To a Wild Rose almost has me in tears, I find this music so delicately poignant, it reminds me of something utterly beautiful, utterly sad, utterly sacred, something from a very long time ago, of Infant school when it rained at break times, a pale green classroom, 1979, sunshine that never ended, snow and thick fog, my Grandad Peter in his long navy raincoat coming into the classroom to collect me, making Chanukiah (Candle holders for Jewish festival of Chanukah ). The cloakroom , the washbag, the end of the schoolday and running into my Mum's arms in the playground.
So graceful. So lovely. And yet, some movements are extremely sad. I can say Mac Dowell was the kind of most intimate sadness. Not smacking the piano in _FFF_ nor full of diminished chords: "Im quiet cryng in my Bedroom". Although I'm more a ultra-dramatic one, he showed us that the intimate way can, too, be beautiful!
@@tfpp1 , thank you for your comment! I must admit that I sounded like I prefer this more intimate style. But notice I said that I consider myself an “Ultra-Dramatic”. I’m a fan of a late Romanticism. I’m a Mahlerian in terms of Symphonies: full orchestra, overly bipolar dynamic range. I also admire Tchaikovsky’s deep sadness. But Mahler’s extreme dissonance is the soul of the era. You see, I often hear Brahms’ 4th last movement or Bruckner’s 8th Brass chorale before sleeping. All of this to say that I’ll give Mac Dowel’s Sonatas a listen. Of course, all of this excessive drama draws our energies. Lord Byron died before his 40s. But we need some drama and epical feeling now and then. For when we need to recharge the batteries, then we go for the intimate feelings. Bit.
@@JohannaA.5013 -- As to Epic Feelings, Bruckner is good, too, if you awake at the crack of noon as I do....and hear his 4th Symphony FINALE......Cheers from Acapulco!
Wow thanks for posting this! What a nice sounding interpretation of these MacDowell sketches... How did I not hear of Mandel before, I'll be looking for more of his recordings. This has to be a favorite.
The weirdest thing happened, I realized I could sing the entire "To a Wild rose" from memory. I simply can't remember where I heard it to the point I memorized it. Also I don't even remember if it was a piano playing it. I had no idea the piece is called that and who the composer was. Either way, great collection.
I learnt this song at primary school in the 1960s in England. I remember some of the words, not necessarily in the right order! "Slender flower, tender flower Gossamer and airy Every eye seeks thee In the hedgerow ..." There are different lyrics to this song though so I don't know if these are the words you know. Every time I see a wild rose I start singing it! They're blooming in England now
Hey I'm having trouble interpreting the direction in no.3 at measure 25 (6 measures from the end) does anybody have some idea what I'm supposed to do when I reach where the performer is at 4:30?
I would interpret it as "hold back (the time) a little, sometimes marked as "riten[uto]; you're not slowing down steadily (as e.g. you would in a "rit." at the end of a piece). This performer doesn't slow down much...I would hold back more (especially the second time) and add extra rubato. The tempo returns to normal 2 bars later, even though not marked.
Debussy is completely different, it's a new language. This is closest to Grieg. MacDowell was a contemporary of Grieg's and died only one year after Grieg died.
@@nandoflorestan Yes, Debussy's later works are a new language, undoubtedly. Perhaps I should have been more specific and said that it's pianistically like Grieg/early-Debussy. Even though they were contemporaries, Grieg and MacDowell nonetheless stand apart harmonically. They're more similar texturally. I've played enough Grieg, Debussy, and MacDowell to know the difference.
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The pieces themselves are lovely; not too virtuoso, but filled with lovely harmonies and rustic imagery.
It's a nice fall day for these pieces.
To a Wild Rose almost has me in tears, I find this music so delicately poignant, it reminds me of something utterly beautiful, utterly sad, utterly sacred, something from a very long time ago, of Infant school when it rained at break times, a pale green classroom, 1979, sunshine that never ended, snow and thick fog, my Grandad Peter in his long navy raincoat coming into the classroom to collect me, making Chanukiah (Candle holders for Jewish festival of Chanukah ). The cloakroom , the washbag, the end of the schoolday and running into my Mum's arms in the playground.
....and it's like Grieg channels through him in 'Water Lily'.....Marvelous! BRAVO from Acapulco!
