the first row and continuing on
until complete.
5. Some pages in any document may have indistinct print. In all cases the best
available copy has been filmed.
University
Micrdrilms
International
300 N. Zeeb Road
Ann Arbor, Ml 48106
R eproduced with permission of the copyright owner. Further reproduction prohibited w ithout permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
8302496
University
Microfilms
International 300 N. Zeeb Road, Ann Arbor, MI 48106
Copyright 1982
by
Brancaleone, Francis Paul
All Rights Reserved
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
THE SHORT PIANO WORKS OF
EDWARD MACDOWELL
by
Francis Brancaleone
1982
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COPYRIGHT © BY
FRANCIS BRANCALEONE
1982.
ii
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
This manuscript has been read and accepted by the
Graduate Faculty in Music in satisfaction of the
dissertation requirement for the Degree of Doctor
of Philosophy.
[Signature]
21
date Chairman of Examining Co) ee
[Signature]
19 \JlA7UL
date Executive Officer
[Signature]
[Signature]
[Signature]
ervisory Committee
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
A b s tr a c t
EDWARD MACDOWELL
by
Francis Brancaleone
iv
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Works (1880-87), First Maturity (1887-96), and Final Works
(1896-1902).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
ACKNO W LEDG EM ENTS
New York Public Library and the MacDowell Colony for their
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Graves, who had been a student of MacDowell*s. Philip
helpful materials.
vii
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE OF CONTENTS
Page
Acknowledgements........................................ vi
Chapter
II JUVENILIA (1876-79)
Opp. 1-8 (unpublished, 32 pieces)............ 24
viii
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
CHAPTER I
INTRODUCTION
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
2
contemporary who was then much less well known, Charles Ives.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
3
in that examination.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
4
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
5
7
After MacDowell's death, his friend and student
W.H. Humiston went over the sketchbooks and manuscripts
and found many of the manuscripts to have been rewritten
several times. "I would find a movement begun and con
tinued for half a page, then it would be broken off suddenly,
and a remark like this written at the end: — 'Hand organ
to the rescue!'" Quoted in Gilman, MacDowell, 64-65.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
6
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
7
changes: Op. 10, Op. 16, Op. 18, No. 1, Op. 19, Nos. 3 and
4, Op. 28, Op. 31, Op. 32, No. 1, and Op. 38. Further
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
8
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
9
of time.-^
to pay a flat fee for the works, and also to give him ten
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
10
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
11
16
MacDowell sustained a lifelong interest in language,
poetry, and writing. "He was forever jotting down lines of
poetry (both his own and those of other authors) for future
reference, and he also worked at amassing lists of rhyming
words and at problems of poetic scansion." M.M. Lowens,
"The New York Years," 243-44.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
12
one would like to have on his work habits, and not much
18
Quoted in Gilman, MacDowell, 164. MacDowell's
poetry was collected in a small volume that was published
during his lifetime as Edward MacDowell, Verses (Boston:
Arthur P. Schmidt, 1908) . It contains sixty-three items,
more than half of which are original poems. Sixteen
original mottos preface the piano pieces Opp. 55, 57, 59,
and 62; the twelve translations after Goethe and Heine
appear as prefatory verse for Opp. 28 and 31. The re
maining works include additional original poems, trans
lations, adaptations ("from the Polish"), and poetic
fragments. M.M. Lowens provides a list of other poems which
are not included ir. the published collection.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
13
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
14
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
15
in a revealing way.
piano four hands. Both the sonatas and the concertos are
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
16
death:
26
William S. Newman, The Sonata Since Beethoven,
2d ed. (New York: W.W. Norton, 1972) 759.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
17
concertos are both early works and are not provided with
style.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
18
3. Ballade D major
5. Barenbesuch F major
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
31
and subsequently discarded the orchestral sketches.
Ophelia, Op. 22B; Lamia, Op. 29B; Die Sarazenen, Op. 30B;
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
20
98 season.^
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
21
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
22
ment take place between Op. 10 and Op. 62? What is the
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
23
piece?
heard far less, for example, than the music of his contem
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
CHAPTER II
JUVENILIA (1876-79)
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
25
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 1
JUVENILIA: 1876-79
Opus
Number Title Key Composed
1 Improvisations (Reverie) C major December 1876 [1875?]
2. 8 Chansons Fugitives 26 May - July 1876
1. Allegro Moderato B-flat minor/F minor
2. Valse C major
3a. Moderato A major (without key signature)
3b. Allegro G major
4. Musette Pastorale A major
(Serie 2)
5. Moderato - Con Spirito F major (without key signature)
6a. Andante - Grazioso G major (?)
6b. Andante F minor
Deux Melodies dans le style ancien
7a. Moderato E-flat major
7b. Moderato con delicatezza F major
8a. Moderato G major
8b. Allegretto A-flat major
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 1— Continued
Opus
Number Title Key Composed
*The manuscript is undated. M.M. Lowens gives the date 25 December 1876.
"The New York Years," 371.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 1— Continued
Opus
Number Title Key Composed
t*o
00
29
Improvisations (Reverie).Op. 1
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
30
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
31
directions.
g
The Op. 2 collection, 8 Chansons Fugitives. shows
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
32
9
Op. 1. The compositions are reminiscent of Schumann
quality.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
33
signature.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
34
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
35
by a few half-notes.
and 8b) differ little from other pieces of the set. Both
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
36
P e t i t s M o rc e au x , Op. 3
limited.
