Poetry and Verse (Scherzino, Op. 26, No. 3)

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The tise of the word Memorial has sometimes given people the mistaken idea that the work of the Associa- tion was in the nature of propaganda for the MacDowell music. MacDowclTs work is finished. The MacDowell Colony 37 His music has long since spoken for itself and has gained whatever hearing it deserves. The concern of the Association is for contemporary work and for the future of American art in all its branches this and nothing else. Haase, Darmstadt, igth Oct.

The Opus would take at most minutes in performance.

Tune and scores are throughout clearly and correctly copied. You would infinitely oblige me if you would have the great kindness to grant my request. In the hope of receiving your early and favour- able answer, I am, With great respect, Yours gratefully, E. Other Mac- Dowell compositions are mostly obtainable through J. In America, Arthur P. Schmidt for all MacDowell works. The Two Old Songs Op. Their position in it, however, is somewhat misleading to the casual observer of the com- poser's artistic development, for they are the fruits of a mature period and were given the opus number they bear only as a matter of conveni- ence.

They were composed about ten or eleven years after the songs of Ops. The Two Old Songs are very beautiful and expressive, exhibiting the composer's melodic gift. Deserted is a setting of Robert Burns's lines, " Ye banks and braes o' bonnie Doon. The melody is one of the most poignant he set down, but it is subjected to repetition that becomes monotonous. The song is expressively indicated Slow: With pathos, yet simply. Slumber Song is a setting of some of the composer's own lines, " Dearest, sleep sound.

OpUS 10 43 The first public performance of this suite was secured by Liszt, whom MacDowell had inter- viewed and who was entrusted with the making up of the programmes of the General Society of German Musicians at that time. The First Modern Suite is of comparatively little importance to-day as music, but it is well written and interesting as an early work by MacDowell.

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Some significance may be attached to the fact that we find two movements of the suite , bearing quotations showing their source of inspiration and suggest- ing their poetic content. First Published, C F. My Love and I Op. You Love Me Not! In the Sky, where Stars are Glowing Op. The Chain of Roses Op. These songs are interesting as the first exam- ples published of MacDowell's work in this form of composition. They are well written and obviously sincere, which is in itself a merit rare in song writing, but they have little of the individual charm and beauty of expression found in the composer's later song groups.

My Love and I is the most popular of the set, having a certain distinctive charm of its own. The work was later revised by the composer, and while quite a good example of its form, as a MacDowell work it is unconvincing. Dedicated to Camille Saint-Saens. Much of this music was composed in the makeshift studio of a German railway carriage, while the composer was travelling to and fro to give lessons, between Frankfort and Darmstadt and from one of these to Erbach-Fiirstenau, the latter place entailing a typically tiring Continen- tal journey.

The music is of little importance to-day, although it is melodious and well written. Teresa Carreno, the masculine woman pianist, from whom MacDowell had received one or two early lessons in pianoforte playing, performed the Suite in New York City on March 8th, , and toured three movements of it in the following year, in other parts of the United States. Dedicated to Franz Liszt. Maestoso, Allegro con fuoco. Presto Maestoso Molto piu lento. Joachim Raff frightened MacDowell into com- posing this concerto. He called on his young OpUS 15 47 American pupil one day and asked him what he had in hand?

MacDowell, who stood in great awe of his master, was confused and hardly knowing what he was saying replied that he " was working at a concerto. He evaded his appointment, and his master named the following Sunday for their meeting, but Mac- DowelTs visit had to be further postponed until the following Tuesday, and by that day he had finished the concerto. On Raff's advice he took the work to Liszt, arranging a second pianoforte part for the purpose.

The old master received him kindly and asked D'Albert, who was present, to play the second pianoforte. At the finish he not only com- plimented MacDowell on his composition, but on his ability as a pianist, which pleased the young American immensely, for he had not yet come to regard his compositions as of any value, and pianoforte playing was his first study. Afterwards MacDowell wrote to Liszt asking him to accept the dedication of the concerto, which the venerable Hungarian did. The First Pianoforte Concerto hardly ranks as 4 8 Edward MacDowell one of MacDowell's finest works, it having been written before he had attained, in any notable degree, to his mature impressionist style.

It is, however, brilliantly written, bold and original in harmonic treatment and full of youthful fire and vigour. With the second concerto Op. If it has not the significant expression of its greater successors, it has at least a strength and fervency that indi- cate a youthful genius of no common order. Its interest is not of mere historic value as an early example of MacDowell's work, for it can be performed to-day with success.

