Amy Beach (1867-1944)
Even before Dvořák had inflected his compositions with influences of African-American spirituals and the songs and rhythms of the Iroquois Indians, the composer/virtuoso pianist, Louis Gottschalk (born in New Orleans in 1829; so by far the senior member of the composers under discussion), had written a number of works based on the Creole music of his natal city. And they’re great fun!
Firstly, some banjo piano music…
… and then a symphonic movement with a serious percussion section!
All of which would have been anathema to Edward MacDowell who, having spent a considerable time in Europe studying with Joachim Raff, and, having been recommended to publishers by no less a figure than Franz Liszt, Macdowell was, unsurprisingly, a follower of the great musical tradition of Europe [mostly Germany], finding Dvořák’s search for an ‘American’ music among plantation songs and Native American dances more than a little upsetting.
Two of MacDowell’s most famous works: the piano suite Woodland Sketches and his Second Piano Concerto:
No. 1 – To a Wild Rose: 0:08
No. 2 – Will-o’-the-Wisp: 1:48
No. 3 – At an Old Trysting Place: 3:12
No. 4 – In Autumn: 4:59
No. 5 – From an Indian Lodge: 6:33
No. 6 – To a Water Lily: 9:13
No. 7 – From Uncle Remus: 11:28
No. 8 – A Deserted Farm: 12:42
No. 9 – By a Meadow Brook: 15:18
No. 10 – Told at Sunset: 16:17
Larghetto calmato (0:00)
Presto giocoso (13:36)
Largo – Molto allegro (18:19)
The youngest of this trio of composers is Amy Beach. One of the earliest American women composers/concert pianists and a prodigious talent. Like MacDowell, Beach also spent a considerable amount of time in Europe as you can deduce from the title of her only symphony – the Gaelic. She, initially at least, shared MacDowell’s rejection of Dvořák’s assimilation of the folk music of Afro and Native Americans.
0:00 Allegro con fuoco
11:20 Alla siciliana – allegro vivace
19:32 Lento con molto espressione
32:58 Allegro di molto
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The Art of Listening 