A Performance Guide To Selected Character Pieces of Edward MacDow

University of Iowa
Iowa Research Online

Theses and Dissertations
2013
A performance guide to selected character pieces of

Edward MacDowell
Abbie Corrine Brewer
University of Iowa
Copyright 2013 Abbie Corrine Brewer
This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/2444
Recommended Citation
Brewer, Abbie Corrine. "A performance guide to selected character pieces of Edward MacDowell." DMA (Doctor of Musical Arts)
thesis, University of Iowa, 2013.
http://ir.uiowa.edu/etd/2444.
Follow this and additional works at: http://ir.uiowa.edu/etd
Part of the Music Commons

A PERFORMANCE GUIDE TO SELECTED CHARACTER PIECES OF
EDWARD MACDOWELL
by
An essay submitted in partial fulfillment

of the requirements for the
Doctor of Musical Arts degree
in the Graduate College of
The University of Iowa
May 2013
Essay Supervisor: Professor Ksenia Nosikova

Graduate College
The University of Iowa
Iowa City, Iowa
CERTIFICATE OF APPROVAL
D.M.A. ESSAY
This is to certify that the D.M.A. essay of
has been approved by the Examining Committee

for the essay requirement for the Doctor of
Musical Arts degree at the May 2013 graduation.
Essay Committee:
Ksenia Nosikova, Essay Supervisor
Uriel Tsachor
Rene Lecuona
Katherine Wolfe
Anthony Arnone
To Jim and Alex
ii
ACKNOWLEDGEMENTS
Many thanks are due to my amazing family and friends who have
helped to make this achievement possible. Without your love, prayers, and
constant encouragement, I would not have made it this far.
An extra thank you to Jim for the editing and proofreading hours you
devoted to this project.
Special thanks to Dr. Ksenia Nosikova for her dedicated teaching,
mentoring, encouragement, and leadership.
iii
TABLE OF CONTENTS
LIST OF MUSICAL EXAMPLES v
INTRODUCTION 1
CHAPTER 1: MACDOWELLS EDUCATION AND PHILOSOPHY 6
Biography 6
MacDowells Philosophy of Music 9
CHAPTER 2: INFLUENCES IN MACDOWELLS MUSIC 11
MacDowell and Romanticism in Music 11

MacDowell and Nationalism in Music 15
MacDowell and Impressionism in Music 18
MacDowell and Transcendentalism 21
Transcendentalism in America 21
Values of Transcendentalism 23
MacDowells Philosophy and Transcendentalism 26
CHAPTER 3: MACDOWELLS LATE CHARACTER PIECES: A

PERFORMANCE GUIDE 33
Woodland Sketches 36
Fireside Tales 75
New England Idyls 104
CONCLUSION 145
REFERENCES 148
iv
LIST OF MUSICAL EXAMPLES
Example 1: New England Idyls, In Deep Woods, m. 1-3 35
Example 2: Woodland Sketches, To a Wild Rose, m. 1-21 37
Example 3: Woodland Sketches, To a Wild Rose, m. 22-51 38
Example 4: New England Idyls, Will o the Wisp, m. 1-9 41
Example 5: Woodland Sketches, Will o the Wisp, m. 19-24 42
Example 6: Woodland Sketches, At an Old Trysting Place, m. 1-17 43
Example 8: Woodland Sketches, In Autumn, m. 1-19 47
Example 11: Woodland Sketches, From an Indian Lodge, m. 1-13 52
Example 14: Woodland Sketches, To a Water Lily, m. 1-16 57
Example 15: Woodland Sketches, To a Water-Lily, m. 17-32 59
Example 16: Woodland Sketches, From Uncle Remus, m. 1-16 61
Example 19: Woodland Sketches, A Deserted Farm, m. 1-16 64
v
Example 21: Woodland Sketches, By a Meadow Brook, m. 1-8 67
Example 24: Woodland Sketches, Told at Sunset, m. 1-4 70
Example 33: Fireside Tales, An Old Love Story, m. 1-16 76
Example 36: Fireside Tales, Of Brer Rabbit, m. 1-15 82
Example 39: Fireside Tales, Of Brer Rabbit, m. 29 85
vi
Example 42: Fireside Tales, From a German Forest, m. 1-12 90
Example 45: Papillons by Robert Schumann, no. 12, Finale, m. 83-88 92
Example 46: Fireside Tales, Of Salamanders, m. 1-12 94
Example 47: Debussy, Preludes, Book 2, Hommage a S. Pickwick Esq.
P.P.M.P.C., m. 28-29 95
Example 48: Fireside Tales, A Haunted House, m. 1-17 97
Example 51: Fireside Tales, By Smouldering Embers, m. 1-15 102
Example 52: Fireside Tales, By Smouldering Embers, m. 16-25 103
Example 53: New England Idyls, An Old Garden, m. 1-4 105
Example 54: New England Idyls, An Old Garden, m. 13-19 105
Example 55: New England Idyls, Mid-Summer, m. 1-8 107
Example 58: New England Idyls, Mid-Winter, m. 1-12 112
vii
Example 61: New England Idyls, With Sweet Lavender, m. 1-5 115
Example 69: New England Idyls, Indian Idyl, m. 17-28 125
Example 73: New England Idyls, To an Old White Pine, m. 1-8 129
Example 74: New England Idyls, To an Old White Pine, m. 21-28 130
Example 75: New England Idyls, From Puritan Days, m. 10-18 131
Example 78: New England Idyls, From a Log Cabin, m. 1-6 136
viii
Example 82: New England Idyls, The Joy of Autumn, m. 1-9 141
ix
1
INTRODUCTION
The music of American composer Edward MacDowell1 has, until recently, been
largely dismissed by the academic musical community. It is often seen as sentimental
and simplistic, not in keeping with the advanced trends in music at the turn of the 20th
century. He and his contemporaries have been over-shadowed by composers such as
Ives, Cowell, and other American composers of the twentieth-century whose music is
perceived as more innovative and progressive. It is important, however, to remember
that MacDowells music was immensely popular during his lifetime, both in the United
States and abroad. Critics who heard premiers of his work called him the American
master and said of his D minor concerto that it easily ranked with any modern
work of this form.2 His music was also admired and promoted by several renowned
musicians of his time, including Franz Liszt, Joachim Raff, and Teresa Carreo.
Fortunately, research is beginning to bring MacDowells music back into the
spotlight. Some of his larger pieces, including the two piano concertos and the fourth
piano sonata, are being programmed in concerts more frequently and have been
analyzed in recent dissertations. These projects continue to reveal the value of
MacDowells works and the innovation with which he composed. They also show that
his music can and should be included as a part of the standard repertoire.
1 Edward MacDowell, 1861-1908.
2 Lawrence Gilman, Edward MacDowell, (London: John Lane Company, 1908), 38.
2
Throughout history, there is evidence of a strong connection between art and
culture. Shifts in societal thinking often prepare the way for changes in artistic style. In
the case of music, these changes are labeled according to approximate time periods,
such as the Romantic period or the Impressionistic period. Though there are accepted
dates for each of these eras, there is a certain amount of fluidity within the boundaries
of the dates. Stylistic trends in music do not evolve uniformly. A new musical idea in
one geographic area may happen years later in another part of the world, if at all.
Similarly, philosophical ideas do not evolve in the same way at the same rate in
different parts of the world. Though art and culture are often closely connected, the
impact of developing ideas is not instantaneous. A different philosophy will not result
in a change in societal values overnight, nor will a political or cultural event have an
impact on art immediately. The ramifications of such movements take years or even
decades to become fully apparent and are best understood in retrospect.
In order to understand a composers music, one must understand the culture in
which he lived and worked, as well as the training he received as a musician. Learning
about the composers life, education, and the important political, social, and cultural
events during the period in which he lived helps to inform the decisions we make as
performers. Of course, it is dangerous, and often incorrect, to suppose that each piece
of music a composer writes is a direct result of an event in his biography. One cannot
assume that a composer only writes music in minor keys in response to emotional
3
turmoil in his life. However, in the case of Mozarts A minor sonata, K. 310, composed
around the time of his mothers death, the understanding of music as an emotional
outlet may be useful.
Like all artists, Edward MacDowell was a product of his time. During his
childhood and young adult years, Romanticism reigned. Impressionism, an extension of
Romanticism, was beginning to develop in France. Nationalism was also a strong force
as American composers were struggling to separate themselves from European
traditions and create music that was uniquely reflective of their country. These
philosophies and the effects they had on music have been discussed in great detail by
many scholars. Another important philosophical movement during MacDowells
lifetime is the development of Transcendentalism. Transcendentalism in America began
as a religious movement and expanded to become a philosophical movement that
affected culture, music, and literature in addition to religious beliefs. It peaked near the
time of MacDowells birth, but the effects the movement had on the culture of the
United States lasted much longer. George Hochfield, writing in 1966, said that
Transcendentalism made a lasting impression on the American character3 and that
the effects of Transcendentalism could still be seen in the mid-twentieth century. Like
musicians who were trying to break free from European tradition, the Transcendentalist
3George Hochfield, An Introduction to Transcendentalism, from American Transcendentalism (Notre

Dame: University of Notre Dame Press, 1973), 35.
4
philosophers and religious leaders were also struggling to break free from the
established religious traditions. Although MacDowell was not a self-proclaimed
Transcendentalist, it is likely that he was affected by the movement and the changes in
culture that ensued.
This essay will examine the influence MacDowells music education and life
experiences had on his late character pieces. Woodland Sketches, op. 51, Fireside Tales, op.
61, and New England Idyls, op. 62 are three sets of character pieces that were composed
by MacDowell during the last decade of his career. Small in scope and diverse in
character, these works contain a noteworthy blend of Romantic and Impressionistic
elements. MacDowells philosophy of music as presented in his lectures also appears to
be a strong influence in these pieces. Chapter 1 will begin by providing an overview of
MacDowells biography including his music education and his music philosophy.
Chapter 2 will provide a summary of four of the ideologies that seem to have had the
strongest impact on MacDowell (Romanticism, Impressionism, Nationalism, and
Transcendentalism), highlighting key traits and characteristics of each philosophy.
Chapter 3 will present a performance guide for Woodland Sketches, Fireside Tales, and
New England Idyls, with reference to the influences discussed in chapter 2.
MacDowells late character pieces contain a unique blend of elements from the
traditions that influenced him as a composer. Through the process of studying these
5
traditions, one can better understand MacDowell as a musician and make well-
informed decisions as a performer of his music.

6
CHAPTER 1: MACDOWELLS EDUCATION AND PHILOSOPHY
Biography
Edward MacDowell was born in New York City in 1861 and began his musical
training at the age of eight4, first as a student of Juan Buitrago and later, studying with
Teresa Carreo. Like many aspiring American musicians of his day, he travelled to
Europe in his early teenage years to pursue a more advanced musical education than
was possible in the United States at the time. He began studying at the Paris
Conservatory in 1876, but soon became disenchanted with the education he was
receiving there and moved to Germany. He spent his late teens and early twenties in
Germany, studying with Karl Heymann and Joachim Raff. While in Germany,
MacDowell began teaching piano lessons as a way to make a living while he continued
to work on his compositions. After returning to the United States in 1888, he and his
wife Marian lived in Boston, where MacDowell composed and taught private piano
lessons. He was revered as a teacher, but he also realized that this was not enough to
promote his own compositions; he needed to perform concerts in order to further his
reputation and introduce his music to the public. Composition was his passion, but
performing and teaching were necessary for the advancement of his career. When
Columbia University offered him a teaching position in 1896, he accepted it, and he and
Marian moved to New York. MacDowell was named head of the music department at
4 Edward A. MacDowell, Musical Standard 29 (1908): 79.