It has a lasting white heat of inspiration and even in the light of the composer's greater works it still sounds remarkably brilliant and fresh. The influence of Teutonic training is evident and although the concerto cannot now be considered as thoroughly representative of MacDowell, it has a confident bearing and a certain individuality that mark it as something considerably more than a mere academic experiment. It must always be re- membered, however, that a two-page piece from Sea Pieces Op. Opus 1 6 49 OPUS Revised Edition Arthur P.

This is a weak and unimportant work in MacDowelTs catalogue. The conventional mor- ceau style did not suit his type of genius even before it was fully developed. Some years later the composer revised the piece, but it is still of little value, despite its outward grace and charm. First Published, J. Revised Edition of No. The Legend is interesting and by stretching the imagination may suggest some fantastic fairy tale, but its chief merit is that it is more in keeping with MacDowell's natural gift for musical suggestion than are the preceding 5 Edward MacDowell pianoforte pieces, and also the succeeding ones comprising Op, The Witches' Dance became popular with pianoforte virtuosi, being better known under its German title of Hexentanz.

My Flute Shelf

MacDowell grew to detest its shallow outlook and the appeal it made to the flashy pianist, although he himself played it in public as late as He revised both the Two Fantastic Pieces some years after their original publication. Humor esque in A. These are two more unimportant pieces in conventional style, indicating that MacDowell had not realized at that time just where his true genius lay. The revised version of Barcarolle made some years after its original publication, fails to make it convincing, although it has a certain outward charm and is well written in the Opus 19 51 particular style of piece of which it is an example.

Poetic significance, as we know it in MacDowelTs representative works, is conspicuous by its absence in these two compositions. New Edition, C. Dedicated to Miss Marian Nevins. Play of the Nymphs. Dance of the Dryads. These pieces are noteworthy as early attempts at significant expression and the consequent foreshadowing of MacDowelTs mature period. Their suggesting of their particular subjects as indicated in the titles is fairly well done, but they are of little importance as music, reflecting as they do the nineteenth century German romanticism that had already been fully ex- 52 Edward MacDowell ploited by Schumann and others.

There is little of the individuality of MacDowell in any of the Forest Idyls. The dedication is interesting, for Miss Marian Nevins became Mrs. MacDowell in the year of the original publication of the pieces. The revised edition of Forest Idyls now in circulation in England is by Robert Teich- miiller, and was issued in MacDowell himself revised the Reverie No. Forest Stillness is an Adagio, opening with softly breathed chords misterioso.

The effect is one of deep stillness, but soon becomes dull and burdensome, seeming to lack that touch of genius found in the composer's later works, which are able to preserve their interest throughout. Play of the Nymphs is technically clever and brilliant, but lacks interest and is too spun out. Reverie is a short and tuneful little piece with little or nothing MacDowell-like in it and much of nineteenth century German romanti- cism and harmonies. It has been arranged for orchestra, and for pianoforte and strings, 4. Dance of the Dryads would doubtless OpUS 20 53 attract lovers of the Sydney Smith type of salon music, if there are any of them left.

It opens in quite a bewitching dance manner and then goes on tinkling away on top notes, with chro- matic runs, half floating arpeggios and all the rest of the stock-in-trade of pretty salon music. There are, however, some rather characteristic touches in it, which distinguish it from its com- panions.

The key transitions from A flat major through distant D major and then F sharp major in bars 22, 23 and 24 Teichmiiller Edition respectively are quite personal. First Published,, J. Tale of the Knights. Like the Forest Idyls Op. They are quite musical 54 Edward MacDowell and well written for a pianoforte duet, but lack the sustained interest one expects to find in MacDowell's work. Visit of the Bear. The titles of these pieces are quite character- istic of MacDowell, and are early indications of his love of the imaginative and fanciful atmos- phere of fairy tales.

The pieces were originally intended to form a suite for orchestra, but the opportunity arose to have them printed as pianoforte duets and the composer was not in a financial position to refuse the offer. Unfor- tunately he destroyed the orchestral sketches. The Moon Pictures are as a whole charming and OpUS 22 55 imaginative in conception, and represent the fancies of the immortal Hans Andersen, although they are far from being truly representative of MacDowell as we now know him.

Composed, Frankfort, Winter, Dedicated to Henry Irving and Ellen Terry. With the appearance of Hamlet and Ophelia MacDowell found his reputation considerably increasing. The work was performed in a number of German towns soon after its first appearance, and within a year following its publication the Ophelia section was performed in the composer's native city, New York.

