Edward MacDowell's valuation was high during his life-time. None other than Franz Liszt recommended his early work to Breitkopf and Härtel, who published his two suites for piano and First Piano Concerto. When the Second Piano Concerto was given its premiere performance, in New York on March 5th, 1889, with MacDowell at the keyboard and Theodore Thomas conducting, Henry Krehbiel described it as "a splendid composition, so full of poetry, so full of vigor, as to tempt the assertion that it must be placed at the head of all works of its kind produced by either a native or adopted citizen of America." Of the Kellie Sonata, fourth and last of MacDowell's piano sonatas, Lawrence Gilman wrote in 1905, "This is unquestionably his masterpiece. Nowhere else in his work are the distinguishing traits of his genius so strikingly disclosed — the breadth and reach of imagination, the magnetic vitality, the-richness and fervor, the conquering poetic charm." The subsequent fall in esteem for MacDowell's music followed a familiar pattern in music history. A generation which carries the banner of a "new music" always aims its most violent critical onslaughts at its immediate predecessors, and the American composers who came to maturity in the 1920's found everything "romantic" distasteful to them. But the value of a composer does not depend upon the "school" to which he may be assigned. What is important about MacDowell's music is that it is always deeply felt, it has a sweet and touching lyricism, it is imaginatively, soundly and fastidiously constructed, and represents a valid side of A-meric‘an musical thought quite different from that of any other composer who has appeared on the national scene. Edward MacDowell was born in New York City on December 18th, 1861, of Irish-Scottish ancestry. He early showed -musical gifts and at the age of fifteen his mother took him to France and enrolled him in the Paris Conservatory. Two years later he moved to Germany, where he studied piano and composition. In 1881 he became head piano teacher at the Darmstadt Conservatory, and at about the same time began to win attention with his compositions. In 1884 he returned home for a few weeks, marrying a former pupil, and then sailed with his wife for Europe where, making his headquarters Germany, he continued to compose prolifically. In 1888 he returned to the United States, settling in Boston. He was then a composer of solid reputation, with the two piano concertos, two symphonic poems, and a number of short piano pieces behind him. His life from this time was mainly centered about Boston, New York, and his summer home in Peterboro, New Hampshire...
S. W. Bennett (from the original Liner Notes)
Marjorie Mitchell
Plays
Edward MacDowell
(1860-1908)
Tracks
Piano Concerto n° 2 in D Minor, Op. 23
1 I. Larghetto calmato 13:35
2 II. Presto giocoso 5:15
3 III. Largo - Molto allegro 7:44
Piano Sonata n° 4, Op. 59 "Keltic"
4 I. With Great Power and Dignity (Maestoso) 8:02
5 II. With Naive Tenderness (Semplice - Teneramente) 5:36
6 III. Very Swift and Fierce (Molto allegro con fuoco) 5:25
7 To a Wild Rose (from Woodland Sketches, Op. 51, n° 1) 2:06
8 To a Water Lily (from Woodland Sketches, Op. 51, n° 6) 2:54
9 Will O' The Wisp (from Woodland Sketches, Op. 51, n° 2) 1:20
*
Marjorie Mitchell - p
American Arts Orchestra/William Strickland - dir.
Recorded ca 1958