12
Throughout this dissertation registers are
numbered from low to high, with cl being the lowest C
on the piano, being middle C, etc.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
37
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
38
period. 14
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
39
contrary motion.^
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
40
P e t i t s M o rceau x, Op. 4
in texture.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
41
S u it e de 5 M o rc e a u x , Op. 5
17
Op. 19, No. 6, in G minor; Op. 30, No. 6, in
F-sharp minor; Op. 62, No. 5,in A minor; and Op. 102,
No. 7 (Posthumous), in A major.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
42
"Erster Verlust" from the Album fur die Juaend, Op. 68.
harmony.
more varied than that of any other opening phrase thus far.
Even here the composer does not dwell on the tonic but
7
introduces other applied dominants. Among these a V
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
43
bass F.
18
A piece which may have given MacDowell the
idea for his title (but not the music) is Francois Couperin's
"Le R^veil Matin" from the Premier livre de clavecin. 1713.
MacDowell later edited certain pieces of Couperin
(see page 21).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
44
to be interesting.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
45
T r o is M orceaux C a r a c t e r is t ic r u e s , Op. 7
through the use of a common tonality for the first and last
19
See note 11, page 34.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
46
of Erskine's manuscripts:
Example 2-1).
WOC'Dowelf (tszt
<84
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
47
Impromptu, Op. 8
the "Impromptu No. 1" was to have been (or actually was)
21
See note 2, page 2.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
48
22
See Duncan Robert McNab, "A Study of Classic
and Romantic Elements in the Piano Works of Mozart and
Schumann" (unpublished D.M.A. dissertation, University of
Southern California, 1961) 67 and 217. On the Romantic's
use of improvisation as a compositional tool McNab states:
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
49
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
50
Air de Danse
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
51
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
I
CHAPTER I I I
ning with Op. 10, were written in Germany during his last
"modern suites" for the piano (Op. 10 and Op. 14), both
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 2
EARLY WORKS: 1880-87
Opus
Number Title Key Composed* Published First Publisher
TABLE 2— Continued
Opus
Number Title Key Composed Published First Publisher
E r s t e moderne S u i t e . Op. 10
career.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
56
of a set.
2
Compare, for example, Mendelssohn's "Fugue No. 1"
(in E minor/major) from 6 Preludes and Fugues, Op. 35, and
Raff's "Fuga" from his Suite in E minor, Op. 72.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
57
■a
Kathleen Dale, Nineteenth-Century Piano Music?
A Handbook for Pianists (New York: Oxford University Press,
1954; reprint ed., New York: Da Capo, 1972) 250.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
58
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
59
and Orchestra, Op. 200, and in one of his more famous works,
7
the Symphony No. 1, "An das Vaterland". In the preface
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
60
1. Praeludium C major
2. Presto E minor
3. Andantino ed Allegretto C major
4. Intermezzo A major
5. Rhapsodie E minor
6. Fuge E major
story line.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
61
(Example 3-1).
IX
4r**
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
62
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
63
motive.
The dramatic "Praeludium" opens with octaves in
C.P.E. ‘fcach
9y * - ii|> y f-- * f M hM
*- .Tte— t— 0
E.A. lYlacfiortetC
r j ft* 1=1* -» b m *— ’---
•#
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
64
tonic marks the end of the fantasy section in old style and
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
65
A (measures 1-96)
B (measures 97-244)
1) b + b (measures 97-124)
development of material taken from the
extension of a and a itself (measures 125-174)
2) b + b + transition (measures 175-212)
3) b + transition + b (in minor) (measures 213-244)
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
66
A (measures 245-344)
1) a + transition (measures 245-275)
2) a 1 (measures 276-308)
3) extension (measures 309-344)
(Example 3-6).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
67
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
68
directions.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
69
the waltz. For the most part the phrases are of even
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
70
throughout.
13
•L See above, page 50.
14
On the "Intermezzo" revisions, Sonneck in Catalogue
of First Editions, 10-11, reports:
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
71
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
72
edition with the 1906 revision reveals not only the octave
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
73
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
74
a rousing finale.
his early work. Only in the last portion were a few small
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
75
prelude and fugue may well have been modeled on such works
the keyboard.
17
The revisions made for the later edition (1895)
are negligible.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
76
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
77
A t& g r o m ofto a m fw o c o
i
' ..................
i
p & Ceggirn
^
■
— ... ar — :—
.. 0 - ,ti t\ — . L ' ■
— ---- ’ t f = - 4 r 4 £ :
^ r r f
c , J 1. -..11
F £
vn f
non fegato
§ j.
S T
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
accompaniments or transfer from one octave to the next,
Manfred:
IQ „
xoSaint-Saens's own first suite for piano, the
Suite in F , Op. 90, was published in 1892, some ten years
after MacDowell's second suite. I have been unable to
discover whether MacDowell had become acquainted with
Saint-Saens during his student years in Paris. However, in
a letter dated 12.7.1882, in the Americana Collection, Music
Division, New York Public Library, MacDowell relates that
after his concert the night before Saint-Saens congratulated
him "very warmly."