7
Columbia and was given the task of building what was at that time a new music
program at the university. He threw himself whole-heartedly into this task. Throughout
his time at Columbia he worked diligently to increase the course offerings and
ensemble programs available. However, he despaired that the busy schedule of
teaching and lecturing kept him from working on his own compositions as much as he
would like. He most desired time spent composing in the country, away from the
pressures of life in the city. To this end, he and Marian purchased a farm in New
Hampshire called Hillcrest. MacDowell had a small cabin built on the property where
he could spend time alone composing and enjoying the beauty of the natural
surroundings. In 1904, MacDowell and the administration at Columbia University
began to disagree about the direction the music program should take, eventually
leading to MacDowells resignation. In addition to the stress of this situation,
MacDowell sustained physical injuries when he was hit by a hansom cab in New York.
At the age of 43, his mental and physical health collapsed and he never recovered.
Marian took care of him until the end of his life and after his death in 1908, she worked
to fulfill the dream she and Edward had shared of beginning an artist colony. She
turned Hillcrest into the MacDowell colony, a secluded retreat where writers, artists,
and musicians could come to focus on their work. Marian resumed her career as a
concert pianist to raise money for the project and some of MacDowells friends and
8
fellow composers also donated funds. The MacDowell Colony has remained in
operation since 1908.
In terms of personality, MacDowell was described as witty, jovial, and kind, but
also incredibly shy. He had a wry sense of humor and loved to joke with students and
friends. He was a great conversationalist among people with whom he was well-
acquainted, but in a group of people he did not know well, he was very awkward and
conversation was stilted. He socialized, but preferred time spent at home, or taking long
walks.5
As a pianist, MacDowell was highly regarded. Reviews of his performances are
very favorable, particularly when he was playing his own compositions. 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 strengthHe loved to make his music sweep in great waves and
to introduce the most wonderful contrasts and varieties of tone colour.6
He was well-known for the way he used the pedals in combination, allowing him
to create a variety of tone colors in the piano. He made use of this ability to great effect
in his own compositions. However, his pedaling left him open to criticism when he
played the music of other composers. He tried to create coloristic effects like those in his
5 T.P. Currier, Edward MacDowell: As I Knew Him, The Musical Quarterly 1 (1915): 36.
6Richard Bobo, MacDowells Twelve Virtuoso Studies: A closer look, American Music Teacher 42 (1992):
32.
9
own compositions, which were inappropriate in the music of composers such as
Beethoven.7
As a composer, MacDowell was adept at writing enjoyable works in both large
forms, such as the sonata and concerto, and smaller forms, like the character piece or
the concert etude. Though the majority of his creative output is written for solo piano,
he also wrote several sets of art songs, part songs for male chorus, and four symphonic
poems. His works for piano include two concertos, four sonatas, two suites, two sets of
twelve etudes, and a large number of character pieces. The piano sonatas are notable for
their passion, momentum, and dramatic power while the miniatures are remarkable for
their concise characterization of a scene or object.
MacDowells Philosophy of Music
During his years as professor of music at Columbia University, MacDowell gave
a series of lectures on the origins and development of music. Through these lectures one
can better understand MacDowell as a composer and musician. MacDowells
explanation of the development of Western music begins with the idea that the
origin of music is attributed to the whole range of human emotion. 8 In his lectures, he
described the development of language, beginning with primitive men, who expressed
emotions through grunts and other non-verbal sounds. Over time these sounds
7 Currier, 24.
8Edward MacDowell, Critical and Historical Essays: Lectures delivered at Columbia University. Ed. W.J.
Baltzell, (Boston: Arthur P. Schmidt, 1912), 1.
10
developed into languages and the sounds man made become increasingly abstract; they
were less directly expressive of raw emotions. As sounds became symbols for emotions,
speech began to separate from music. 9 MacDowell believed that To symbolize the
sounds used to express emotion...is to weaken that expression. 10 Languages became
more and more complex, and the resulting sounds and words were only vague symbols
of the emotions man was trying to convey. Societies that had developed language found
that words could no longer do justice to emotion. Man needed a new way to express
pure emotion and instrumental music filled this need. In his lectures, MacDowell stated
that instrumental music began with the drum. This instrument was used in religious
ceremony and worship, and also has a history of use in battle. After the drum was
created, music continued to increase in complexity with more varieties of tone and
more instruments. MacDowell also gave examples of several societies from different
regions of the world which were considered primitive and discussed the development
of different types of instruments in these groups. In each case, the drum was the first
instrument to be created, followed by some sort of pipe, then a stringed instrument
such as the lyre. More instruments were created and the development of pitch led to
polyphony. Despite the increases in complexity, MacDowell believed that music
remained the clearest vehicle for civilized man to express pure emotion.
9 Ibid.
10 Ibid.
11
CHAPTER 2: INFLUENCES ON MACDOWELLS MUSIC
MacDowell and Romanticism in Music
Like many composers of the Romantic era, MacDowell was well-read and was
interested in many genres of literature. He enjoyed poetry, particularly German
Romantic poetry, and translated some of these works into English. He also wrote
poetry, which frequently dealt with topics common in Romanticism, such as mystery,
legend, the exotic, and the love of nature. MacDowells interest in such topics is clearly
reflected in his music, where many of his poems appear as epigraphs. These themes are
displayed on a large scale in his four sonatas and on a smaller scale in his sets of
character pieces. MacDowell was also familiar with the legends and folklore of several
countries, including Germany and Ireland. Some examples of his music based on
literature include the fourth piano sonata, op. 59 (the Keltic Sonata), which references
the Irish legend of Cuchullain and sets of character pieces based on German poetry,
such as Six Idyls after Goethe, op. 28 and Six Poems after Heine, op. 31. In addition to these
serious subjects, MacDowell also enjoyed light-hearted fairy tales and childrens stories.
Mark Twain and Joel Chandler Harris were among his favorite American authors
because they used local color in their writings.11 Twain is well-known for his tales of life
as a young boy growing up near the Mississippi River. Harris wrote stories about
characters such as Brer Rabbit, a clever figure who uses his wits instead of his physical
11 Neil Leonard, Edward MacDowell and the Realists, American Quarterly 18 (1966): 176.
12
strength to overcome challenges. MacDowells familiarity with these stories is apparent
in the pieces From Uncle Remus (from Woodland Sketches, op. 51) and Of Brer
Rabbit, (from Fireside Tales, op. 61), two compositions which reflect the carefree, joking
spirit of these characters.
One of the prevalent characteristics of Romanticism is an obsession with nature.
This obsession appeared in art and literature from the period as well as in music.
MacDowell shared this fascination with his predecessors of the Romantic era. He spent
as much time as possible outdoors, both in Germany and in the United States. The cabin
he built at Hillcrest was away from the main house, surrounded by the forest. So even
though he must be indoors to work on his compositions at the piano, he could still be
surrounded by nature. He enjoyed contemplating things such as wildflowers, forest
scenes, old buildings, and the way New England may have been years before his time.
Many of his character pieces are inspired by various objects or scenes he encountered
during his long walks.
His music can best be described as pictorial or representative. Because of his
varied interests, he was able to express equally well the mythical, enchanted worlds he
encountered in literature, or the beauty and joy of a sunny fall day in the New England
countryside. The deep contemplation of such subjects often resulted in serious,
emotional, and introspective qualities in his music.12 Many of his works have a sense of
12 John F. Porte, Edward MacDowell, (New York: E. P. Dutton & Company, 1922), 143.
13
nostalgia. H. E. Krehbiel wrote, MacDowell aimed at depicting the mood of things and
the moods awakened by things rather than the things themselves.13 Despite the many
references to literature, his goal was not to create a narrative in his music. Instead, he
wrote music which evokes a mood or an atmosphere, much like the Impressionistic
composers who he encountered in Paris.14 He has aimed to make his music, he says,
more a commentary on the subject than an actual depiction of it.15 The titles he gave
to the pieces and the poetry he included were intended to help the performer in his or
her interpretation without limiting the imagination. 16 He wanted to help the performer
to develop his own understanding of the music.
The choice of form in compositions is integral to musical expression. Because
MacDowells main intent was to capture mood, he often made use of simple forms, such
as binary and ternary forms. Larger structures rely on logic and development. For
example, in sonata form a theme is introduced, is modified, and reappears throughout
the piece using a pattern of key relationships. Composers prior to MacDowell such as
Beethoven, Liszt, and Brahms had greatly expanded the boundaries of the sonata in
terms of compositional structure. However, there was still a pattern of themes and
13David Dubal, The Art of the Piano: Its Performers, Literature and Recordings (Pompton Plains: Amadeus
Press, 2004), 539.
Dolores Pesce, New Light on the Programmatic Aesthetic of MacDowells Symphonic Poems,
14
American Music 4 (1986): 369.
15 Lawrence Gilman, The Music of Edward MacDowell, The North American Review, 178 (1904): 931.
16 Nicholas Tawa, From Psalm to Symphony, (Boston: Northeastern University Press, 2001), 188.
14
development that was expected in sonata form. Guidelines also remained for the use of
related and un-related keys. In his compositions, MacDowell chose less complex forms
so that the melodies could guide the direction of the music rather than key relationships
and the necessary repetition and modulation of themes.17 MacDowell gleaned some of
his ideas about form from his teacher, Joachim Raff. Raff saw himself as an individual
and did not align himself with any school of thought. He was eclectic, attempting to
combine new ideas with old forms, for instance, including programmatic ideas in
sonata form.18 Thus, he used form somewhat loosely and it seems that MacDowell
absorbed this concept into his compositions as well. When MacDowell discussed form
in music, he did not mean themes, keys, and development. He took form to mean the
most poignant expression of poetic thought in music19 For him, form in music
was similar to form in poetry. MacDowell worked to create a beautiful melody and then
let that melody dictate the structure of the remainder of the piece. He strove to find the
best way to convey his musical thoughts, even if the best way resulted in unusual
phrase lengths or structures. By choosing to compose this way, he was not dismissing
Richard Crawford, Edward MacDowell: Musical Nationalism and an American Tone Poet. Journal of the
17
American Musicological Society 49 (1996), 533.
18James Deaville. "Raff, Joachim." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed January 25, 2013,
http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/music/22816.
19 Lawrence Gilman, Edward MacDowell, 79.

15
an old tradition, but expanding it to effectively evoke an image or a mood.20 As a result,
his music can be described as free-flowing and organic, meaning that musical gestures
and phrases evolve into each other.
MacDowell and Nationalism in Music
The fact that MacDowell was steeped in the European musical tradition is
frequently a source of criticism of his music. He is often seen as a composer who was
imitating an outdated style. When he returned from his studies in Europe, MacDowell
faced a challenge common to many early American composers: how could he compose
music that was purely American and was worthy of comparison to European music
without being an imitation of European music? MacDowell identified the problem in
this way: Our music thus far has been a scholarly restatement, old world themes. In
other words it is derived from Germany as all my earlier pieces were. 21
American composers were struggling to find their unique voice and to be
recognized as artists and musicians in their own right, but were over-shadowed by the
more established European traditions. This struggle for uniqueness was not limited to
American composers, but was a more widespread experience. One solution involved
the inclusion of folk music in compositions. During the Romantic era, there was a
drastic increase in nationalism in music. Some composers who took great pride in their
20 Alan H. Levy, Edward MacDowell: An American Master, (Lanham: Scarecrow Press, 1998), 176.
21 Leonard, 176.
16
heritage began to incorporate folk tunes and folk dance rhythms into their works. By
using these folk elements they created music that was uniquely reflective of their
respective countries, such as Griegs Norwegian folk dances, Chopins mazurkas and
polonaises, or Liszts Hungarian rhapsodies. Overt nationalism is one trait of
Romanticism that MacDowells music does not share with these composers. In
MacDowells opinion, any composer could take the characteristics of a simple folk tune
and create a symphony containing those elements. That approach would not make the
music American. He said that before a people can find a musical writer to echo its
genius it must first possess men who truly represent itmen who put into their music
what the nation has put into its life22
One of the musical styles that MacDowell recognized as uniquely American was
ragtime music. He despaired that the syncopated rhythms of ragtime were not natural
for him as a result of so much time spent studying in Europe.23 However, these idioms
were natural for MacDowells students. Ragtime was part of their unique musical
heritage. When he noticed that his students played ragtime music in casual settings, he
encouraged them to use the idioms that were natural to them in compositions. 24 This
would create music that was distinctly American.
22 Gilman, Edward MacDowell, 85.
23 John Erskine, MacDowell at Columbia: Some Recollections, The Musical Quarterly 28 (1942): 399.
24 Ibid., 400.
17
MacDowell wanted to show the populace that Americans were capable of
creating and performing high quality music. He also wished that the public would
judge the music of American composers fairly, without letting established custom color
their opinions, saying 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. 25 Since America was still in its musical infancy, many patrons of the arts relied
on European composers to create great music, believing that American composers were
not as capable as European composers. In MacDowells mind, truly American music
must have absolute freedom from the restraint that an almost unlimited deference to
European thought and prejudice has imposed upon us.26
Some critics thought that MacDowell succeeded in his efforts to separate himself
from established traditions.
What distinguishes this young composer at once from most of his colleagues is
the originality and imaginativeness of his work. Considering that he obtained his
musical education chiefly in France and Germany, his compositions are, as a rule,
remarkably free from definite foreign influences, except such traits as belong to
music the world over27
25 Edward MacDowell, Critical and Historical Essays, 192.
27Henry T. Finck, An American Composer: Edward A. MacDowell, Century Illustrated Magazine 53

(1897): 449.
18
During MacDowells lifetime, there was also an increased sense of nationalism in
American concert life. In an effort to promote composers and art music from the United
States, entire concerts were programmed with only music by American composers.
Several times, MacDowell was asked if his music could be programmed on these
concerts, but he refused. He saw these concerts as politically motivated events and
spoke out against them, saying that critics and audiences judged the concerts before
they ever took place. Either the concerts were celebrated because the works were all by
American composers or criticized because the music did not contain a level of quality
high enough to be compared with European works. Whether praised or criticized,
MacDowell felt that these concerts would not help American composers gain a
reputation as creators of high quality music. He felt that the music of American
composers would only be respected if it were programmed alongside the works of
European composers and appreciated for its quality and uniqueness.
MacDowell and Impressionism in Music
As previously mentioned, MacDowell began studying with Marmontel at the
Paris Conservatory in 1876. Despite his dissatisfaction with the educational system,
some of the developing idioms of Impressionism appear in his music. Impressionism,
as a musical movement, was an outgrowth of Romanticism, but it drew much of its

