Of great
Cuchullin's fall.
At the time of
publication he wrote to Oilman, "Here is the sonata, which it is a pleasure to me to offer you as a token
of sympathy, I enclose also some lines [of his own verse] anent Cuchullin,
which, however, do not entirely fit the music, and which I hope to use in
another musical form. They may serve, however, to aid the understanding of the
stimmung of the sonata. Cuchullin's story is in touch with the Deirdre-Naesi
tale; and, as with my 3rd Sonata, the
music is more a commentary on the subject than an actual depiction of it."
Gilman explains that "it is the Gaelic world that MacDowell has made to
live again in his music: that miraculous world of stupendous passions and
aspirations, of bards and heroes and great adventure - the world of Cuchullin
the Unconquerable, and Laeg, and Queen Maeve; of Naesi, and Deirdre the
Beautiful, and Fergus, and Connla the Harper, and those kindred figures in the
world's mythologies."
"The Fourth Sonata", he continues,
"marks the consummation of MacDowell's evolution toward the acme of
powerful expression. It is cast in a mould essentially heroic; it has its moods
of tenderness, of insistent sweetness, but these are incidental: the governing
mood is signified in the tremendous exordium with which the work opens, and
which is sustained, with few deviations, throughout the work. Deirdre he has
realised exquisitely in his middle movement: that is her image, in all its
fragrant loveliness. MacDowell has limned her musically in a manner worthy of
comparison with the sumptuous pen-portrait of her in Standish O'Grady's
Cuculain: 'a woman of wondrous beauty, bright gold her hair, eyes piercing and
splendid, tongue full of sweet sounds, her countenance like the colour of snow
blended with crimson'. In the close of the last movement we are justified in
seeing a translation of the sublime tradition of Cuchullin's death. The manner
of the hero's death is thus described by Standish O'Grady: 'Cuculain sprang
forth, but as he sprang, Lewy MacConroi pierced him through the bowels. Then
fell the great hero of the Gael. Thereat the sun darkened, the earth
trembled... when, with a crash, fell that pillar of heroism, and that flame of
the warlike valour of Erin was extinguished... Then Cuculain, raising his eyes,
saw thence northwards from the lake a tall pillar-stone, the grave of a warrior
slain there in some ancient war. With difficulty he reached it and he leaned
awhile against the pillar, for his mind wandered, and he knew nothing for a
space. After that he took off his brooch, and removing the torn bratta
[girdle], he passed it round the top of the pillar, where there was an
indentation in the stone, and passed the ends under his arms and around his
breast, tying with languid hands a loose knot, which soon was made fast by the
weight of the dying hero; thus they beheld him standing with the drawn sword in
his hand, and the rays of the setting sun bright on his panic-striking helmet.
So stood Cuculain, even in death-pangs, a terror to his enemies, for a deep
spring of stern valour was opened in his soul, and the might of his
unfathomable spirit sustained him. Thus perished Cuculain...' Splendid as this
is, it is paralleled by MacDowell's tone-picture. That, for nobility of
conception, for majestic solemnity and pathos, is a musical performance which
measures up to the level of superlative achievements."
In his early life,
Edward MacDowell wrote a number of short compositions under the nom de plume of
Edgar Thorn (Thorne). The Forgotten Fairy
Tales, Opus 4 were published in 1897 and "to Mrs Edward
MacDowell respectfully dedicated." In her Random
Notes on Edward MacDowell and his Music, Marian MacDowell (Mrs
Edward MacDowell) comments on this set of four piano pieces: "The first
number (Sung Outside the Prince's Door) perhaps
suggested the name "Forgotten Fairy
Tales" for this collection of pieces. It is difficult to
identify the title with any particular story, and since MacDowell was a great
lover of fairy-tales and folk-lore he may have drawn his inspiration from some
half-remembered source or from some fanciful tale suggested by his own lively
imagination. Whatever the origin of the piece, its interpretation is adequately
implied by its title, its songful character, and the composer's helpful marks
of expression." Of a Tailor and a Bear is
a clever musical portrayal of an old folktale of a tailor, who was such a
lover of music that he always kept his violin beside him as he worked. One day
as he was busily working, he heard a great commotion on the street, and
suddenly a big bear appeared in his doorway. Although he was very badly
frightened, the tailor remembered that bears love music; so he began to play
and the bear was so delighted that he began to dance. Soon the keeper came and
led the dancing bear away, and the tailor, much relieved, settled down to his
work. According to Mrs MacDowell: "One can easily find themes in the music
that suggest the bravado of the tailor, the bear's awkward tricks, his
heavy-footed prowling, and stumbling retreat down the stairs... Beauty in the Rose Garden comes from the
well-known tale of Beauty and the Beast wherein
Beauty's pity and kindness turn the Beast into a handsome and princely husband
for her. The two themes portraying Beauty and the Beast are well contrasted in
the music... From Dwarf-Land is
not based on a fairy-tale but rather portrays those grotesque, somewhat
malicious little people, who were accused of all sorts of evil tricks such as
changing children at birth and injuring animals. They were feared instead of
loved, as were the fairies, and to appease their anger food and drink were
sometimes left on the doorsteps for them. In this piece they seem bent on some
particularly gleeful pranks."