IQ
In 1881 MacDowell secured a position as head
piano teacher at the Darmstadt Conservatory. He filled
time on the train as he commuted from Frankfurt by reading
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
79
feukofzier
IQ-
£
Vf[ac‘
bov)i&
jQ. p*. — jg— b-Q
m.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
80
1. Praeludium A minor
2. Fugato A minor
3. Rhapsodie C--sharp major
4a Scherzino B minor
4b Mars ch F major
5. Phantasie-Tanz A major
21
C.P.E. Bach, Essay on the True Art. 432, states:
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
81
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
The overall design is ternary, with introduction and coda.
which (e) recalls the motto motif of the prelude and fugato
motive a motive b
pF\ motive c
motive c'
-&
T T
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
83
(Example 3-10).
Bi i t
' -J 4
-4- ^- H
*
tr-t m -J- X I f
fp dofciss.
n ~ l z ----
151 zzaza:
te-ff
J __
1 r
7
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
84
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
85
22
While they do not fall within the purview of this
study, mention should be made of the scherzo from MacDowell's
Piano Concerto in D minor. Op. 23 (II, "Presto giocoso"),
and those contained in the Sonata "Traqica," Op. 45 (II,
Molto allegro, vivace"), and the Sonata "Eroica," Op. 50
(II, "Elf-like, as light and swift as possible"). All three
compositions are extremely effective examples of scherzo
writing, even though they were not called scherzos by their
author. James Friskin and Irwin Freundlich, Music for the
Piano; A Handbook of Concert and Teaching Material from
1580 to 1952 (New York: Holt, Rinehart and Winston, 1954;
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
86
the "Marsch," Op. 14, No. 4b, would have come in for major
his first piano concerto during this same year. Four years
reprint ed., New York: Dover, 1973) 378, discuss the D-minor
piano concerto:
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
87
24
d i f f e r e n t work i n Op. 24, No. 2.
this spell."
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
88
F sharp— A.
Serenade, Op. 16
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
89
25
MacDowell's revision of this piece, published as
Serenata, Op. 16, by Breitkopf & Hartel in 1895, omits the
cadenza passage. See Sonneck, Catalogue of First Editions,
14.
26
MacDowell's unpublished "Serenade-Caprice," Op. 3,
No. 5, which comes out of quite another tradition, has been
discussed above, page 38.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
90
chords.
and dedicated, with Op. 16, to Hans Huber. The two pieces
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
91
--- 9---
-a Hr*-.
* b R =
-4 — 0------
— T- n — ------ -------- fty. — t— M -
— y ---- 1---- >----------------- --- 8* - 1 --------- —o -----
P=,c a.$;
Except for the opening motive and the borrowed motive from
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
92
patterns.
Op. 51, Nos. 1 and 6 , the "Hexentanz," Op. 17, No. 2, became
28
The "Hexentanz" was recorded on piano rolls by a
number of pianists, including John Powell, Teresa Carreno,
and Guiomar Novaes. These and other recordings have been
listed by Graves, "MacDowell," Appendix VI. Irving Lowens
lists no fewer than nine recordings, including performances
by Hans Barth and Leopold Godowsky in "Edward MacDowell,"
Hi/Fi/Stereo Review XIX/6 (December 1967) 2. I am indebted
to H. Wiley Hitchcock for allowing me to see a copy of the
foregoing article with unpublished emendations made by
Lowens and Margery L. Morgan in September, 1969. To their
list can be added a recent recording of the Second Modern
Suite, the Sea Pieces, and Two Dances, performed by
Andrea Anderson Swem (Orion ORS 75175).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
93
and the Rondo brillante. Op. 62. Perhaps more than any
ment patterns.
29
Marian MacDowell, Random Notes on Edward MacDowell
and his Music (Boston: Arthur P. Schmidt, 1950) 7.
30
Marian MacDowell and Allan J. Eastman, "An
Analysis Lesson on Edward MacDowell's Witches' Dance,"
The Etude XL (1922) 817-18.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
94
(Example 3-12).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
95
Op. 17, No. 2 (measures 1-5), and (b) Piano Concerto No. 2,
(&.) ffJieteniant”
($%3 = s y = = i J 5 5 5 ------- ,
I
F g = = = e r 1 ....... O ' ~ ' V
1pp (eggieto
____ i
pijf-r— —
— ----------
I
t±.. _ _ _
4 —
m M S
ita
m
strings
i 1
tP
“V ± z f c m
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
96
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
97
n 33
compositions to Teresa Carreno with a letter:
33 ^
Teresa Carreno, "My Interpretation of MacDowell's
Barcarolle," Delineator LXXV (January 1910) 47, quoted in
M.M. Lowens, "The New York Years," 21.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
98
-n-fc— 1 1 1 n -----------------------------
11 8 m 9 m r w ± . : ~
ii —
■Q_____ -------------
the "Don Pasquale" Fantasy, Op. 67, and Liszt in the third
w 34
of his Liebestraume, in A-flat major. In the Op. 18
34
The "Don Pasquale" Fantasy demonstrates Thalberg's
transcendental use of the technique. The melody lying in
the middle register of the piano is used to suggest the human
voice or an instrument such as the cello. Thalberg trans
cribed a set of twenty-two such pieces in his L 1Art du chant
appligue au piano. See Hutcheson, The Literature of the Piano,
343.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
99
35
MacDowell dia not draw on his own earlier work,
the unpublished "Barcarolle," Op. 5, No. 5. Later he was
to compose another barcarolle, Op. 44 (1890), for mixed
chorus (divisi) and piano four-hands.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
100
piece and Grieg's Op. 6 , No. 2 may be found in the use and
37
I have been unable to find direct evidence of
MacDowell's knowledge of or interest in Grieg's music before
1888, when he spoke of playing a Grieg "Cradle Song" in
Boston (in a letter of 16 December 1888, to Templeton Strong;
Graves, "MacDowell," 199). M.M. Lowens, who has worked with
the documentary materials more than any other scholar, mentions
Grieg for the first time in connection with MacDowell with
reference to an 1898 New York recital ("The New York Years,"
152). Whether there are earlier references remains to be
seen. M.M. Lowens's assertion in the The New Grove article
"MacDowell" that "one can easily trace the influences of
Schumann, Liszt, Wagner, Raff, Rubinstein, and especially
Grieg" [my italics] is unsupported on documentary grounds.