19
inspiration from contemporary trends in art and literature.28 The term
Impressionism was first used in 1874 to describe art in a negative context.29 The first
Impressionists were a group of painters who were considered radicals because of
their disregard of form. However, artists who developed this style had a distinct goal in
their work: they render not the landscape but the sensation produced by the
landscape.30 The artistic movement of Impressionism was followed about two decades
later by a corresponding movement in music.31 One of the characteristics common to
both Romanticism and Impressionism is the large number of pieces having to do with
outdoor scenes. Continuing in the Romantic tradition, Impressionistic composers
explored the fleeting moment and the mystery of life. 32 This led them to seek
musical equivalents for water, fountains, fog, clouds and the night. 33 In order to
capture these ideas, composers began to use different harmonies and dissonances,
substituting sequences of major 2nds, unresolved chords and other sound-colours
28 Maurice Hinson, Anthology of Impressionist Piano Music, (Van Nuys: Alfred Publishing Company, 2002),
3.
29 Nathalia Brodskaya, Impressionism, (New York: Parkstone International, 2004), 14.
30Jann Pasler, "Impressionism." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed January 25, 2013,
http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/music/50026.
31 Christopher Palmer, Impressionism in Music, (London: Hutchinson and Company: 1973), 18.
32 Pasler, "Impressionism."
33 Ibid.
20
for precise designs, solid, clear forms, and logical developments.34 Claude Debussy is
the composer most commonly associated with Impressionism.35 He wanted music to do
more than represent nature. He wanted music to reflect the mysterious
correspondences between Nature and the Imagination. 36 His ideas about form also
differed from the Romantic composers. For Debussy form was the result of a
succession of colours and rhythms a series of sensations rather than the deductions
of a musical thought. This concept in turn demanded new approaches to
performance.37 When Debussy used ABA form in his compositions, he made
modifications, such as extra sections and transitions.38 The return of the A section is
often modified and sometimes greatly shortened.39
Another trait that Romanticism and Impressionism have in common is the love
of the exotic. In the case of Impressionism, Oriental sounds and Spanish idioms were
seen as exotic. Compositions that use these traits include Ravels Bolero and Habanera for
two pianos and Debussys Iberia, Pagodes, and La soiree dans Grenade. To produce this
34 Ibid.
35According to Stewart Gordon, the term Impressionist was first used in reference to music as a critique
for Debussys Printemps in 1887.
36 Pasler, "Impressionism."
37 Ibid.
38Stewart Gordon, A History of Keyboard Literature for the Piano and Its Forerunners, (Belmont: Schirmer,
1996), 360.
39 Ibid.
21
exotic sound, Impressionistic composers often use special musical elements to create
mood and color, such as pentatonic and whole tone scales and floating chords, which
require no preparation or resolution.40
Like the Impressionists, MacDowell was interested in capturing an atmosphere
or mood rather than depicting specific objects or focusing on formal structure. Like
Debussy, MacDowell often alters the return of A sections by modifying the harmony or
abbreviating the melody. The conclusions of MacDowells pieces often bear
resemblance to those of Debussy, who seems to prefer endings that fade away.41
Many of MacDowells pieces end in this way too, with the sound floating until it
disappears entirely. Pedaling in MacDowells music is also often similar to pedaling in
Debussys music. Like the Impressionists, MacDowell uses the pedals to create special
effects and colors in his music, as will be discussed in greater detail in Chapter 3.
MacDowell and Transcendentalism
Transcendentalism in America
The influence of musical styles of Romanticism and Impressionism on the works
of MacDowell has been discussed in detail by several writers. However, social and
cultural changes can also have a profound impact on artists. Another important
development that may have affected MacDowell is the movement known as
40 Hinson, 3.
41 Gordon, 360.
22
Transcendentalism. American Transcendentalism is a philosophy with several
branches, but is generally defined as a philosophy that asserts the primacy of the
spiritual and transcendental over the material and empirical.42 The movement has its
roots in Germany with the philosopher Immanuel Kant43 whose work, Critique of Pure
Reason, was published in 1781 and was considered the cornerstone document of the
movement. Kant believed that man was born with the innate knowledge of Gods
existence, a belief that changed the way that the relationship between God and man was
viewed.
Transcendentalism migrated from Germany to the United States during the
Nineteenth century, first as a reaction against the beliefs of the Unitarian church, and
later expanding to include other subjects in addition to religion.The movement in the
United State was concentrated in the cities of Boston and Concord, MA. Boston was a
center for culture, music, and business, and it also became the crossroads of
Transcendentalism.44
Transcendentalist philosophers believed that the form of religion the churches in
New England promoted had become too stagnant. They were looking for a way to
make religion a more vital and dynamic part of their everyday lives. They praised
42Merriam-Webster Online Dictionary. http://www.merriam-webster.com/dictionary/transcendentalism,

accessed Aug 31st, 2012.
43 Immanuel Kant, 1724-1804.
44 Ibid., 7.
23
intuition rather than logic, poetry rather than prose and nature rather than the
society of man.45 The philosophers believed that there was unity in world as a result of
God dwelling both in man and in nature and they found inspiration in the signs of God
that they observed in nature.
Values of Transcendentalism
The Transcendentalist movement, which began as a religious movement, also
affected other areas of society, such as art, music, and literature. The classical values of
order and logic that had become stifling in religion were also seen as stifling in the arts.
Traits that were valued so highly in the Classical period of art and music lost their
appeal and the Transcendentalists looked toward forms of art and music that were
nature-inspired and free-flowing.46 The connections between this movement and the
Romanticism of Europe in the early nineteenth century are clear. The Romantics
rebelled against the formal structures of the Classical period. Their music was inspired
by nature, literature, and art. Prevalent themes were the pain of life, tragedy, and the
struggles of the individual. The Romanticists prized emotion and expression, rather
than beauty, form, and symmetry which were representative traits of Classicism.
During this period in history, the percentage of the population living in larger cities was
increasing, yet the Romantics loved nature and desired to be a part of it. The theme of
45 Ibid., 32.
46 Ibid., 4.
24
the Wanderer who journeys through the wilderness, becoming engrossed in nature
while struggling to find himself is common in the art, literature, and music of the
Romantic period. The Transcendentalists expanded on these Romantic ideas by
embracing the belief that not only could man find himself in nature, but also that he
could have an encounter with God when he immersed himself in nature. The
Transcendentalists also espoused the idea that the best way to connect with nature was
from the innocent perspective of a child. Adults were encouraged to experience nature
with a sense of naivet and childlike wonder.
Music held an important place in the lives of the Transcendentalists. It was seen
as the clearest way to express emotion or feeling, clearer even than language. John
Sullivan Dwight47 articulated the basic Transcendentalist attitude toward music in one
simple idea: if words were to be regarded as the language of thought, then music
must be regarded as the language of feeling.48 He believed that a language other than
common English was required to express deep emotions such as love and the mysteries
of nature. He believed that music was capable of expressing these emotions that were
inexpressible in words. Music was the natural language of the heart49
47 John Sullivan Dwight, 1813-1893.
48Irving Lowens, Music and Musicians in Early America, (New York: W.W. Norton and Company, 1964),
256.
49 Ibid., 260.
25
The belief in the power of music is evident in the lives and works of several of
the most prominent Transcendentalist philosophers. Thoreau played the flute,
particularly in the private setting he enjoyed at Walden Pond. He frequently used
musical metaphors in his writings. Although not a performer, Margaret Fuller was an
insightful music critic. She appreciated German and Italian opera and symphonies, as
well as the exoticism of African and Chinese melodies. She promoted the idea of
expanding ones musical horizons by listening to a variety of musical styles. Ralph
Waldo Emerson admitted to lacking an ear for music, but included musical references
and imagery in many of his writings. He reacted intuitively to the music that he heard.
For Transcendental musicians, listening intuitively was a very important aspect of
understanding Nature and Art because sound was much more important than formal
structure.
Music was a frequent topic of discussion in the Transcendentalist journals such
as The Dial and The Harbinger. During the peak of the movement, there were 183 articles
published on the subject of music during one year.50 Although The Harbinger was
known to be a Transcendentalist publication, the writers who contributed articles
dealing with music generally did not heavily promote Transcendentalist philosophy.
Instead, they acted as music critics, focusing on reviewing the music of the day.
Irving Lowens, Writings about Music in the Periodicals of American Transcendentalism, Journal of the
50
American Musicological Society 10 (1957), 71.

26
MacDowells Philosophy and Transcendentalism
Alan Levy, one of the key biographers of Edward MacDowell writes,
MacDowell honestly lived out a kind of transcendentalist vision, believing that in
nature lay truth, that his soul sought truth and could thus be set free in such natural
communion.51 Although the peak of the Transcendentalist movement lasted for only a
few years and occurred about two decades before MacDowell was born, it strongly
impacted the artists, writers, and musicians of New England for decades. The
movement was centered in and around Boston, Massachusetts where MacDowell spent
several years teaching and composing. MacDowell was a well-educated man, well-read
and interested in a variety of topics, including poetry, medieval literature, and
mythology. At the same time, he was very interested in contemporary affairs and
literature. He knew the work of Ralph Waldo Emerson, one of the most important
Transcendentalist philosophers. In his lectures, he referred to Emersons work Essays
while discussing the development of language in primitive societies and the ensuing
development of music. Emerson characterized language as fossil poetry, but fossil
music would have described it even better; for as Darwin says, man sang before he
became human.52 Many of the values and beliefs held by the Transcendentalists
correspond to concepts that MacDowell promoted in his lectures.
51 Levy, 152.

27
The Transcendentalists had great respect for the power of the human mind.
MacDowell too placed great importance on the thoughts of each individual. In his
lectures, he stated:
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
traditionfashion, authority, convention, etc.53
Accounts of MacDowells style of teaching also show that he valued the thoughts
of each individual student in the performance of music. His education in Paris and
Germany made him wary of any educational system that forced all students to fit into
the same mold. As a student at the Paris Conservatory, he was frustrated with the
expectation that each student follow exactly the same educational design. He also
encountered these expectations in Germany. German teachers are likely to put each
pupil through the same mill, irrespective of the individual or the temperament of the
individual case.54 In his teaching, MacDowell did not follow a particular formula. He
saw each musician as an individual with different abilities, different goals, and different
thoughts about the music he or she was playing. It seems that MacDowell encouraged
53 Ibid., 198.
54 Levy, 67.
28
these differences in his students. At MacDowells home a student was waiting for a
lesson and listening to the student before her. The student told Marian MacDowell,
that girl is playing that composition entirely differently from how MacDowell had
me play it.55 MacDowell wanted his students to think for themselves. He believed that
freedom was necessary to the flourishing of any art. He said, We need to open our eyes
and see for ourselves instead of trusting the direction of our steps to the guidance of
others.56
Few markings were provided in his compositions because he wished that
students would use their own judgments.57 When MacDowell does include performance
directions, they are usually references to expression of an emotion or mood, such as
Simply and tenderly, or With much spirit and humor.
As previously mentioned, John Sullivan Dwight believed that music was the
language of feeling. Like Dwight, MacDowell believed that the most important goal of
music was the expression of ideas and emotions that were inexpressible in language. He
stated this several times in his lectures and those who knew him reiterate how
important this belief was to him. Throughout MacDowells writings, the reader is
55 Ibid.
57 Levy, 194.
29
constantly aware that the highest and most natural purpose of music for this composer
is to convey feelings and thoughts beyond words.58
The Transcendentalists who discussed music believed that sound was more
important than formal structure. According to F.C.59, writing about Transcendental
music in The Musical Times in 1888,
Your transcendentalist has usually very advanced ideas on composition; he
declares that the classical forms are effete, worn-out, unsuitable to modern
thought. He points out, almost with triumph, that no one in these days has
succeeded in writing an original or interesting sonata, fugue, or symphony. [The
Transcendentalists] attitude of mindis that if he feels an ardent impulse to
compose great music, and finds himself unable to express his ideas in
conventional phraseology, it is the language that is in fault and not himself. 60
MacDowell also places more emphasis on sound than form. The ideas about
form that he put forth in his lectures echo Corders comments. MacDowell believed that
a formal structure could not be the inspiration for great art. He said that Bach was
indeed a great composer, not because he used formal structures such as the fugue, but
58Richard Daniel Fountain, Edward MacDowell and the Formation of an American Musical Culture
(PhD dissertation, University of Nebraska, 2008), 73.
59F.C., or Frederick Corder (1852-1932) was an English composer, music teacher, and critic. He was
educated at the Royal Conservatory of Music and won a Mendelssohn scholarship, enabling him to study
in Germany with Ferdinand Hiller.
60F.C., Some Kinds of Music: Transcendental Music, The Musical Times and Singing Class Circular 29
(1888), 468.
30
in spite of this fact.61 The laws of canon and fugue are based upon as prosaic a
foundation as those of the Rondo and Sonata Form, and I find it impossible to imagine
their ever having been a spur, an incentive, to poetic musical speech."62 For MacDowell,
melody was the impetus for form in music. He strove to compose with clear expression,
and in his case, this meant eschewing forms such as sonata and rondo form in favor of
simpler forms, such as binary and ternary.
Transcendentalists such as Henry David Thoreau loved to listen to the sounds
and silences of nature and had a deep appreciation for the wildness of music heard in
nature. Unpre-meditated music is the true gauge which measures the current of our
thoughts, the very undertow of our life's stream."63 Wildness and unpredictability were
desirable qualities in music because they represented an authentic, natural response.
MacDowell seems to understand and agree with Thoreaus feelings about the
wildness of music. In his lectures he spoke in positive terms of both formal music and
the unpremeditated wild music heard in nature. MacDowell said of Strauss's Thus
Spake Zarathustra that:
62 Ibid.
63 Ibid.
31
The upward sweep of the music to the highest regions of light has much of
splendour about it; and yet I remember once hearing in London, sung in the
street at night, a song that seemed to me to contain a truer germ of music. 64
MacDowell regards Strauss work highly, but also greatly appreciated the song
he heard in the street. Like Thoreau, it seems that he enjoyed this unpremeditated music
and recognized the fact that the singer was expressing himself authentically.
Because Nationalism, Impressionism, and Transcendentalism are all outgrowths
or expansions of the Romantic movement, it can be difficult to determine with certainty
the origin of some musical elements. For instance, an obsession with nature is a
prevalent theme in Romanticism, Impressionism, and Transcendentalism. However,
MacDowells music exhibits traits that are representative of each of these influences.
The influence of Romanticism is apparent in his use of short forms, characteristic titles,
and the subject matter he chose, largely nature scenes and works based on literature.
Impressionistic elements include coloristic effects, pedaling, and his goal of capturing
not the scene itself, but the mood or atmosphere created by a scene or object.
MacDowells opposition to blatant Nationalism drove him to compose music that could
stand on its own merit, containing beautiful melodies, interesting harmonies, and a
variety of characters without the use of folk tunes. Finally, his music includes freedom
for individual expression and a sweet innocence regarding objects in nature which may