In the year following this latter event, the Hamlet section was played in the same city. The first complete performance at Boston, Mass,, was on January 28th, , the Boston Symphony Orchestra playing with Nikisch as conductor. Hamlet and Ophelia really consists of two separate 5 6 Edward MacDowell poems for orchestra, and was first published in that form, but MacDowell himself afterwards authorised its alteration into one work, and he named it First Symphonic Poem. The piece is not an altogether unworthy product of his genius.

Arthur Foote: Complete Piano Music

It bears unmistakable evidence of Teutonic influence, but there is a certain originality of thought and a freshness of spirit about it that make for serious work. It was by far the most important of MacDowelFs music up to this period, for in addition to a skill and brilliance of har- monic and orchestral colouring, it has a depth of feeling and fuller exposition of personality than its predecessors.

It has a sense of romance, a beauty of melodic outline and an attempted justification of title that are, at least, sincerely effected, and although it is far from being one of its author's representative works, it must be remembered that he was but twenty-four years of age at its completion. As a youthful achieve- ment it is very fine, the creation of a gifted, though immature, tone poet, and full of a pro- mise that the future was to amply fulfil.

Probably Commenced Early in at Frankfort. Completed at Wiesbaden the same year. Dedicated to Teresa Carrefto. Lar ghetto calmato Poco piu mosso. Largo molto Allegro, etc. This is the most frequently played of Mac- DowelTs two concertos for pianoforte. It is much the finer of the two, being constructed with greater skill and artistic confidence than the First Concerto Op. Like its predecessor, it is one of the composer's few compositions that have no definitely indi- cated poetic content.

As a whole it is a work full of feeling, brilliantly cohesive and logical, with good material that is handled with confident skill, but it is not to be compared with even the small works of the composer's mature period, which commences with his Opus Its char- acter, however, is altogether strong and virile, containing many passages of pure tonal beauty and eloquent expressiveness. The orchestra is written for with skill and imagination and is on equal terms with the solo instrument. The only fault of the work is that its pianoforte part is far too continuously brilliant. The concerto was enthusiastically received on MacDowell's first performances of it in New York in March, , and in Boston a month later.

On July I2th of the same year he played it in Paris. His playing of it at a concert of the New York Philharmonic Society on December I4th, , was a memorable one and created a furore, and he not only had to bow several times after each movement, but at the end was given a storm of cheering and recalled again and again to receive the acknowledgments of the Philhar- monic audience, which could be very critical OpUS 24 59 when occasion demanded.

The work had been first played in London Crystal Palace three years previously, by Carreno. British Empire Winthrop Rogers, Ltd,. The interval of time between the preceding work and these pieces is explained by the fact that MacDowell and his wife had been travelling, and the latter had passed through a dangerous illness at Wiesbaden. The Four Pieces for Pianoforte Op. The pieces 60 Edward MacDowell under notice are tuneful and well written, but quite devoid of the individuality that dis- tinguishes the composer's later works.

The brilliant Czardas was revised by MacDowell in his later period.

First American Performance at Boston, Mass. Lancelot and Elaine has its poetical basis in the legends of King Arthur's days, which MacDowell loved to read about and idealize. The work as a whole follows Tennyson's poem and is essentially programme Opus 26 6l music. It is impressively scored, rich and sonorous in harmonic treatment and full of strikingly vivid and expressive poetical feeling.

The brilliance of the tournament ; the loveliness of Elaine ; the nobleness of Lancelot ; the scene of the maiden's funeral barge floating down the river, and the knight's ensuing grief all are graphically illustrated in MacDowell's tone poem. The work embraces moods and colours from brilliant exhilaration to sombreness and poignant emotion. The climaxes are stirring and coher- ent, and in many places the music really attains to a considerable amount of dramatic power, contrasted by passages of infinitely expressive tenderness. The whole thing was evidently composed in a state of fervent inspiration and the feeling of Teutonic influence, which was still over MacDowell at that time, is forgotten in the power and beauty of his tone poetry, already becoming individual and distinct from that of other composers.

First Published, G. These songs are purely lyrical and are quite delightful examples of MacDowell's work in this form, which he was to afterwards uphold as a beautiful medium for song writing. They are not quite of his very best output, but make charming solo numbers and are free from vocal emotionalism. Many flower songs of other com- posers are harnessed to highly emotional subjects and tend to become love-songs, MacDowell's songs are a welcome relief in their purely lyrical outlook.