38
Kathleen Dale, "The Piano Music," in Grieg, A
Symposium, ed. Gerald Abraham (London: Lindsay Drummond,
1948) 48-49.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
101
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
102
W a l d - I d v l l e n , Op. 19
While he does not sever ties with the past, his emphasis
last piece for piano, "The Joy of Autumn," Op. 62, No. 10.
39
In addition to the piano idyls, MacDowell wrote
similar pieces in other media as well. The song Op. 33,
No. 3, is entitled "Idylle," while three of the four movements
of the Suite flir Or Chester, Op. 42, are based on similar
concepts. The movements are: No. 1, "In einem verwunschten
Walde," No. 2, "Sommer-Idylie," and No. 3, "Waldgeister."
The manuscript of the song "Idylle" is located at the
MacDowell Colony, Peterborough, New Hampshire. (In an
inscription on the manuscript Mrs. MacDowell incorrectly
attributed the piece to Op. 26).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
103
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
104
is also never far away. The keys of the two pieces are
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
105
(Op. 61).
Carrerio-Tagliapietra. "
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
106
A B A design, 3/4 meter, and textures that are for the most
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
107
the "Marsch," Op. 14, No. 4b. The bass line reinforces
42
At measures 11-12 a series of reiterated half notes
constitutes what may be the first appearance of a later
MacDowell rhythmic "fingerprint."
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
108
D-flat major.
passages.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
CHAPTER IV
and continuing in the six Heine Poems, Op. 31, and Four
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
110
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
I l l
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 3
Opus
Number Title Key Composed Published First Publisher
TABLE 3 - C o n tin u e d
CD
3
<f)
c/) Opus
o' Number Title Key Composed Published First Publisher
3
q
l-H
36 Etude de concert F-sharp major 1887 1889 Boston,
O’
o Arthur P. Schmidt
c
l-H
T3
37 Les Orientales 1 8 8 7 -8 8 1889 Boston,
CD
Arthur P. Schmidt
w'
in
1. Clair de lune F-sharp minor
o'
*Sonneck omits reference to the 1888 edition, giving 1894 as the date of the
first edition. The preface of the G. Schirmer publication (Plate No. 32531) indicates
that it follows the first edition of 1888.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 3 - C o n tin u e d
Opus First
Number Title Key Composed Published Publisher
*The Prologue and Epilogue were added for the 1901 American edition. Op. 38 is
the only set for which MacDowell added new pieces in the process of revision. Further
differences between the two versions of Op. 38 are discussed below.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 3 - C o n tin u e d
Opus
Number Title Key Composed Published First Publisher
38 6 . Villain A minor
7. Sweetheart E-flat major
8 . Epilogue F major
115
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 3 - C o n tin u e d
Opus
Number Title Key Composed Published First Publisher
I d v l l e n , Op. 28
3
When MacDowell came back to America he faced the
problem of bringing out in new American editions the large
quantity of his music published abroad. Eventually, Opp. 10,
13, 14, 16, 17, 18, Op. 19, Nos. 3 and 4, Opp. 24, 28, 31,
32, 38, and Op. 39, Nos. 3, 4, 5, 7, and 8 were published
in new editions. Some were merely reprinted? others were
"revised" or "newly revised and augmented" editions. The
composer worked at this task throughout the rest of his life,
the last revisions appearing in 1906. For a while, after his
return to America, some new works were brought out first in
this country? others were published first in Germany. The
last first edition of piano pieces issued by a European
publisher was Op. 46.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
118
th e e a r l i e r p ie c e s w it h c h a r a c t e r i s t i c o r g e n re t i t l e s .
times. The lines which preface No. 5, for example, served for
Op. 47, No. 6 , while those used for No. 6 were used again
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
119
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
120
4
These verses constitute the complete poem
"Gefunden" from Goethe's Lyrisches. MacDowell's trans
lation is given here (and for the other numbers of Op. 28)
as provided in the American editions.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
121
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
122
and "Wiegenlied," and Op. 28, No. 2, does offer the 6/8
Op. 24, No. 3. The key is A-flat major, a key that is used
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
123
nonharmonic tones.
cipal melody ends in the upper voice and the tenor begins
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
124
Op. 28, No. 3, "Fullest wieder Busch und Thai," ("To the
Moonlight")^
Fullest wieder Busch und Thai Streaming over hill and dale
Still mit Nebelglanz, Haili 0 pallid rays;
Losest endlich auch einmal Again thou free'st my
weary soul
Meine Seele ganz. From the dross of days.