32
be reflective of the influence of Transcendentalist philosophy. As we will see in Chapter
3, MacDowells compositions effectively blend different elements from each of these
ideologies.
33
CHAPTER 3: MACDOWELLS LATE CHARACTER PIECES: A PERFORMANCE
GUIDE
Unless a composer leaves behind a detailed description of each piece he
composed, it can be difficult to determine exactly what inspired the composer while he
was working. It is the responsibility of the teachers and performers to study the music
they play and the composers who created the music. Performance practice can be
drastically different from composer to composer. Dynamics which are appropriate for
Mozarts music would most likely be inappropriate in Chopins music and pedaling in
MacDowells music would be quite different than pedaling in Beethoven. Some
questions that should be considered when beginning a new piece of music include:
What is the musical heritage and educational background of the composer? In what
genres did he compose? What stylistic trends influenced him? Did the composers style
change over the span of his career? During what time in the composers life was the
piece composed? Was the piece composed in response to a historical event? The
answers to these questions can help us to make appropriate decisions about performing
such as articulation, phrasing, pedaling, and dynamics.
MacDowell excelled at writing miniatures for the piano and wrote this type of
music throughout his life. The character pieces he wrote while he lived in Germany are
largely based on German poetry and folk tales. When he returned to America, he began
to write more pieces which capture the atmosphere of nature scenes. The three sets,
34
Woodland Sketches, op. 51, New England Idyls, op. 62 and Fireside Tales, op. 61 were
composed during the last decade of his life. These compositions present a noteworthy
blend of elements from the traditions that influenced him as a musician and composer.
The majority of the pieces from these three sets are written in ternary form. At its
simplest, ternary form consists of an opening section, a contrasting second section,
normally in the dominant or the tonic minor or relative major65 and a return to
the first section, which is sometimes modified. MacDowell begins with one melodic
idea, introduces a contrasting second melody and returns to the original melody. Often,
the return of the A section is slightly altered. MacDowell changes the return of the A
section by abbreviating the return, or by adding dissonances to the harmony, or adding
a countermelody. He uses common basic structures, but adapts them as necessary to fit
the musical ideas he is presenting.
As previously mentioned, MacDowells markings within the score imply a
degree of individual choice, beginning with his directions for tempo. His approach to
indicating tempo differs from his contemporaries, such as the composers of the Second
New England School, who used Italian tempo markings almost exclusively in their solo
piano works. Metronome markings in the works of the Second New England School are
rare. After MacDowell returned to the United States, he used predominantly English to
65Oxford Dictionary of Music, Form,

http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/opr/t237/e3890?q=form&searc
h=quick&pos=3&_start=1#firsthit, accessed January 13, 2013.
35
indicate tempo in his compositions. Many of his tempo markings include metronome
markings, but MacDowell gave the performer freedom to choose his or her own tempo
by including the word circa or about. For example, In Deep Woods from New
England Idyls has a tempo indication of Broadly, impressively and quarter note =
about 76.
Example 1: New England Idyls, In Deep Woods, m. 1-3
To indicate tempo changes in his music, he does not write a new metronome
marking, but instead uses words like broaden or increase. He also writes expressive
markings within the score that can be interpreted in different ways by different
performers, such as passionately, or tenderly, dreamily.66 These directions help the
performer to determine both the tempo and the character MacDowell had in mind for a
piece, but leave room for individual freedom of expression.
66 Edward MacDowell, Piano Pieces, 91.

36
Woodland Sketches
The first piece of Woodland Sketches, Op. 51, is perhaps MacDowells most famous
character piece, entitled To a Wild Rose. Because of its simple, pleasing melody and
lack of technical difficulties, this piece is often given to young students and has become
known as a teaching piece. Despite the apparent simplicity of this piece, it includes
characteristics that make it a notable composition. In order to observe the details of a
wild rose, one must see it up close. MacDowell has written a simple melody that
captures the delicate grace of the wild rose and also helps to portray the small scope of
the subject. The limited size of the rose is reflected by the limited range of the melody,
which covers the distance of a tenth. The phrases in this piece are four measures each
and form eight-measure periods. This regular phrase structure also helps to convey a
sense of innocence and simplicity. MacDowell added subtle dissonances to the harmony
which the performer can bring out to create a sense of mystery and wonder to the piece.
Like many of MacDowells character pieces, To a Wild Rose is in ABA form
with the climactic moment occurring in the B section.

37
M. 17, B section
Example 2: Woodland Sketches, To a Wild Rose, m. 1-21

38
M. 29, A section
m. 41-44
m. 45-46
Example 3: Woodland Sketches, To a Wild Rose, m. 22-51

39
Rather than repeating the A section verbatim, MacDowell alters the return
slightly. From m. 41-46, he adds a countermelody in the upper voice of the left hand. He
also indicates that this countermelody should be slightly marked, showing its
importance in the over-all sound. For performers with small hands, it will likely be
impossible to hold the bass A as MacDowell has indicated while playing the
countermelody. In this case, the performer has to consider the possible options for
sustaining this note. One option is to use the damper pedal to sustain the A. However,
this creates a blurry sound which seems to detract from the clarity and simplicity of the
rest of the piece. Instead, the pianist can try using the damper pedal to sustain the A
until the end of m. 41, silently depressing the A again before changing the pedal at the
beginning of m. 42. Then, continuing to hold the A with the finger through m. 44 while
changing the pedal, allowing the bass sound to be sustained without blurring the
melody and countermelody.
MacDowell treated the melody of this piece carefully. He composed it to be
straightforward and not overly elaborate. In the return of the A section, he adds
coloristic dissonances to the harmony, but does not embellish the melody. As Levy
comments, over-embellishment would destroy the innocence of this music. Therefore,
Levy believes, some of the best renditions of this piece are performed by young people
because they are able to look at the piece quite simplistically, in the spirit MacDowell
40
had in mind.67 One way to achieve this simple approach is to refrain from over-
romanticizing this piece. Using a tempo close to the quarter note = 88 tempo that
MacDowell indicated and using minimal rubato throughout the piece will help to create
this simple, innocent sound.
The second piece from Woodland Sketches captures a very different character.
Will o the Wisp refers to an old Irish legend. In the evening, a glimmering light often
twinkles over bogs. The legend says that this is the time when the Little People come
out. If one were to leave out milk for the Little People, then one would have good luck.
67 Levy, 153.
41
Example 4: New England Idyls, Will o the Wisp, m. 1-9
MacDowell described the tempo and character of this piece as Swift and light;
fancifully. Most of the piece is written using the upper half of the keyboard and the
first twelve measures have very few bass notes. The combination of the quick tempo
and the treble-oriented sound produces a sense of lightness and energy in the music,
which can be aided by close attention to the staccato indications in the first theme. The
syncopation of the melody creates an impish quality that captures the spirit of the Little
42
People. MacDowell draws special attention to the syncopation of the melody by writing
the word hold under the second chord of the melody, such as in m. 21. To emphasize
the syncopation of the rhythm without accenting, the performer can hold this chord for
its full value. Following MacDowells directions, No slower; lightly, will enhance this
syncopation and add to the impish character.
m. 21
Example 5: Woodland Sketches, Will o the Wisp, m. 19-24
Lightness is important in the more virtuosic passages, which are like shimmering
points of light over the bog, moving quickly and never resting. Using very active fingers
43
and a quick attack in these passages will help the performer to achieve this sparkling
sound.
The third piece from Woodland Sketches is entitled At an Old Trysting place.
m. 9-10
m. 11, B Section
m. 12
Example 6: Woodland Sketches, At an Old Trysting Place, m. 1-17
The piece is very short, made up of only 30 measures. The A section begins with
two short phrases of four measures each. Because of the inclusion of accidentals,
44
measures 9 and 10 sound like a transition to the B section. However, they appear again
in the return of the A section. These two measures are not transitional material, but can
be considered an extension of the poetic idea of the A section. The B section begins in
m. 11. It is in the dominant key of D-flat major and contains material that is reminiscent
of the A section, creating a seamless transition between the sections. Although
MacDowell uses A-flat and D-flat in the bass of m. 12, he does not write a root position
D-flat triad. There is not a strong cadence in the B section, which weakens the sense that
the music has modulated. The performer can enhance this by thinking of the short B
section as one long phrase and not using rubato until the end of the section. The
dynamic shading that MacDowell included also seems to encourage this interpretation.
The A section returns in m. 19.

45
m. 19, A section
The melody is repeated almost exactly, but MacDowell changes the supporting
harmonies, adding more color and interest in the return of the A section. Often in
MacDowells character pieces, the A section and B section have very contrasting
characters, but in this piece the mood of the B section is very similar to the A section.
Thus, the performer can maintain the quaint character that MacDowell has indicated
throughout the piece.
MacDowell created a wonderful sense of energy in his compositions related to
autumn. Marian MacDowell recalled that in Germany, autumn could be dull and gray,
46
but in New England, the trees were vibrant and the colors were entrancing.68
MacDowell immersed himself in the outdoors, and was able to express the bright,
happy feeling created by a clear autumn day. In Autumn, the fourth piece from
Woodland Sketches has a bright, effervescent mood which immediately gives the listener
a sense of the joy the composer seemed to be trying to capture. It is in 6/8 time and is
marked with the words buoyantly, almost exuberantly and a metronome marking of
about 132 to describe the ideal tempo. The piece begins in F-sharp minor. MacDowell
creates energy and forward motion that make the piece sound cheerful from the
beginning despite the minor tonal center. The first ten measures sound like an
introduction, but will return later in the piece. MacDowell marked the first four
measures of this piece as detached, with the exception of the quarter note C-sharp in
the second measure. Following this direction will create a brilliant sound, but listening
carefully to the melody will help the performer to avoid a staccato that is too dry or
percussive.
68Marian MacDowell, Random Notes on Edward MacDowell and His Music, (Boston: A.P. Schmidt Co., 1950),
30.
47
m. 9
m. 10 m. 11
Example 8: Woodland Sketches, In Autumn, m. 1-19
In m. 9 -10, MacDowell suspends the dominant of C-sharp for two measures
before moving into a second melody in F-sharp major in m. 11. He has specified that
48
this melody should be played softly and lightly for the first four measures. Though it
has a brighter sound because of the major key, the performer can strive for a gentler
tone than the opening, staying close to the keys and preparing the leaps in the right
hand to avoid unintended accents.
In m. 29, the B section begins in D-sharp minor. The meter changes to 2/4 and the
texture shifts from a very active melody and accompaniment to a hymn-like
arrangement of chords.
m. 29
There are many accidentals in this section, but essentially, only four chords are
used: D-sharp minor, E-sharp diminished, A-sharp major, and E-sharp major. Sevenths
49
are also added to some of the A-sharp and E-sharp chords. The student may find it
helpful to think of these chords in terms of their enharmonic equivalents: E-flat minor, F
diminished, B-flat major and F major. Once the student understands the harmony in
this section, reading the accidentals becomes easier.
In this section, both the rhythm of the melody and the harmonic rhythm are
slower and more regular than the A section. The performer can create a sense of calm in
the middle of the piece by using a very smooth legato touch and staying close to the
keys, moving horizontally from chord to chord instead of using a vertical attack. The
pedal can also be used to help create a sustained sound, though care should be taken to
keep the melody clear.

50
m. 49
m. 51
m. 53
In m. 49, the meter returns to 6/8 and MacDowell begins to transition back to the
A section using melodic material from the opening. In m. 49 and 51, he makes two
false starts, beginning in the wrong key. In m. 53, the left hand plays the third
transposed version of the opening theme and continues into a chromatic scale which
leads back to the F-sharp minor theme. It seems that MacDowell is keeping the listener
in suspense, waiting for the return of the A section. The performer can enhance this
effect by beginning as softly as possible with a mysterious, somewhat muted tone and
increasing in dynamic level with each transposition. The piece concludes quietly with
the same material that preceded the B section, as if the scene is fading away.
51
As previously mentioned, many of MacDowells compositions contain four-
measure phrases, likely as a result of his training in the European tradition. At times,
however, he uses phrases of uneven numbers of measures to create a special effect.
From an Indian Lodge, the fifth piece from Woodland Sketches, is one example. It
begins with a nine-measure introduction consisting mostly of octaves and bass
tremolos.
52
m. 1-2
m. 3
m. 4-5
m. 10
Example 11: Woodland Sketches, From an Indian Lodge, m. 1-13
Strong, accented octaves marked with a fortissimo dynamic in m. 1-2 establish a
steady rhythm which is then disrupted in m. 3 when MacDowell introduces a fermata
over tremolo figures. In m. 4, he begins with a ff octave on the first beat, but then uses
accents to emphasize the weaker beats before another fermata over tremolos in m. 5.
53
The combined effect of an inconsistent number of measures in each phrase, the
changing accent pattern, and the 3/2 meter results in a rhythm that is somewhat
ambiguous. It seems as if MacDowell is intentionally concealing the pulse of the music.
He may be using these musical devices to express his poetic idea about Native
Americans, a group of people who were still somewhat mysterious during his lifetime.
In m. 10, the theme marked Mournfully begins. This melody is song-like, with
a small range of pitches and regular phrase lengths. Singing this melody can help the
pianist to find the most effective dynamic shading for each phrase. MacDowell
establishes a strong pulse in this melody by writing a detached bass chord on the
second beat of each measure in the accompaniment. Because of this strong pulse and
the regular phrase structure, the listener has a sense of what to expect. The bass chord
played by the left hand may reflect the Native American tradition of using drums in
ceremonies. To create a drum-like sound, both pitches can be played evenly, rather than
voicing one over the other.
In m. 9, MacDowell includes special instructions for voicing the melody. He
shows the performer that the melody (lower note) should be played at a dynamic of p
while the upper note should be played ppp.