Six Poems after Heine, Opus 31
were written in 1887. MacDowell revised the pieces in 1898 and in 1901 issued
the six poems with his own English translations.
MacDowell composed
his Twelve Virtuoso Studies Opus 46
in 1894. According to Lawrence Gilman "with Opus 46 we come to a stage of MacDowell's development in
which, for the first time, he presents himself as an assured and confident
master of musical impressionism and the possessor of a matured and fully
individualised style." Each of the twelve studies is prefaced with a
title, giving the works the quality of tone-poems. The first, Novelette, has been described as
"freely communicative and subjective". It is the grand opening to the
set, Schumannesque and confident. The second, Moto
pelpetuo, is a perpetual motion study, perhaps intended to be a
tribute to Weber, whose own Perpetuum Mobile
was a popular encore piece. Wilde
Jagd (Wild Chase) is a musical picture of a wild hunt through the
woods, perhaps influenced by Liszt's study, Wilde
Jagd, or the literary influence of the chase in Washington Irving's The Legend of Sleepy Hollow. In
MacDowell's study the listener is at once plunged into the excitement of the
chase, the onward rush, attack wild lunges at the prey and the hunting-song,
all are there making the blood tingle. Improvisation
is very close to a true improvisation, giving an unusually graphic
impression of the pianist sitting idly at the keyboard, pouring out heartfelt
sentiment in a splendid surge of notes. MacDowell was an imaginative and
romantic composer and felt deeply the emotions aroused by music, one of the
most beautiful of which is expressed in this little masterpiece. Elfentanz (The Elfin Dance) is a splendid
tone picture of mischievous fairies with magical powers dancing. Valse triste is a languorous dance,
perhaps recalled in a distant memory or in a dream. Burleske is a glimpse of a nineteenth-century parody or
comedy revue. In MacDowell's hands it is humorous, skittish and fickle, and
before we know what hit us, it is over. Bluette
is a French term for a short, ""flashing" or
"sparkling" piece of music. In MacDowell's study the sparkle has some
melancholy moments. Traumerei (Dreaming)
also brings a feeling of lightness and languor not present in Schumann's better
known piece of the same name. The tenth etude Marzwind
(March Wind), fierce and strong, has the march wind blowing in
fitful gusts, wailing as if in mourning for the Summer's dead, "nature's
funeral cries for what has been and what is not."
There is strange
music in its stirring whirl and tumult, and this sensitive composer, whose ears
were attuned to nature's many voices, re-creates the mood and weird beauty of
the maddened air. In MacDowell's Impromptu we
sense a musical nod to Chopin and Schubert. In 1573 a young French Prince,
Henri d' Anjou, was crowned King of Poland at Cracow, then the Polish capital.
The ceremony was one of great magnificence, for Poland was then at the height
of her power, wealth and splendour. All the great lords of the realm with their
ladies were present, arrayed in barbaric oriental magnificence, and, moving in
glittering procession, were presented to the new King by the Master of
Ceremonies. The music for this procession, composed for the occasion, was the
first >Polonaise. It was doubtless
march-like in character with stirring rhythm and majestic tonal glory, music
that embodied the national character of the Polish people. MacDowell's Polonaise is as stern and indignant a
protest against tyranny as Chopin himself might have written. The pages in
which the music takes on a lighter colour are suggested abandonment to gaiety,
even in the face of inevitable disaster, the guillotine or Siberian exile. Just
before the noble first theme returns there is a long, wild sweeping figure,
like a bitter wind from the northern steppes hurling itself against the castle
walls or moaning among its towers and courts. Were he indeed a son of Poland,
MacDowell could not have expressed with greater sympathy that part of the story
of her tragedy which has inspired one of his finest compositions.
Victor and Marina
Ledin
James Barbagallo
James Barbagallo
was born in Pittsburgh, California on 3rd November 1952. His maternal
grandfather was a piano builder who recommended to his daughter that, when she
had children of her own, she start them at the keyboard, but only after they
had mastered their fractions. He was nine years old when he started formal
musical instruction and began to play the piano. The most influential teachers
in his life were James Beall, Julian White and Sascha Gorodnitzki and he
received a Bachelor's and Master's Degree from The Juilliard School in 1974 and
1976. At Juilliard he was Sascha Gorodnitzki's assistant. Although he was a
prize-winner at the University of Maryland International Piano Competition in
1978 and at the Gina Bachauer International Piano Competition in 1980, it was
his Bronze Medal at the Seventh International Tchaikovsky Piano Competition in
Moscow in 1982 that catapulted James Barbagallo into international prominence.
He toured allover the world, performing in many of the best concert halls and formed
the Amadeus Trio with Timothy Baker and Rafael Figueroa. In 1993 he began
recording the complete piano works of Edward MacDowell for Marco Polo, but
never completed the series. On 26th February 1996 he died unexpectedly of a
heart attack in California, where he had come for more recording sessions. He
was 43 years old. In addition to the four volumes of MacDowell's solo piano
music, he recorded MacDowell's complete songs with tenor Steven Tharp, a disc
of the Bach transcriptions of Russian pianist Alexander Ziloti, and Arthur
Foote's piano quintet and quartet with the Da Vinci Quartet of Colorado.