Was von Menschen nicht gewusst, What by men was ne1er beknown,
Oder nicht bedacht, Comes with thy mystic light,
Durch das Labyrinth der Brust And through the soul1s
deep labyrinth.
Wandelt in der Nacht. Wanders in the night.
7
For this preface MacDowell has selected the first,
eighth, and ninth (last) stanzas of Goethe's poem An den Mond
(spatere Fassung). MacDowell omitted the eighth stanza in his
translation for the 1901 revision.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
125
motive a motive b
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
126
the original harmony but places the melody note one tone
Clouds")^
O
The shadow of Wagner hovers over this passage.
If one hears the soprano motion F4 G4 A^4 of measures 40-41
connecting with the tenor B3 of measure 45, the resemblance
to the Prelude to Tristan und Isolde, measures 87-88, is
obvious. The expressive weight that the motive carries with
it accounts for its strategic placement here.
9
For this preface MacDowell selected the first
stanza of Goethe's poem "Mai."
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
127
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
128
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
129
character of the poem and the flutist Damon. The two prin
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
130
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
131
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
132
of musical expression.
alternations elsewhere.
poetry assumes even more importance that in the Idyls, Op. 28.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
133
love.
stated:
12
MacDowell's high-Romantic view of music's ex
pressive potential, of music as a kind of "soul-language,"
is explained best in his essay "Suggestion in Music,"
Critical and Historical Essays, 261-73.
i3Gilman, MacDowell, 124.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
134
horn call (No. 4), imitative harp effect (Nos. 2 and 5),
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
135
15
inner voices (Nos. 3 and 5). The six pieces are not
Fisherman's Hut")'*'^
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
136
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
137
Poem")
17
For the preface MacDowell selected the fifth
(last) stanza of "Sturm" from Heine's Die Nordsee (Erster
Zvklus).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
This material first appears in measures 30 and 36. The
Example 4-2. Song motive from the B section of Op. 31, No.
/N
|— "71 * *t-- 1
' H f r-Td
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
139
18
No. 2 represents MacDowell's first use of Celtic
material. The most obvious traits, the Scotch snap and a
strongly pentatonic (in this case actually hexatonic) tune
are strongly in evidence. See Charles W. Wilkinson, Well-Known
Piano Solos; How to Play Them (Philadelphia: Presser, 1915)
183. Mr. Wilkinson calls this scale with the omitted
seventh degree a Gaelic scale. Similar material is found in
the second movement of MacDowell's "Keltic" Sonata, Op. 59,
which contains a pentatonic tune in measures 17-25 and also
uses rolled chords to evoke harp-like effects in its opening
measures.
19
I have been unable to determine whether this
written-out tune represents a pre-existing folksong. A
manuscript copy of Op. 31, No. 1 contains a preliminary
sketch of the theme of its middle section as well. However,
that theme is not reworked by MacDowell and is used unchanged
within the composition. It is unusual to find preliminary
sketches of this kind among MacDowell's manuscripts.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
140
J
LI-VL-^J
p-
JL
20
Op. 31, No. 3, "Mein Kind, wir waren Kinder" ("From Long Ago")
70
MacDowell has selected the first, fourth, and eighth
(last) stanzas of "Mein Kind, wir waren Kinder," No. 38 from
Heine's Die Heimkehr.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
141
Tanz," Op. 19, No. 4, and the "Humoreske," Op. 24, No. 1.
21
The two stanzas are the complete poem "Wir fuhren
allein im Dunkeln," No. 69 in Heine's Die Heimkehr.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
142
22
A similar passage can be found in the Serenade,
Op. 16, measures 33-40.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
143
transition.
Schlafrig lallt der junge Konig? And the piping and the bells,
Das Regieren ist so schwer; With the brook's soft rhymes,
Ach, ich wollt', dass ich Lull the drowsy king to
zu Hause sleep,
Schon bei meiner Kon'gin war'! While gently nod the pines.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
144
24
Gilman, MacDowell, 124.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
145
25
Op. 31, No. 6 , "Der Tod, das ist die kuhle Nacht" ("Monologue")
Der Tod, das ist die kuhle Death is the cool blue
Nacht, night,
Das Leben ist der schwlile Tag, Life, the burning day.
Es dunkelt schon, mich And through the drowsy
schlafert, twilight
Der Tag hat mich mud 1 To sleep I wend my way.
gemacht.