54
m. 9
In m. 25, another asterisk informs the performer that the voicing should shift to
emphasize the top note of the octaves, as if a new voice is now singing the melody.
55
m. 25
The atmosphere of the opening returns for four measures at the end of the piece.
The time signature returns to 3/2 and the sustained chords and tremolos with fermatas
are heard again. MacDowell concludes this piece very loudly, with a fff dynamic for the
final chord and tremolo. This bold ending conveys a sense of strength rather than the
mystery heard in the first A section.

56
To a Water Lily is the sixth piece from Woodland Sketches and is similar to To a
Wild Rose in its innocent character and ABA form. Like To a Wild Rose, the delicate
melody of this piece reflects the simple beauty of the flower and is supported by a
steady accompaniment, creating a sense of peace and tranquility. However, in this
piece, MacDowell uses a thicker texture of four-note chords which are to be played
very softly throughout, instead of the triads with subtle dissonances heard in To a
Wild Rose. The melodic line is also denser, with the melody doubled in octaves in the
right hand for nearly all of the A section.

57
Example 14: Woodland Sketches, To a Water Lily, m. 1-16
Like several of Debussys preludes, MacDowell uses three staves which help to
visually separate the melody from the accompaniment. The opening measures of this
piece have a pentatonic sound which gives the melody a directionless, floating quality.
This quality is enhanced by the constant chords in the lower register. The chords
emphasize the tonic, F-sharp major, and are placed on the second half of nearly every
58
measure. The consistent way in which MacDowell has written the harmony provides a
gentle supportive accompaniment above which the melody drifts. A very fluid legato
and clear voicing of the highest note of each chord in the right hand will help to create
the dreamy sound MacDowell has indicated.
MacDowell has written specific markings for the use of the pedal in the first line
of this piece. In m. 3, he has indicated that the pedal should be changed for each half
note, creating an Impressionistic quality. After the first line he simply writes with
pedal, likely meaning that the second line should be pedaled in the same manner as
the first line.
The climax of this piece appears in the B section. The B section also contains a
change in character, moving from 2/2 time to 3/2 time and from duple subdivisions in
the A section to a combination of duple and triple subdivisions in the B section. These
changes in meter and rhythmic patterns enhance the change in mood that MacDowell
has directed: questioningly. The more active B section is a fitting contrast to the
settled, placid sound of the A section.

59
m. 25
Example 15: Woodland Sketches, To a Water-Lily, m. 17-32
The B section begins softly, but in m. 19, an increase in both dynamic and tempo
leads to the climax in m. 25. Pacing these increases carefully will make the climax very
dramatic. MacDowell marks a diminuendo and a ritardando at the end of the B section,
but because the melodic line begins descending immediately after the climax, the
performer may find it more effective to begin the decay in m. 26.
Though it is not marked specifically, the damper pedal can be used in this section
as well. Changing the pedal for each half note, just as MacDowell indicated in the A
section will help to sustain the harmonies in the accompaniment and create some
blurring in the melody (which does not seem objectionable to MacDowell). Using the
60
pedal in this way will also help to create a full, rich tone for the climax at m. 25. The A
section returns in m. 33 and the piece ends softly. The last chord is marked ppp and is
held for seven beats, allowing the sound to fade completely before releasing.
The next piece in the set is evidence of MacDowells love of and familiarity with
childrens stories and folk tales. The title, From Uncle Remus, references books by Joel
Chandler Harris. Harris collected folk stories, songs, and fairy tales from African-
Americans of the Southern United States into several published volumes. The character
Uncle Remus was a slave who acted as narrator in the stories, which were written in the
dialect of African-Americans, incorporating the kind of local color that MacDowell
praised.
MacDowells From Uncle Remus is jolly and playful and begins in F major.
The melody has detailed articulations which help to create a playful sound in keeping
with the personality of Uncle Remus. The accompaniment contains several tenths,
which may be impossible for performers with smaller hands. If the chord must be
rolled, placing the lowest pitch of the chord on the beat with the right hand melody and
the upper notes of the chord slightly after of the beat will help to produce the spirit of
humor that MacDowell indicated.

61
Example 16: Woodland Sketches, From Uncle Remus, m. 1-16

62
m. 12
m. 19, B section
At the end of the A section, m. 12-18, the supporting harmony emphasizes C
major for several measures, as if the B section will be in the dominant. The root of the C
chord is then used as the third of the A-flat chord, and the B section begins in A-flat
major rather than the dominant. Using the crescendo that MacDowell has indicated to
lead into the B section will enhance the special color of this modulation.
63
m. 45-46
The A section returns in m. 45. The theme begins just as in the first A section, but
in m. 46, the melody takes a different direction. The chromatic descending line
transposes the remainder of the melody up by the interval of a fourth so that it ends in
the tonic key of F major, rather than the dominant C major which preceded the B
section. Throughout this piece, the performer should keep in mind the character and
spirit of Harris stories. There are moments of seriousness, but over-all the piece is light-
hearted, playful, and energetic.
The title of the eighth piece from Woodland Sketches is A Deserted Farm.
Though written in common time, MacDowells tempo marking is half note= 48.
64
Thinking of the pulse of this piece in half notes instead of quarters helps to keep it from
becoming too heavy.
Example 19: Woodland Sketches, A Deserted Farm, m. 1-16
The haunting melody MacDowell wrote has a range of only a ninth. It begins in
f-sharp minor and emphasizes pitches from the tonic and dominant chords (F-sharp, A,
C-sharp, G-sharp), placing these pitches on strong beats with neighbor notes and
passing tones on weaker beats. The first four measures are accompanied by open fifths
65
and one octave in the bass, adding to the hollow sound of the piece. Rather than voicing
the lowest pitch of the interval, playing the two pitches evenly will enhance this
emptiness.
m. 17, B section
m. 19
The B section in F-sharp major is more active and has a more cheerful character.
MacDowell indicates a slightly faster tempo, but the dynamic is still very soft. The
instructions as heard from afar help to describe a special color in the sound.
Experimenting with the una corda pedal in this passage may help to achieve that far
away sound. The damper pedal can also be used to help create the legato that
MacDowell has indicated, particularly when the right hand plays octaves beginning in
m. 19. The pedal can be changed every two beats, aligning with the harmonic changes
in the left hand.

66
When the A section returns, the melody is nearly identical to the first A section,
retaining the haunting sound, but with slight changes in the supporting harmonies.
Once again, the piece closes very softly, as if the image of the deserted farm is fading
away.
The piece that follows A Deserted Farm is By a Meadow Brook. These two
pieces demonstrate MacDowells ability to capture very different moods with equal
levels of success. A Deserted Farm is haunting, melancholy, and fairly static. By a
Meadow Brook is cheerful and charming with a constant sense of flowing, forward
motion. The meter remains constant throughout, but MacDowell utilizes varied
rhythmic subdivisions to produce contrasting characters in the different sections.

67
Example 21: Woodland Sketches, By a Meadow Brook, m. 1-8
The A section uses primarily triplet subdivisions and a legato melody, creating a
smoothly flowing cheery sound. Using horizontal motion rather than a vertical attack
will help to create a smooth legato to enhance the merry character.

68
m. 17, B section
In contrast, the B section uses duple subdivisions and many staccato
articulations, giving the music a more effervescent character. The performer can achieve
this sound with a more vertical attack and a light staccato.

69
m. 31
m. 33, A section
In m. 31, MacDowell indicates a ritardando as the music transitions from the
sparkling B section back to the smoothly flowing A section. Continuing to slow as
MacDowell has indicated through m. 32 and then, in m. 33, immediately returning to
the tempo of the first A section will help to highlight the contrasting character of the
two sections. When choosing a tempo, the performer should keep in mind MacDowells
indication of Gracefully, merrily. A tempo that is quick, but not frantic or rushed will
help to produce the mood that MacDowell suggested.
The final piece from Woodland Sketches is entitled Told at Sunset, and is a fitting
conclusion to the set. Once again, MacDowell uses loose ABA form, but in this piece,
70
the form seems to be based on character and key relationships rather than repeated
thematic material. The A section begins in f minor and has a melancholy character.
Example 24: Woodland Sketches, Told at Sunset, m. 1-4
The second phrase, m. 5-8, has a contour and rhythm similar to the first phrase,
but begins in A major instead of F minor. Voicing the top note of each octave will give
the melody a brighter sound.

71
At the end of the A section, MacDowell borrows melodic material from the third
piece of Woodland Sketches, At an Old Trysting Place, creating the sense that the pieces
of the set are interconnected.

72
m. 20
The B section of Told at Sunset is livelier and is in C major. On the first beat of
m. 20, MacDowell has written a C major chord with a tenuto. Thinking of a downward
motion, playing with a slow attack to the bottom of the key and then holding this chord
for the full rhythmic value helps to create the sense of sturdiness that MacDowell has
indicated, while also following MacDowells dynamic indication of ppp. In contrast, a
quicker attack and a lighter touch for the following staccato chords will produce the
very soft but vigorous sound that MacDowell described.
The A section returns in m. 70 in f minor with a melody taken from the eighth
piece of the set, A Deserted Farm. Like the melody of the first A section, this melody
also has a melancholy character.

73
m. 70
At the end of the piece in m. 84, MacDowell adds a coda taken from From an
Indian Lodge, the fifth piece of the set.

74
m. 84, Coda
By borrowing material from other pieces of the set, MacDowell may be
recollecting certain poignant memories one last time.69
69 Pesce and Lowens, MacDowell, Edward.

75
Fireside Tales
Fireside Tales, Op. 61 contains six short pieces. John F. Porte described these
pieces as having a certain strange, far-away-ness of thoughtand a grave
tenderness that is not quite like anything he had previously written.70 The first piece,
entitled An Old Love Story, is in ABA form and contains three different melodies.
70 Porte, 143.
76
m. 8
Example 33: Fireside Tales, An Old Love Story, m. 1-16

77
The A section is in F major and has a simple melodic line with a minimal
accompaniment. Keeping the accompaniment and harmony understated will allow the
listeners attention to focus on the sweet, gently floating melody which spans about one
octave. The second melody appears in the left hand in m. 8, while the right hand plays a
very soft and simple chord accompaniment, drawing the focus to the subtly decorated
left hand melody. Thinking of these melodies as two different instruments or voices will
help the performer to make them distinct. After a dominant-tonic cadence, the music
moves into the B section in the key of D-flat major.

78
m. 17, B section
m. 31

79
The melody in this section is written as a duet with a slightly more active
accompaniment. A very smooth legato and warmer, but still very soft tone produces a
very soothing effect in this section. The accompaniment pattern in the left hand spans a
twelfth, which is a difficult stretch for small hands. Using the second finger on A-flat to
shift between the D-flat and the upper note will help the performer to keep the left hand
as soft and smooth as possible. The climax appears in m. 31 as the activity pauses with
D-flat inverted chords in the last three measures of the B section before the A section
returns in F major. As the dynamic builds, keeping the tone warm and rich will prevent
the climax from becoming too harsh.

80
m. 43

81
The first melody in the return of the A section is the same as at the beginning of
the piece, but with a few harmonic changes in the accompaniment. The second melody,
again played by the left hand, appears in m. 43. It is also very similar to the first A
section, but contains a few more decorative grace notes. The piece comes to a peaceful
conclusion in F major.
The second piece from Fireside Tales, Of Brer Rabbit, is a contrast to the first
piece; it is humorous and jovial, evoking the character of the hero from the fairy tale
Brer Rabbit written by Joel Chandler Harris. The rabbit in this story is a clever
character who uses his wits rather than physical strength to overcome the obstacles he
encounters.
This piece is in loose rondo form. The first theme is in D major and is made up of
a cheerful staccato melody in the right hand and jumping chords in the accompaniment.
Following the articulations carefully and keeping the left hand light will help the
performer to create a carefree, whimsical sound.