Truly an American sound, Love this mans music. Thanks for Posting
Thank you for uploading with score! MUCH appreciated
So graceful. So lovely. And yet, some movements are extremely sad. I can say Mac Dowell was the kind of most intimate sadness. Not smacking the piano in _FFF_ nor full of diminished chords: "Im quiet cryng in my Bedroom".
Although I'm more a ultra-dramatic one, he showed us that the intimate way can, too, be beautiful!
Don’t listen to his sonatas, then. They’re exactly as you described, full of “piano FFF and chunky diminished and half-diminished chords”.
@@tfpp1 , thank you for your comment!
I must admit that I sounded like I prefer this more intimate style. But notice I said that I consider myself an “Ultra-Dramatic”. I’m a fan of a late Romanticism. I’m a Mahlerian in terms of Symphonies: full orchestra, overly bipolar dynamic range. I also admire Tchaikovsky’s deep sadness.
But Mahler’s extreme dissonance is the soul of the era.
You see, I often hear Brahms’ 4th last movement or Bruckner’s 8th Brass chorale before sleeping.
All of this to say that I’ll give Mac Dowel’s Sonatas a listen.
Of course, all of this excessive drama draws our energies. Lord Byron died before his 40s. But we need some drama and epical feeling now and then. For when we need to recharge the batteries, then we go for the intimate feelings. Bit.
@@JohannaA.5013 -- As to Epic Feelings, Bruckner is good, too, if you awake at the crack of noon as I do....and hear his 4th Symphony FINALE......Cheers from Acapulco!
By a Meadow Brook is so smooth and captivating I'm so sad because of how short it is
Wow thanks for posting this! What a nice sounding interpretation of these MacDowell sketches... How did I not hear of Mandel before, I'll be looking for more of his recordings. This has to be a favorite.
such genius!
Lovely find.
Thank you for sharing!
😊 🌻
Should be coupled with Čajkovskij's Seasons opus 37/bis for a nice concert program.
Clever how the final piece utilizes motifs/figures from some of the previous ones.
0:08 제1곡 들장미에게
6:33 제 5곡 인디언 오두막으로부터
The weirdest thing happened, I realized I could sing the entire "To a Wild rose" from memory. I simply can't remember where I heard it to the point I memorized it. Also I don't even remember if it was a piano playing it. I had no idea the piece is called that and who the composer was.
Either way, great collection.
I learnt this song at primary school in the 1960s in England. I remember some of the words, not necessarily in the right order!
"Slender flower, tender flower
Gossamer and airy
Every eye seeks thee
In the hedgerow ..."
There are different lyrics to this song though so I don't know if these are the words you know.
Every time I see a wild rose I start singing it! They're blooming in England now
0:08 1곡 들장미에게
6:33 5곡 인디언 오두막으로부터
Hey I'm having trouble interpreting the direction in no.3 at measure 25 (6 measures from the end) does anybody have some idea what I'm supposed to do when I reach where the performer is at 4:30?
Rit. or ritard. are abbreviations for ‘ritardando’, meaning gradually slowing.
I would interpret it as "hold back (the time) a little, sometimes marked as "riten[uto]; you're not slowing down steadily (as e.g. you would in a "rit." at the end of a piece). This performer doesn't slow down much...I would hold back more (especially the second time) and add extra rubato. The tempo returns to normal 2 bars later, even though not marked.
11:29 immediately thought of uncle ruckus
Sounds like Grieg and Debussy's child...
Debussy is completely different, it's a new language. This is closest to Grieg. MacDowell was a contemporary of Grieg's and died only one year after Grieg died.
@@nandoflorestan Yes, Debussy's later works are a new language, undoubtedly. Perhaps I should have been more specific and said that it's pianistically like Grieg/early-Debussy. Even though they were contemporaries, Grieg and MacDowell nonetheless stand apart harmonically. They're more similar texturally. I've played enough Grieg, Debussy, and MacDowell to know the difference.
@@nandoflorestan Sure but it still reminded me of Debussy
09:13
-11:06
12:42
Like a blend of Debussy and Grieg.
A couple pieces way too fast--eliminates all the poetry and nostalgia. Look at the metronome marks which are probably the composer's.
eLiMiNaTeS aLL ThE pOeTrY. Performer did a great job.
pianist no good. IMHO