25
The complete poem "Der Tod, das ist die kuhle
Nacht" is No. 87 from Heine's Die Heimkehr. In 1886, the
year before MacDowell's piece was first issued, Brahms
published his famous setting of this poem (Op. 96, No. 1),
which may have been composed as early as 1884. Whether
MacDowell knew this setting before he left Europe is not
known. There are no musical connections between the settings.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
146
of the simple elegiac song which opens and closes the first
section.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
147
the six pieces of Op. 31, and the Heine poems as an opus
are significantly more difficult than Op. 28. Even so, and
despite the intensity of the text, MacDowell's writing
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
148
pieces (Opp. 28, 31, 32, and 36) he completed eleven solo
songs (Opp. 26, 33, and 34) and the Drei Lieder, Op. 27,
tral pieces Lamia, Op. 29, the "Roland" Symphony, Op. 30,
the Romanze fur Violoncello, Op. 35, and began the piano
and the Vier kleine Poesien, Op. 32. The attempts at deeper
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
149
~4r a t
*
iF
I m
A
f
Op. 32, No. 2
w m % i=i
h 3
zfcrzfc £
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
150
(Tennyson)
of the fff volante chord leaps of the final measures with the
(Example 4-5).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
151
jfet
7 If
.0l
r:t~
voice.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
152
(Bulwer)
they are given the title "Elfe" and assigned a Heine text
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
153
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
154
(D. G. Rossetti)
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
155
No. 6 .
zzz
45
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
156
(Shelley)
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
157
expression.
p£
Marian MacDowell, Random Notes, 8 .
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
158
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
159
u p against J J «! ) .
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
160
music can refer to any musical influence from outside the main
East and the Orient, but also neighboring Spain. In his dis
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
161
set are in F-sharp minor, and all three begin with an open-
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
162
in measure 15.
33
This little piece provoked strong responses from
listeners in its own day. William Humiston calls it
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
163
6/8 meter, which he had employed also for such pieces as his
G2I
ifrikfr-. i / x 7 :— tv-~ 1 J
----- 7^-1■f1- 4f rr f r\/~
r rel
4 F
PPP
J = w !=*= - H
> -- -3 — a • —V- -
~Z —
15r:
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
164
34
J.B. Trend, "Cante Hondo," Grove's Dictionary of
Music and Musicians. 5th ed., 10 vols, ed. Eric Blom
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
meant to suggest other features of Andalusian music as well.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
166
EE U 5
1 1 -- 1— 1 --- {if I f f i 1f * r1-f Mf - efc v
---
e
A-k. S
*
■ A A -
f
«|r-
Tn
▼5□ D □rTTTTTTTT"— T - \
m
J 1 yT
♦
Marionetten, Op. 38
Op. 38, perhaps more obviously than it does over any other
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
167
important factor since Op. 14, are again present in Op. 38.
35
Maurice Hinson, "Edward MacDowell: America's Great
Tone Poet," Clavier XX/4 (April 1981) 23.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
168
moves easily from one motive to another and does not present
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
169
the old harmonies for the B section and two measures were
pedal of No. 1.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
170
unusual.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
171
Op. 55, and in some of the New England Idyls, Op. 62. The
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
172
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
173
cast.
revision.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
174
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
175
38
Note the effect in measures 19-20 of releasing
all the notes of a chord except one, which then emerges
from that sonority without having been restruck.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
176
12 Etudes, Op. 39
39
M.M. Lowens, "The New York Years," 121.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
177
when he was about thirty years old and beginning to make a name
40
for himself.
suggestions.
40
Richard Gorer, "Stephen Heller," Grove's
Dictionary of Music and Musicians, 5th ed., 10 vols.,
ed. Eric Blom (London: MacMillan, 1954-61) IV, 227.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
178
theme.
playing.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
179
una corda pedals. Among the many possible models for this
greatly extended.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
180
in alternating hands.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
181
final etude of the set, Op. 39, No. 12, forming a link
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
182
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
183
MacDowell throughout his life, and the "Idyl," Op. 39, No. 7,
42
See discussion of Op. 39, No. 3, pages 179-80.
43
While speculation on MacDowell's compositional
process can be supported by very little direct evidence, it
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
184
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
185
the thumb, while the left hand provides rhythm that re
by the upper fingers of the right hand, while the thumb sus
accompaniment pattern.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
186
the soprano teaches the left hand to hold bass tones while
for the right hand. The left hand again provides a more
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
187
use any extended quotations from the preceding pieces as, for
and 47.
45
The term "blind octaves" refers to the brilliant
octaves popularized by Liszt. Liszt's influence becomes
specific in measures 27-28, where a motive is heard which is
derived from an important motive in the Hungarian Rhapsody
No. 15.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
188
of the Op. 39 etudes and the Twelve Virtuoso Etudes, Op. 46,
(Op. 40), Eight Songs (47), songs for chorus (Opp. 41, 43,
and 44), a suite for large orchestra (Op. 42), and his first
46
M.M. Lowens, "The New York Years," 55-57, 60-62,
121 ,
47
Sonneck, Catalogue of First Editions of Edward
MacDowell, 32-35.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
189
that Op. 46, Nos. 1, 4, 10, and 11, were among MacDowell's
51
"most saleable" compositions.
48
Sonneck, Catalogue of First Editions of Edward
MacDowell, 48.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
190
bysn jti .
^Currier, "Edward MacDowell," 38.
53
Richard Jackson, "Paine and Company," record
jacket notes for Malcolm Frager plavs Adolph Martin Foerster,
Henry F. Gilbert, Henry Holden Huss, Ethelbert Nevin,
Horatio Parker, Edward MacDowell, John Knowles Paine (New
World Records 206, 1978) 4.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
191
left hand.