82
m. 8, Second Theme
m. 12
Example 36: Fireside Tales, Of Brer Rabbit, m. 1-15

83
The second theme begins on the fourth beat of m. 8. Rather than the dominant of
A major, MacDowell uses F-sharp minor for the second theme and alternates between
rapid passages and more settled octaves. It is slightly more dramatic than the first
theme. Exaggerated differences between dynamic markings will help to create this
sense of drama. In m. 12, MacDowell begins to modulate from C-sharp minor back to
the first theme in D major, which appears in m. 17.
m. 17, First theme

84
m. 23 Third theme
Of the three themes, the third theme is the most dramatic and serious. It begins
on the fourth beat of m. 23, and contains denser chords, louder dynamic levels, and
accents on the first beat of nearly each measure. Using the pedal for all of m. 24 so that
the first chord is held for three beats and the half note in the left hand is held for two
beats adds to the dense texture and the more dramatic character. Bringing out the
highest note of the first chord will help to clearly define the melody.
In m. 29, MacDowell indicates that the first chord should be held for three beats
while the left hand plays staccato quarter notes on beats two and three. Most
performers will find this stretch impossible. One solution is to play the A-sharp with the
85
right hand. This pitch is an important color note in this chord and using the right hand
allows the most pitches of the chord to be held. Then, the left hand may be able to hold
the E and stretch to reach the two staccato quarter notes that follow. If this stretch is still
not possible, using the pedal to hold the chord and releasing on the fourth beat will also
allow the important color of this chord to be sustained.
m. 29
Example 39: Fireside Tales, Of Brer Rabbit, m. 29

86
m. 39
cv
m. 41
cv
m. 43
cv
m. 45
After the third theme, a chromatic scale in the bass leads to the third repetition of
the first theme in m. 39. The theme begins with two false starts in the wrong key.
MacDowell begins the theme in b minor and adds flourishes similar to those found in
87
the second theme. In m. 43, the melody begins in the correct key of D major and is
expanded to include more octaves and more chromaticism than the previous versions.
In order to keep the tempo steady and keep the energy of the piece moving
forward, the lowest pitches of the chords in the left hand in m. 45-47 should be played
on the beat with the right hand octaves. If the chord must be arpeggiated slightly, the
upper two notes will fall slightly after the beat.
A coda begins in m. 52 with detached octaves. Sixteenth notes in groups of four
and six begin quietly and grow louder as they rush to the conclusion, to be played as
swiftly as possible. Two measures of the opening melody are heard again in m. 63 and
64 before the final dominant tonic cadence in D major. A subito pp sound for this melody
that MacDowell has marked slyly, can have great effect, giving the sense that the
composer is ending the piece by winking at the listener.

88
m. 52, Coda
m. 63

89
From a German Forest, the third piece from Fireside Tales, seems to express
something more deep and profound than a simple walk in the woods. The layers of
sound and hazy echoes that MacDowell creates may bring to mind the supernatural.
The piece begins softly with the melody in octaves in the treble clef. In m. 5, MacDowell
indicates that the melody should be played ppp as heard from afar. The una corda
pedal can be used to help create a tone that is otherworldly and mystical.
90
m. 5
m. 8 m. 10
m. 12
Example 42: Fireside Tales, From a German Forest, m. 1-12
In m. 8 and 10, the rolled chords span five octaves and create a wash of color.
Taking extra time to roll these chords will help to keep them very soft and create a hazy
91
sound. In m. 12, a similar effect can be achieved in the sustained pitches, using the
damper pedal to add resonance to this mystical sound.
Beginning in m. 30, MacDowell writes the melody in a different style. Levy
recounts that MacDowell was fond of the German woods during holidays when
picnickers would gather in the forest and sing folk songs after dinner.71
m. 30
m. 41
71 Levy, 159.
92
MacDowell writes like mens voices between the staves where the tender
melody from the opening of the piece is now set in four parts as if it were a hymn. In a
thick forest, sounds can be softened and blurred by distance and the density of the trees.
The performer can mimic this effect by using a pp dynamic marking and a very smooth
melodic line. In m. 41, the hymn-like sound is interrupted by figuration similar to m. 11-
12 before the final cadence. At the end of this piece, MacDowell employs a technique
used by other composers of the Romantic era, such as Schumann.
m. 48
Example 45: Papillons by Robert Schumann, no. 12, Finale, m. 83-88

93
In m. 48, MacDowell writes an A-flat chord and gradually releases pitches until
only the middle C is sustained at a very soft dynamic level. The effect of this technique
is a mysterious floating quality as the sound dissipates and the German forest scene
fades away. Using short touches of pedal on each of the last three chords can help to
create an extremely smooth legato. MacDowell has marked the melody in the middle of
the chords with a slur and separate stems. Voicing this inner melody and then allowing
the sound of the final chord to dissipate completely before releasing the last note can
help to create a floating, mysterious sound.
Of Salamanders is the fourth piece of the set, bringing to mind the mysterious
nature of an unknown creature. In this piece MacDowell combines a traditional form
(rondo form) with coloristic effects, such as the Impressionists might use: chromaticism,
written-out trills, and scales.

94
m. 3
m. 4
Example 46: Fireside Tales, Of Salamanders, m. 1-12

95
The opening flourish that ascends to the first pitch of the melody is a coloristic
device similar to passages in some of Debussys preludes, such as this example from the
ninth prelude of Book 2.
Example 47: Debussy, Preludes, Book 2, Hommage a S. Pickwick Esq. P.P.M.P.C., m.

28-29
At the end of m. 3, MacDowell uses this sound again to lead into the next phrase.
In m. 4, he uses a written out trill in the left hand as another coloristic device. In these
passages, the performer should keep in mind MacDowells emphatic statements about
melody being the most important part of music. While these Impressionistic-sounding
effects create wonderful color in the music, they should never overpower the melody.
A Haunted House is an excellent example of MacDowells use of the pedal to
create special effects. As a performer, MacDowell was known for the way he used the
pedals in combination, but precise pedal markings are not regularly written in the
scores of his music. Instead of prescribing exact usage of the pedal, he often writes
96
simply with pedal, allowing the performer to come up with his own ideas about
pedaling. In the instances when MacDowell is more specific about how the pedal
should be used in his music, he seems to be trying to achieve a special color in the
sound. In this case, the use of the pedals seems to be intended to help the performer to
achieve the very dark and somber sound. Though the sostenuto pedal existed during
MacDowells lifetime, it was not yet common.72 It should also be noted that when
MacDowell writes two pedals, it is usually in a passage that is to be played very
softly. Therefore, it is likely that two pedals here refers to the damper pedal and the
una corda. The pedaling in this passage is similar to pedaling in Debussy and Ravel:
often the pedal sign in Debussy and Ravel is the bass note, and the pedal should
be held as long as the bass harmony. [Gieseking] would use flutter pedal is the
instrument and the hall did not permit a long, unbroken pedal.73 This pedaling
technique also works in many of MacDowells compositions. In A Haunted House,
pedaling with the bass and clearing the pedal each half note for the first ten measures
will help to create a sustained, somber sound without excessively blurring the melody.
72 Joseph Banowetz, The Pianists Guide to Pedaling, (Bloomington: Indiana University Press, 1985), 4.
73Dean Elder, Giesekings Pedaling in Debussy and Ravel, from The Pianists Guide to Pedaling, ed.
Joseph Banowetz, (Bloomington: Indiana University Press, 1985), 231.
97
m. 10
m. 11
m. 13
Example 48: Fireside Tales, A Haunted House, m. 1-17
The thicker, more orchestral texture of A Haunted House may be another
reflection of the influence of Romanticism in MacDowells music. The A section begins
with slow-moving chords and builds to a climax. As the dynamic increases, there is
greater separation between the melody and the accompaniment. From m. 10 to 13, both
hands play thick chords containing the melody in the upper part of the keyboard then
leap to the bass to play accompanimental octaves. One can easily imagine different
sections of the orchestra playing the parts in the different registers. As a solo pianist, the
98
challenge in these instances is to sustain the melodic line without allowing the other
half of the orchestra to interrupt. Voicing the melody carefully and listening for a
long phrase will help to separate the melody from the accompaniment as the intensity
builds to the arrival point in m. 11. The pedal can be used to help sustain the chords, but
the performer may choose to experiment with fluttering the pedal so that the melody
can still be clearly heard.
In the B section the dissonant melody is played by the left hand while the right
hand plays a rapid accompaniment pattern.

99
m. 28, B section

100
In playing this melody, the left hand must cross over the right hand several
times. Keeping the fingers of the right hand fairly flat and close to the keys while the
left hand takes have a higher position with rounder fingers closer to the fallboard will
help to facilitate this hand crossing.
In m. 33, MacDowell adds upward stems to part of the right hand figuration,
showing the importance of the ascending chromatic line. Paying special attention to this
line will help it to stand out from the accompaniment, but not overpower the left hand
which still has the melody.
m. 33

101
By Smoldering Embers, is the final piece of the set and has a thoughtful and
reflective sound. It is in D-flat major, but includes some unexpected harmonies, such as
the arrival of F major in the second phrase, m. 7. The character of this piece strongly
resembles An Old Love Story and creates an effective bookend for the set.
102
m. 7
m. 11
Example 51: Fireside Tales, By Smouldering Embers, m. 1-15

103
Rubato can be used more freely in this piece to create the musing character
MacDowell indicated. For example, in m. 11, following the melodic line and pushing
the tempo forward to the arrival point on the downbeat of m. 12 will create intensity in
the phrase. As the melody descends the tempo can relax so that the phrase ends calmly.
m. 16
Example 52: Fireside Tales, By Smouldering Embers, m. 16-25
Beginning in m. 16, MacDowell includes accent marks and two-note slurs in the
left hand. The pianist can create a sense of tension and release created by carefully
following these markings. MacDowell marks a slight slowing of tempo in m. 24.
However, this section (m. 16-25) is a long transition back to the A section. A well-paced
ritardando could be effective beginning around m. 21. Over-all the character of this
104
piece is introverted. Keeping the dynamics somewhat understated as if lost in ones
own thoughts will help to create an atmosphere of personal reflection.
New England Idyls
New England Idyls, Op. 62 is a set of ten pieces referring to scenes common in
New England. Of the ten, seven have to do with outdoor scenes; three of these deal
specifically with seasons. Each piece in the set, with the exception of From Puritan
Days, is prefaced by poetry written by MacDowell.
An Old Garden, the first piece from New England Idyls, begins in F minor. The
melody starts on C and rises to F before descending to C one and a half octaves below.
Then the melody rises again and, after four measures, ends on the same pitch with
which it began. MacDowell created a melody that seems to wander aimlessly, and ends
in the same place it began, much like the wandering of a garden path. Though the slurs
indicate small groups of one measure each, the performer can think of the first four
measures as one phrase to continue the musical intensity until the end of the fourth
measure.
105
Example 53: New England Idyls, An Old Garden, m. 1-4
When the B section begins in m. 17, MacDowell does not use the relative major of
A-flat, but chooses D-flat major, instead.
m. 17, B section
Example 54: New England Idyls, An Old Garden, m. 13-19

106
His choice of D-flat major for the B section creates special color in the music.
Perhaps what is most unexpected about this change is that it is unprepared. The
measures leading up to the B section emphasize the dominant and tonic chords, C
major and f minor. There is no preparation for the arrival of D-flat major in m. 17.
Instead of creating a transition in the music and modulating to the new key, MacDowell
ends one idea and immediately begins a new, contrasting idea. The performer can use a
richer, deeper tone to enhance this change in color.
The A section returns in an abbreviated version and the piece concludes quietly.
MacDowell indicates that pedal can be used throughout this piece, creating a peaceful
smooth sound and a character that is innocent and not too serious, much like To a
Wild Rose.
One of the qualities for which MacDowell was praised was his extraordinary
ability to communicate mood through music. The second piece from New England Idyls,
Mid-Summer is a good example of this ability. Porte called this piece a tone
impression of a drowsy summers day.74 The following poetry prefaces the piece:
Droning Summer Slumbers on
Midst drowsy murmurs sweet.
Above, the lazy cloudlets drift,
Below, the swaying wheat.
74 Porte, 147.
107
The poetry expresses the lazy, slumbering feeling of a warm summer day, and
MacDowells composition captures that mood.
Example 55: New England Idyls, Mid-Summer, m. 1-8
The meter MacDowell used for this piece is 6/8 and the tempo is very slow;
dotted quarter note = about 40. The 6/8 meter and the use of many quarter note-eighth
note rhythms give the music a soothing, rocking motion. The performer can enhance
this unhurried character by keeping the tempo relaxed, rather than pushing forward.
The melody consists of a gently rising and falling line with a few small leaps.
MacDowell does not use much syncopation in this piece, but places the bass
108
accompaniment and important melodic notes on the strong beats. He also indicates that
the pedal should be used; again, pedaling with the bass will help the performer to
create a sense of stability and calm.
The piece is in a modified ternary form. The B section is very short and
modulatory, beginning in B major and moving through E-flat major, A-flat major, B
major, G major, D Major, and F minor chords before pausing on a C major chord at the
end of the section.

109
m. 11, Bsection
In m. 17, the left hand has a pattern of rapid ascending and slower descending
accompaniment, creating waves of sound. Though the over-all dynamic is ppp, the
110
performer can use subtle dynamic inflections that follow the rising and falling line of
the accompaniment. When combined with the constantly changing harmony and the
sustained melody in the right hand, this section creates a dream-like effect, perhaps
reflecting the slumber mentioned in the poetry.
m. 23 m. 25
m. 27 m. 29
m. 31 m. 33

111
During the return of the A section, MacDowell does not finish the first phrase.
He begins it four times in the right hand (m. 23, 25, 27 and 29), and then begins two
more times in the left hand (m. 31 and 33) as the sound fades away. It seems as if the
melody drifts off in the middle of a thought. Though a wide range of dynamics appear
in this piece (from ff to pppp), each change in dynamic level should be gradual to
enhance the smooth and unhurried atmosphere.
In the third piece from New England Idyls, Mid-Winter, MacDowell conveys the
importance of sound and silence in nature. The tempo marking of slow does not
indicate an expressive quality, but the poetry preceding the music and the performance
directions within the score help the performer to determine the mood MacDowell was
trying to create.
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-winters throne.