Op. 46, No. 3, and Liszt's "Wilde Jagd" from the Etudes d*
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
192
may have been one of the etudes MacDowell had in mind when
55
he told Currier of the dissonance to be expected in Op. 46.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
193
(Example 4-10).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
194
— i— — • ---
1
M=f=p=j
— t----- m - 1" I------
--- 1
rj*
^ iff f ■tfj^
la ?/ielod'ta ben canto
JP Pacconvptrgnajnento sen ipre jyp*
i ■■■■
1----- —
-- r.---
b£jp-4 Ji----- --1--
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
195
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
196
single measure.
single tones (Op. 45, No. 11), but Saint-Saens1s Op. 52,
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
197
with turns, passing motion, and broken chords form the basis
chords.
59
The others are Nos. 2, 3, 5, and 10,
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
198
m J » is to be understood as "quasi c w r * ■“
an explanation that is in keeping with the traditional ren
conclusion.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
199
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
200
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
201
on a minor VI.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
202
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
CHAPTER V
songs for voice and piano (Opp. 56, 58, and 60), seven
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
204
opus number).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
205
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 4
LATE WORKS: 1896-1902
Opus First
Number Title Key Composed Published Publisher
206
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 4 - Continued
Opus First
Number Title Key Composed Published Publisher
207
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TABLE 4 - Continued
Opus
Number Title Key Composed Published First Publisher
208
209
Woodland S k e tc h e s . Op. 51
2
Gilman, MacDowell, 139.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
210
No. 1 A major
No. 2 F-sharp minor
No. 3 A-flat major
No. 4 F-sharp minor
No. 5 C minor
No. 6 F-sharp major
No. 7 F major
No. 8 F-sharp minor
No. 9 A-flat major
No. 10 F minor
No. 1.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
211
language.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
212
roots.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
213
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
214
"To a Wild Rose," where the texture is light and the motives
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
215
Op. 61, No. 3). MacDowell also calls again on the use of
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
216
jv ? r n m a n y ■ -= = ,
Z. Sonq^of the Walla-Walla Indians (Ba\ ferxui,£)
—40191JJ-J-j#
11 h R----------
!
3. Song of tlhe brotherton Indians (BoKerxxxvi i)
-ir.—i f t - - — a ....ft...... ----- ;;---- 0----
- t ± = iz ■f- ■- L ± 4:-- 4— ar*--
Q
— h r.1.
M k — 7 -Ij_AJ-. -- ■fp4 -p— *)-------r +
---4UJ— f, Ir"
•---L.f 1 If-- £ ~
-
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
217
tical musicianship.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
218
the subtle new aesthetic (at least for the performer) with
tone."
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
219
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
220
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
221
13
Charles Hamm, "Songs of the Civil War," record
jacket notes for Songs of the Civil War (New World Records
202, 1976) 2, and Robert Offergeld, "Gottschalk u Company:
The Music of Democratic Sociability," record jacket notes
for The Wind Demon and Other Mid-nineteenth-centurv Piano
Music (New World Records 257, 1976) 3-4. The Wind Demon
includes piano music by Bartlett, Bristow, Fry, Gottschalk,
Grobe, Heinrich, Hoffman, Hopkins, Mason, and Warren.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
222
theme of "A Deserted Farm," Op. 51, No. 8 , rising from the
note as the beat unit, the quarter-note triplets, and the rhyth
15
E. Robert Schmitz, The Piano Works of Claude
Debussy (New York: Duell, Sloan & Pearce, 1950; reprint ed.,
New York; Dover, 1966) 129, 160.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
223
deserted house MacDowell told her "I can't see why this
England .1,16
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
224
and the musical elements have all been used before, although
with which the first piece ("To a Wild Rose") began, the
the reference.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
225
18
Gilman, MacDowell, 71.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
226
follows:
preface the Sea Pieces. He had not used verse since Op. 37,
19
Gilman, MacDowell. 108.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
227
the lowest bass tone approaches six octaves, with the final
D .
In the final measures MacDowell demonstrates a
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
228
preface:
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
229
20
Marian MacDowell, Random Notes, 17.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
230
harmonic change.
section.
21
Here as in other passages MacDowell comes very
close to the general style of patriotic song, for a couple
of measures (35-37) even "My Country 'Tis of Thee."
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
231
composition.
22
Rey M. Longyear, Nineteenth-Century Romanticism
in Music, 2ded. (Englewood Cliffs, NJ:Prentice-Hall,
1973) 35, usesthe first eight measures of "Starlight" as
an example of late-Romantic harmonic practice, summarizing
the important aspects of its style as "non-functional
harmony with occasional tonal cells . . . altered chords,
irregular progressions, and clustered or single non
harmonic tones."
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
232
the following:
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
233
is often march-like.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
234
2*3
Marian MacDowell, Random Notes, 18.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
235
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
236
4-6.
"without retarding" to p p p p .
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
237
material.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
238
compact passage.
three to two per beat unit in the outer sections, which are
Porte considered this piece "the gem of the set," and for
25
In 1917, a practical commentator on MacDowell's
music, Percy Scholes, disagreed with the metronome mark as
given, = .54, and suggested J, = 84. While it certainly
seems that the original marking is too slow, Scholes's
recommendation seems hurried. If MacDowell's tempo is
taken to be accurate, however, it provides an interesting
insight into the seriousness given to this delicate piece
by the composer. See Scholes, "MacDowell for the Pianist,"
Everyman and His Music; Simple Papers on Varied Subjects
(London: Kegan Paul, Trench, Trubner, 1917? reprint ed.,
Freeport, NY: Books for Libraries Press, 1969) 170.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
239
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
240
of the vii°^.
an impassioned improvisation.
of register.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
241
poetic motto:
Inexorable!
Thou straight line of eternal fate
That ring'st the world,
Whil1st on thy moaning breast
We play our puny parts
And reckon us immortal!
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
242
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
243
of this kind.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
244
30
from the listener. In fact it offers an effective point
B minor, back to D.
30
Marian MacDowell, Random Notes, 21. She writes that
"An Old Love Story" was composed at a time when MacDowell was
interested in a book of short stories by Mary Wilkins con
taining two love stories about simple country people of old
New England who held strong religious beliefs.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
245
birdsong.^
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
246
worked out the rhythm with great care. His use of time
"Of Salamanders," Op. 61, No. 4, and the sinuous music that
MacDowe11, they
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
247
:z
r fff trw
&=9:
a St
("Tristan1
chord)
A B A C A Coda
6m 4m 6m 17m 6m 4m
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
248
marked yet smooth and lithe," and "steadily soft and some
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
249
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
250
Nomine Domini."
from this same set, "At an Old Trysting Place" from Op. 51,
and "An Old Love Story" from Op. 61. The use of this word
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
251
• ^ 35
period.
Sweet - alyssum,
Moss grown stair,
Rows of roses,
Larkspur fair.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
252
reminiscence.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
253
only the first two measures of the opening theme are used.
drone-like pedals.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
254
from the Indian Suite, Op. 48, and two measures later
37
This motive has been adapted from Example XXIII,
"Kiowa song of a mother to her absent son," in Baker,
On the Music of the North American Indians, 122-23. The
motive which was used by MacDowell in the "Dirge" of the
Second Suite was taken originally from this example.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
255
composition.
A treasured store
Of lover's lore,
Unmeasured woe
For one, no more.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
256
composition is as follows:
38
Edward MacDowell, Critical and Historical Essays, 271.
39
In a discussion of the development of melody and
harmony, Arnold Schoenberg, Stuctural Functions of Harmony,
rev. ed. with corrections, ed. Leonard Stein (New York: W.W.
Norton, 1969) 76, describes the underlying relation of
poetry and music succinctly:
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
257
40
Edward MacDowell, Critical and Historical Essays,
263-64. A related comment on form has been introduced
above on page 15. The clearcut division found in the early
compositions gives way in many of MacDowell's later works
where boundaries between sections become blurred and the
forms more nebulous.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
258
41
The motive is adapted from Example XVIII, "Iowa
love-song, sung by young warriors when out riding," in
Baker, On the Music of the North American Indians, 118-19.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
259
discord.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
260
43
Marian MacDowell, Random Notes, 28.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
261
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
262
for this one. Although they all use motives of the same
45
Marian MacDowell, Random Notes, 29.
46
In this piece MacDowell employs the unusual
time signature C 3/4.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
263
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
264
excised.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
CHAPTER V I
CONCLUSIONS
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
266
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
267
2
See note 37, page 100.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
268
poems for piano. The first were his sets after Goethe
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
269
(see, for example, Op. 32, No. 2, and Op. 46, No. 3).
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
270
the rhythm becomes more flexible, moving away from the dance
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
271
drawn from the harmony, and they are treated with a high
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
272
had begun.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
APPENDIX A
Opus Composed
Number Title Key and published
Of a Tailor and
a Bear G major
Beauty in the
Rose-Garden F major
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Opus Composed
Number Title Key and published
only the two pieces in Op. 3 were given under the composer's
direction.^
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
275
2
financial aid for a former nurse of hers. The unnamed
but did not wish to have his own name associated with
popular taste and only later, after he had used his own name
2
M. MacDowell, Random Notes, 31. See also unsigned
"Mrs. MacDowell Interprets her Husband's Works," [Seattle]
Post, March 3, 1916, as cited in M.M. Lowens, "The New
York Years," 163. The author of this review quotes
Marian as saying that MacDowell called these pieces
"potboilers" and that he intended to make them "as bad
as possible" so that they might become popular and
financially successful. M.M. Lowens has identified the
woman as Sister Kathleen who became Mrs. Charles C. Merrick
in 1893 or 1894. However, Lowens was unable to find a
statement that royalties were paid or a contract specifying
payments to Sister Kathleen by the publisher P.L. Jung.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
276
and 6 ).
4 and 5 as X " 3
(Augmentation) ani
Op. 4.
associations.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
277
The chords often link through common tones while the re
dissonant suspensions.
voice accompaniment.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
278
popular song.
technically.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
279
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
280
little interest.
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
SELECTED BIBLIOGRAPHY
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
282
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
283
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
284
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
285
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
286
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.
287
R eproduced with permission of the copyright owner. Further reproduction prohibited without permission.