112
The poem refers to the world wrapped in shrouded awe, an idea which is
reiterated in the performance directions MacDowell wrote: with muffled, somewhat
thick tone. The use of the soft pedal and a slow attack will help the performer to create
this tone. One can imagine a thick blanket of snow coating the New England
countryside and muffling all outdoor sounds. In this setting of snow-covered quiet, one
can connect with nature in a different way, appreciating the stillness and silence.
Example 58: New England Idyls, Mid-Winter, m. 1-12

113
The piece begins with both hands playing stately chords below middle C.
Because the melody is in close proximity to the accompaniment, it careful voicing is
necessary to separate the melody from the rest of the chords.
m. 9
In m. 9, MacDowell writes as smooth as possible. Pedaling each chord
separately will keep the melody clear while staying very close to the keys will help the
performer to produce a smooth legato sound.

114
m. 37
In m. 37, MacDowell uses rapid scales marked pppp, very smooth and indicates
that two pedals should be used. The performer can use this passage to determine the
tempo for the entire piece. Hearing each individual pitch of these scales is not
important; instead, the pianist can listen for the sweeping, coloristic effect created by
the rapid upward motion.
The slow-moving chords of the A section return and the piece ends softly. The
over-all slow tempo of this piece combined with regular harmonic motion makes the
115
music sound settled and peaceful. The composer seems to be wrapped up in this
moment, not hurrying along, but enjoying the peacefulness and stillness of winter.
In several instances, MacDowell creates an ambiguous opening by beginning
with chromatic melodic material or by using a triad and immediately moving away
from the tonal center that he suggested. For example, in the fourth piece of New England
Idyls, With Sweet Lavender, the key signature of one flat suggests F major and the
piece begins and ends with F major triads. However, the first pitch of the melodic line is
a B natural. The use of this borrowed pitch immediately creates a sense of uncertainty in
the sound.
Example 61: New England Idyls, With Sweet Lavender, m. 1-5
Though the melody begins tentatively, the A section has an over-all character
that could be described as peaceful. It is mostly in the upper half of the keyboard and is
fairly quiet, creating the tender and delicate mood that MacDowell suggested. The
116
performer can add to this sound by playing lightly. The B section is more troubled,
beginning in m. 13 in B-flat minor.
m. 13, B section
As the B section begins, low bass notes placed on the first beat of nearly every
measure ground the music, giving it more depth and intensity. In this section, the left
hand must cross over the right hand for the last eighth note of nearly every measure.
Preparing the leap from the last eighth note to the following downbeat will help the
performer to avoid accenting the bass half notes. Though the accompaniment is very
soft, the bass gives the B section more warmth. Pedal can also be used in this section to
sustain the bass half notes and fluttering the pedal if the melody becomes too muddied.
117
m. 42
In the return of the A section, MacDowell adds a short coda, beginning in m. 42,
where a duet is heard between the primary melody in the left hand and the secondary
melody in the highest note of the right hand chords, leading to a peaceful and quiet
conclusion.
In the fifth piece from New England Idyls, In Deep Woods, MacDowell
approaches the subject of an ancient imposing forest. He prefaced the piece with the
following lines of poetry:
Above, long slender shafts of opal flame,
Below, the dim cathedral aisles;
The silent mystery of immortal things

118
Broods oer the woods at eve.
The poetry written by MacDowell seems to imply a supernatural or spiritual
experience during the time he spent outdoors. The poem suggests the forest as a place
to encounter God by comparing the paths between the trees with the aisles of a
cathedral. The silence and dimness of a cathedral also have parallels with the
experience of walking alone in a dense forest where the trees shut out light and sound.
In an old forest, even on a sunny day, there is dimness at ground level because the tall
trees cast deep shadows. The magnitude of the trees and the thick growth of the forest
are reflected in the homophonic texture of thick chords MacDowell uses throughout the
piece.
In this piece, MacDowell indicates that the performer should create a special
color in the sound by using the pedals in a specific way.

119
He specifies that the sustenuto pedal should be used from the beginning of the B
section until the end of the piece. The most important function of the sustenuto pedal is
to sustain one pitch in the lower register of the piano, but it allows higher pitches to
vibrate slightly as well. The use of the sostenuto pedal here has two effects. First, it adds
to the thickness of the texture. Second, and perhaps more importantly, the ringing
created by the sostenuto pedal adds an aura of mystery or the supernatural, to which
MacDowell alluded in the poetry. Perhaps MacDowell was trying to capture the echo
one might hear in an empty cathedral. The use of the full range of the keyboard
120
combined with special pedal techniques and thick texture create an ethereal quality,
which may be a reference to a spiritual experience while in nature.

121
In m. 11, the layers of music MacDowell writes, both visually and aurally, seem
to reflect the idea of vertical space in the forest. He uses four staves, once again
separating the melody from the accompaniment.
m. 11

122
Both hands play four-note chords in the upper half of the keyboard and then leap
to play sustained pitches in the lower register. The range of pitches spans most of the
keyboard, communicating the size of the forest and adding to the sense of grandeur.
The poetry also refers to the distance between the treetops above and the forest
floor below, which is demonstrated musically by the range of pitches between the
melody and the accompaniment. The poem initially calls attention to the tops of the
trees but in the second line, the emphasis shifts to the ground beneath the poets feet. In
the music, MacDowell uses the range of the melody to guide the listeners focus.
123
m. 20
In m. 20, MacDowell moves from the higher pitches associated with the treetops
above to lower pitches representing the forest floor below by transferring the melody to
the lower register and the accompaniment to the higher register of the keyboard. The
focus has changed because the melody is in a different register, but the full sound and
the sense of vertical space are retained.

124
The music also reflects MacDowells comments about trees seeming hopeful
because they defy the laws of gravity and continuously stretch upward. In m. 11, the
melody is in the top two staves where both hands play four-note chords in the upper
register. The melody moves steadily upward for two and a half measures before
beginning a gentle descent.
m. 11
This ascending melodic line combined with the crescendo and MacDowells
performance direction with utmost volume of tone help the performer to create a
sense of upward striving and reaching of which MacDowell spoke. Throughout this
piece, the performer should take care to voice the melody clearly to make it stand out
from the thick chordal texture.
MacDowells portrayal of the American Indian in the eighth piece from New
England Idyls is very different than the portrayal in Woodland Sketches. From an Indian
Lodge, from Woodland Sketches is fairly somber throughout, but Indian Idyl is playful
125
and bouncy. MacDowell describes the desired sound as lightly, naively. Once again,
MacDowell indicates that two pedals should be used in this piece.
Example 69: New England Idyls, Indian Idyl, m. 17-28

126
m. 10
m. 13
The piece is in ABA form, beginning in F major with a light and graceful A
section. MacDowell implies the use of rubato in this piece by writing broaden leading
to a chord with a fermata in parentheses. Stretching the tempo slightly in m. 10 and a
little more in m. 13 will create a sense of playful suspense. After the fermata,
immediately return to the first tempo with a light staccato, keeping the over-all nave
character.
127
m. 17
For the B section, MacDowell moves to A major and a rocking triplet pattern. He
indicates the use of both pedals without change from m. 17 to 27.

128
m. 27
m. 28
m. 30
The end of the B section anticipates the return of the A section by including two
altered versions of the beginning of the melody from the A section in m. 28 and 30. The
first is marked with pathos, suggesting a more serious tone which can be achieved
with more arm weight, and firmer fingertips, sinking to the bottom of the key. The final
chord before the return of the A section is an F-sharp diminished chord, creating a sense
of suspense which can be enhanced by carefully following MacDowells directions for
slowing the tempo and decreasing the dynamic.
The ninth piece of the set is titled To an Old White Pine. Marian MacDowell
spoke of a specific tree that was likely the subject of this piece. In the forest around
129
Hillcrest, there was a stand of white pine trees. Settlers had cut down many trees, but
had left the white pine, which probably served as inspiration for MacDowells
composition. 75
m. 5
Example 73: New England Idyls, To an Old White Pine, m. 1-8
Much like In Deep Woods, the melody of this piece stretches and reaches
higher and higher to the arrival point of the first phrase in m. 5. Perhaps this melody is
indicative of the height of the tree MacDowell had in mind. Just as the eye would follow
the tree up and up, so the ear follows this long, ascending melodic line. The performer
can enhance this effect by using a well-paced crescendo and playing deep into the keys
75 Marian MacDowell, 28.

130
for a rich, full sound, especially in m. 4 and 5. Voicing the top note of the chord will
allow for an intense dynamic while avoiding a tone that is too harsh.
When this melody returns in m. 24, MacDowell uses shorter rhythmic values and
uses more stepwise motion, including more pitches from the B melodic minor scale.
m. 24
Example 74: New England Idyls, To an Old White Pine, m. 21-28
The pitches begin and end in the same register as the first time this melody was
heard. However, the quicker rhythmic values and greater stepwise motion in the scale
create a sense that the line is reaching even higher upward than the first time it was
heard. Again, pacing the crescendo well and keeping the musical tension in the phrase
131
until the arrival point at the fortissimo will help to enhance this sense of reaching
upward.
About From Puritan Days Marian MacDowell said, A pianists knowledge of
Puritan life in the early days of the Massachusetts Bay Colony will give ample
background for imaginative interpretation.76 Rather than poetry heading this piece,
there is a one-line inscription: In Nomine Domini, or In the name of God. This
piece is also in ternary form. The A section begins in D minor with a steady quarter-
note beat played by the left hand creating a somber mood.
m. 11
Example 75: New England Idyls, From Puritan Days, m. 10-18
76 Ibid., 29.
132
A second, contrasting melody appears in the upper register in m. 11. MacDowell
has marked this melody pleadingly. A softer dynamic and thinner tone will help the
pianist to create this effect.

133
m. 19, B section
m. 31, A section

134
The B section begins in m. 19, marked gradually faster and agitated. The
melody remains in the right hand through the B section, but both hands play
arpeggiated eighth-note chords to create a more flowing accompaniment. Playing this
accompaniment with firm fingertips so that each note is heard individually will help to
create this agitated sound.
m. 31
m. 35

135
When the A section returns in m. 31, the melody is doubled in octaves in the
right hand. The accompaniment has also been altered. MacDowell adds much more
depth and resonance by beginning each measure with a D octave in the low bass
register. Using arm weight and keeping the tempo steady throughout the return of the
A section will help to create the resolute and firm sound that MacDowell indicates in
m. 35. The piece is one of MacDowells less common aggressive endings, closing with a
sense of grandeur using D minor chords marked fff.
From a Log Cabin, the ninth piece of the set, is a tribute to MacDowells
creative studio at Hillcrest. The cabin was built in the woods, away from the main
house. Even though MacDowell was indoors working on his compositions at the piano,
he was surrounded by nature. An epigraph of three lines prefaces the piece:
A house of dreams untold
It looks out over the whispering tree-tops
And faces the setting sun.
MacDowell chose an uncommon time signature for this piece. Rather than
changing time signatures throughout the piece measure by measure, he writes both
common time and 3/4 indications at the beginning of the piece.

136
m. 4
m. 6
Example 78: New England Idyls, From a Log Cabin, m. 1-6
The A section begins in f minor and alternates between three and four beats per
measure. Throughout the A section, the subdivision of the beat is duple. The choice of
tempo is especially important for creating deep feeling in this piece and the use of
rubato will help to add extra depth of emotion. For instance, the performer can slightly
stretch the resolution of the phrase in m. 4.

137
m. 13
m. 19
In the B section, which begins in m. 13, MacDowell introduces a contrasting
mood. The section is marked tenderly, dreamily, and all of the B section is in 3/4 time
138
except for measure 19. Rather than changing time signatures measure by measure as he
did in the A section, MacDowell alternates between triple and duple subdivisions.
Using a very smoothly flowing legato and pedaling with the bass notes of the
accompaniment will create slight blurring in the melody and add to the dreamlike
quality of the B section.
The transition back to the A section, beginning in m. 33, is entirely in 4/4 time.
Again, MacDowell anticipates the return with a fragment of the melody from the A
section in m. 33, marked broadly.
m. 33

139
m. 43
m. 47
The second time the melody is played in the return of the A section, MacDowell
begins, but does not complete the melody. The first two measures of the melody are
played twice (m. 43 and 47), progressively softer, as if the melody is a fading echo. Once
again, he indicates how the pedal should be used to achieve the special sound of the
quiet conclusion.
MacDowell prefaces the final piece of the set, The Joy of Autumn, with the
following poetry:
From hill-top to vale,
Through meadow and dale,

140
Young Autumn doth wake the world
And naught shall avail,
But our souls shall sail
With the flag of life unfurled.77
The poetry helps to convey the level of excitement MacDowell felt in the fall.
Spring is often depicted as the most exciting season because new life bursts forth, while
fall tends to be seen as a more nostalgic season. Fall is often portrayed as the season
when life begins to fade. Instead, MacDowells poem refers to fall as a youthful season,
awakening the world.
As previously stated, the Transcendentalists believed that nature is best
understood from the innocent perspective of a child. To love nature is to experience
the delight and wonder of a child. The woods are pictured as having a rejuvenating
influence, so much so that in the woods a man is always a child.78 The
Transcendentalists also believed that mature adults should try to return to this childlike
way of viewing the world in spite of the education they receive.
The melody of The Joy of Autumn seems to have this childlike perspective. It
sounds fresh and vibrant and gives an impression of wonder and delight that a child
might experience on a brilliant autumn day. MacDowell uses a time signature of 3/4,
77 Edward MacDowell, Piano Pieces, 94.
78 Donald Koster, Transcendentalism in America, (Boston: Twayne Publishers, 1975), 33.

141
but because the predominant subdivision is a triplet figure, he includes a 9/8 time
signature in parentheses. The use of many quarter note-eighth note rhythms gives the
music a sense of lilting or skipping. These rhythmic qualities create forward motion in
the melody to help convey the sheer joy of a bright autumn day. The introductory
phrase of nine measures also adds to this mood.
m. 8
Example 82: New England Idyls, The Joy of Autumn, m. 1-9

142
This melody pushes the music forward and acts as a taking off point for the rest
of the piece. The bright E major tonality also adds to the character of excitement and joy
which the pianist can enhance by using very active fingers and a quick attack. The
introduction begins at a dynamic of fortissimo and builds for nine measures with only
one small diminuendo. Choosing an opening dynamic that is not too loud will allow
room for a dramatic crescendo. The hemiola rhythm in m. 8 and 9 can by emphasized
by stressing the accents.

143
This is the most virtuosic of the ten pieces in New England Idyls, ending with
scalar passages marked to be played as fast as possible. MacDowell has included
dynamic markings that follow the contour of the scalar passages. Careful attention to
these dynamics will emphasize the contour and keep this passage from sounding like
merely an exercise in scale playing.

144
m. 30
Students may find some challenge in m. 30 and 31 where the quintuplet rhythm
in the left hand is juxtaposed with a triplet rhythm in the right hand. The left hand
quintuplets are a coloristic effect and each note does not need to be heard separately.
Listening to the rhythm of the right hand melody will help the pianist to play these two
rhythms simultaneously.
145
CONCLUSION
History has relegated the music of Edward MacDowell to the sidelines. In music
history surveys, his contributions to the piano repertoire are usually given a few brief
paragraphs and there is some discussion of his work as a professor, developing the
music program at Columbia University. He is generally seen as a sentimental composer
who looked too much toward the past during a period in time when composers and
critics were looking for music that had more progressive ideas. For instance, composers
such as Ives and Cowell introduced new ideas about tonality and dissonance, securing
their places in history as great innovators. Too often, MacDowell is seen as simply
another Romantic composer, stuck in a tradition that was outdated.
MacDowell was not focused on an old-fashioned trend, but was furthering the
development of serious art music in the United States. He was striving to compose
American music that was comparable in quality to that of European composers, but did
not want to do so by borrowing folk tunes or idioms that were not natural for him, such
as ragtime. Some critics felt that he succeeded in his goal and that his music was indeed
uniquely American. Porte said that The American atmosphere is strong in [New
England Idyls], the scene suggested by each one belonging unmistakably to New
England.79
79 Porte, 146.
146
Pinpointing exactly which elements in MacDowells music make it sound
American is difficult. Like all artists, MacDowell was a product of his time. He was
strongly influenced by the training he received and the culture in which he lived. He
was an artist and a poet as well as a musician. He was well-educated, well-read in a
variety of topics, and was aware of current affairs. As Lawrence Gilman said, He
exemplified in a marked degree the truth that the typical modern music-maker touches
hands with the whole body of culture and the humanities80
Comparing MacDowells music to the music of Romantic composers, such as
Schumann, reveals many commonalities, including subject matter and treatment of
melodies and form. The German Romantic tradition makes up a large part of
MacDowells musical heritage. However, he was also educated for a time in France and
his music reflects the influence of the Impressionism he encountered there, such as
coloristic effects and pedaling techniques. During most of his years as a professional, he
was living and working within a culture that was embracing new religious and social
ideas, ideas that MacDowell echoes in his lectures such as the importance of spending
time in nature and an organic approach to the arts.
As discussed in Chapter 1, Romanticism, Impressionism, and Transcendentalism
are related philosophies. Because music is continually evolving, it is difficult to define
the exact point where one stylistic period ends and the next begins. Similarly, there is

147
continual development in philosophical ideas. Impressionism and Transcendentalism
are movements that are both described as outgrowths of Romanticism and all three can
be considered to be a reaction against Classicism. MacDowell spent his formative years
in different cultures where he was exposed to each of these three isms, making his
education a melting pot of influences which is reflected in his music.
Woodland Sketches, Fireside Tales, and New England Idyls are three sets of pieces
that contain some of MacDowells most well-known works. His character pieces contain
a great variety of moods from the playful and whimsical Of Brer Rabbit to the grand
In Deep Woods to the nostalgic An Old Garden. They have beautiful melodies,
interesting harmonies, and reflect the musical traditions that influenced MacDowell and
philosophy of music. I invite the reader to delve deeper into this body of music,
investigating the connections between music, philosophy, and culture in MacDowells
music and the implications these connections have for performance.

148
REFERENCES
Banowetz, Joseph. The Pianists Guide to Pedaling. Bloomington: Indiana University

Press, 1985.
Bobo, Richard. MacDowells Twelve Virtuoso Studies: A closer look. American Music
Teacher 42 (1992): 32-35.
Brodskaya, Nathalia. Impressionism. New York: Parkstone International, 2004.
Crawford, Richard. Edward MacDowell: Musical Nationalism and an American Tone

Poet. Journal of the American Musicological Society 49 (1996): 528-60.
Currier, T.P. Edward MacDowell: As I Knew Him, The Musical Quarterly 1 (1915): 17-
51.
Deaville, James. Raff, Joachim, Grove Music Online. Oxford Music Online. Oxford
University Press, accessed January 25, 2013, http://www.
oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/music/22816.
Debussy, Claude. Preludes, book 2. Paris: Durand and Company, 1913.
Dubal, David. The Art of the Piano: Its Performers, Literature and Recordings. Pompton
Plains: Amadeus Press, 2004.
Edward A. MacDowell, Musical Standard 29 (1908): 79.
Elder, Dean. Giesekings Pedaling in Debussy and Ravel. In The Pianists Guide to
Pedaling. Edited by Joseph Banowetz, 230-287. Bloomington: Indiana University Press,
1985.
Erskine, John. MacDowell at Columbia: Some Recollections. The Musical Quarterly 28

(1942): 395-405.
F. C. Some Kinds of Music: Transcendental Music. The Musical Times and Singing Class
Circular 29 (1888): 468.
Felton, Todd R. A Journey into the Transcendentalists New England. Berkeley: Roaring
Forties Press, 2006.
149
Finck, Henry T. An American Composer: Edward A. MacDowell. Century Illustrated

Magazine 53 (1897): 448-454.
Fountain, Richard Daniel. Edward MacDowell and the Formation of an American

Musical Culture. PhD dissertation, University of Nebraska, 2008.
Gilman, Lawrence. Edward MacDowell. London: John Lane Company, 1909. Accessed
September 13, 2012. http://www.gutenberg.org/files/14109/14109-h/14109-h.htm.
Gilman, Lawrence. The Music of Edward MacDowell. The North American Review 178
(1904), 927-932.
Gordon, Stewart. A History of Keyboard Literature for the Piano and Its Forerunners.
Belmont: Schirmer, 1996.
Hinson, Maurice. Anthology of Impressionist Piano Music. Van Nuys: Alfred Publishing
Company, 2002.
Hochfield, George. An Introduction to Transcendentalism. In American

Transcendentalism, edited by Brian Barbour, 35-51. Notre Dame: University of Notre
Dame Press, 1973.
Koster, Donald. Transcendentalism in America. Boston: Twayne Publishers, 1975.
Leonard, Neil. Edward MacDowell and the Realists. American Quarterly 18 (1966):
175-82.
Levy, Alan H. Edward MacDowell: An American Master. Lanham: Scarecrow Press, 1998.
Lowens, Irving. Music and Musicians in Early America. New York: W.W. Norton and
Company, 1964.
Lowens, Irving. Writings about Music in the Periodicals of American

Transcendentalism. Journal of the American Musicological Society 10 (1957): 71-85.
MacDowell, Edward. Critical and Historical Essays: Lectures Delivered at Columbia

University. Edited by W.J. Baltzell. Boston: Arthur P Schmidt, 1912.
MacDowell, Edward. Piano Pieces: Opp. 51, 55, 61, 62, edited by H. Wiley Hitchcock.
New York: Da Capo Press, 1972.
150
MacDowell, Marian. Random Notes on Edward MacDowell and His Music. Boston: A.P.
Schmidt Company, 1950.
Palmer, Christopher. Impressionism in Music. London: Hutchinson and Company, 1973.
Pasler, Jann. Impressionism. Grove Music Online. Oxford Music Online. Oxford
University Press, accessed January 25, 2013,
http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/music
/50026.
Pesce, Dolores. New Light on the Programmatic Aesthetic of MacDowells Symphonic

Poems. American Music 4 (1986): 369-89.
Pesce, Dolores and Lowens, Margery Morgan. MacDowell, Edward. Grove Music
Online. Oxford Music Online. Oxford University Press, accessed January 25, 2013,
http://www.oxfordmusiconline.com.proxy.lib.uiowa.edu/subscriber/article/grove/music
/17317.
Porte, John F. Edward MacDowell. New York: E.P. Dutton & Company, 1922.
Rhoads, Kenneth W. Thoreau, The Ear and the Music. American Literature 46 (1974):
313-328.
Tawa, Nicholas. From Psalm to Symphony. Boston: Northeastern University Press, 2001.

A Performance Guide To Selected Character Pieces of Edward MacDow

Enviado por

Dados do documento

Título original

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

A Performance Guide To Selected Character Pieces of Edward MacDow

Enviado por

Direitos autorais:

Formatos disponíveis

University of Iowa

Iowa Research Online

A performance guide to selected character pieces of

Copyright 2013 Abbie Corrine Brewer

This dissertation is available at Iowa Research Online: http://ir.uiowa.edu/etd/2444

Follow this and additional works at: http://ir.uiowa.edu/etd

Part of the Music Commons

Abbie Corrine Brewer

An essay submitted in partial fulfillment

Essay Supervisor: Professor Ksenia Nosikova

This is to certify that the D.M.A. essay of

Abbie Corrine Brewer

has been approved by the Examining Committee

constant encouragement, I would not have made it this far.

devoted to this project.

Special thanks to Dr. Ksenia Nosikova for her dedicated teaching,

mentoring, encouragement, and leadership.

LIST OF MUSICAL EXAMPLES v

CHAPTER 1: MACDOWELLS EDUCATION AND PHILOSOPHY 6

CHAPTER 2: INFLUENCES IN MACDOWELLS MUSIC 11

MacDowell and Romanticism in Music 11

CHAPTER 3: MACDOWELLS LATE CHARACTER PIECES: A

Example 1: New England Idyls, In Deep Woods, m. 1-3 35

Example 2: Woodland Sketches, To a Wild Rose, m. 1-21 37

Example 3: Woodland Sketches, To a Wild Rose, m. 22-51 38

Example 4: New England Idyls, Will o the Wisp, m. 1-9 41

Example 5: Woodland Sketches, Will o the Wisp, m. 19-24 42

Example 6: Woodland Sketches, At an Old Trysting Place, m. 1-17 43

Example 7: Woodland Sketches, At an Old Trysting Place, m. 18-30 45

Example 8: Woodland Sketches, In Autumn, m. 1-19 47

Example 9: Woodland Sketches, In Autumn, m. 25-41 48

Example 10: Woodland Sketches, In Autumn, m. 42-56 50

Example 11: Woodland Sketches, From an Indian Lodge, m. 1-13 52

Example 12: Woodland Sketches, From an Indian Lodge, m. 9-13 54

Example 13: Woodland Sketches, From an Indian Lodge, m. 20-37 55

Example 14: Woodland Sketches, To a Water Lily, m. 1-16 57

Example 15: Woodland Sketches, To a Water-Lily, m. 17-32 59

Example 16: Woodland Sketches, From Uncle Remus, m. 1-16 61

Example 17: Woodland Sketches, From Uncle Remus, m. 12-22 62

Example 18: Woodland Sketches, From Uncle Remus, m. 41-52 63

Example 19: Woodland Sketches, A Deserted Farm, m. 1-16 64

Example 21: Woodland Sketches, By a Meadow Brook, m. 1-8 67

Example 22: Woodland Sketches, By a Meadow Brook, m. 16-23 68

Example 23: Woodland Sketches, By a Meadow Brook, m. 27-37 69

Example 24: Woodland Sketches, Told at Sunset, m. 1-4 70

Example 25: Woodland Sketches, Told at Sunset, m. 5-9 70

Example 26: Woodland Sketches, Told at Sunset, m. 18-20 71

Example 27: Woodland Sketches, At an Old Trysting Place, m. 1-3 71

Example 28: Woodland Sketches, Told at Sunset, m. 20-24 72

Example 29: Woodland Sketches, Told at Sunset, m. 70-77 73

Example 30: Woodland Sketches, A Deserted Farm, m. 1-4 73

Example 31: Woodland Sketches, Told at Sunset, m. 83-90 74

Example 32: Woodland Sketches, From an Indian Lodge, m. 34-37 74

Example 33: Fireside Tales, An Old Love Story, m. 1-16 76

Example 34: Fireside Tales, An Old Love Story, m. 17-34 78

Example 35: Fireside Tales, An Old Love Story, m. 35-52 80

Example 36: Fireside Tales, Of Brer Rabbit, m. 1-15 82

Example 37: Fireside Tales, Of Brer Rabbit, m. 16-22 83

Example 38: Fireside Tales, Of Brer Rabbit, m. 22-28 84

Example 39: Fireside Tales, Of Brer Rabbit, m. 29 85

Example 41: Fireside Tales, Of Brer Rabbit, m. 50-65 88

Example 42: Fireside Tales, From a German Forest, m. 1-12 90

Example 43: Fireside Tales, From a German Forest, m. 30-43 91