It will be noticed that the titles of the songs in this group are all of the simple type of flowers such as he loved, the gaudy, heavy and carefully cultivated blossoms being conspicuous by their absence. It will serve no purpose here to suggest which of the songs is the best, for each has its own particular charm and it is more a matter of taste and fancy than judgment as to which are the favourites. First Published, Arthur P.

In the Starry Sky Above Us. These are spirited and well written part-songs. They contain expressive matter and make good and contrasting numbers for male- voice choirs. The fact that they savour of the influence of the German romantic school does not detract from their general merit, although they are not truly MacDowell-like. British Empire Winthrop Rogers, Ltd. These pieces were suggested to the composer by lines by the German poet, Goethe.

The music attempts to suggest the various scenes indicated by the verses quoted at the head of each piece. It is an advance on the pre- ceding small pieces for pianoforte, and fore- shadows the later MacDowell of inimitable poetic suggestion in music. The whole set was later revised by the composer in his mature period, and in this form they are acceptable, but even now not satisfying to those who are acquainted with his greater work.

Completed, Bos- ton, Winter, First Published, Posthumously Arthur P. He, however, published his two later suites for orchestra, Ops. The chief demerit of Lamia is that it is obvi- ously influenced by the music of Wagner, and has but little of MacDowelTs customary indi- vidual expression.

Michael Moran (’The Reviewer’s Notepad’ author)

Apart from this defect, however, it is undoubtedly effective, strongly and well written, and interestingly scored. Mac- Dowell himself considered it at least the equal of his two earlier symphonic poems, Hamlet and Ophelia, Op. The work ' was published after his death by friends who were anxious to provide against any future doubt as to its authenticity. The composer dedicated it to Henry T. Finck, the distinguished American musical critic, who was one of the first to recog- nise the significance of MacDowelTs music. Lamia has its poetic basis in the romantic, legendary poem by John Keats.

An introduc- tory note by the composer in the full score briefly outlines the meaning of the music: Lamia, an enchantress in the form of a serpent, loves Lycius, a young Corinthian. In order to 66 Edward MacDowell win him she prays to Hermes, who answers her appeal by transforming her into a lovely maiden. Lycius meets her in the wood, is smitten with love for her and goes with her to her enchanted palace, where the wedding is celebrated with great splen- dour. But suddenly Apollonius the magician appears ; he reveals fh'e magic.

Lamia again assumes the form of a serpent, the enchanted palace vanishes, and Lycius is found lifeless. The music commences with a sinister theme, Lento misterioso, con tristezza, given out by bassoon and celli, accompanied by a soft drum roll. This motive is the main one of the work, and may be regarded as that of Lamia. After some impassioned development, the music leads quietly into an Allegro con juoco. This opens with a strong tune, having a distinctly Teutonic flavour.

It is announced by the horns con sordini, accompanied very softly by held notes in the strings, except viola, pizzicato in the celli, and tympani. From now onwards the music is graphic, and contains some passages of unmis- takable dramatic power. The presence of the sinister opening theme is frequently felt. Near the end the whole sinks away, a plaintive little clarinet solo, Lento, indicating the death of Lycius. This is followed by a short and vigorous conclusion. Opus 30 6 7 OPUS Composed, Wiesbaden, about First Per- formed, November, , at Boston, U. These two orchestral pieces have their poetic basis in The Song of Roland, and were at first intended by the composer to form movements, or at least important parts, of a symphony on the same subject.

The description, Fragments, under which MacDowell published them, after his plan for a symphony had been abandoned, is a very modest one for two such fine pieces of orchestral tone poetry. The Saracens is a piece of great power, dramatic and wild in spirit and vivid in harmonic and instrumental colouring. It represents the scene in which the traitor, Ganelon, determines on the deed that results in the death of Roland.

The whole passage is vividly suggested by the music. The Lovely Alda is a very beautiful and human piece. Alda was Roland's bethrothed and the music aims at suggesting her loveliness and her mourning for her lover. There are passages of 68 Edward MacDowell intensely impressive melancholy in the Fragment and its human feeling is typical of MacDowell. Altogether the two pieces are music on a high plane and worth attention for their own intrinsic value, quite apart from their connection with the symphony that never materialised. They bear a stamp of seriousness of effort and a con- scious responsibility that only the really great composer is able to indicate.

We Sat by the Fisherman's Cottage. Far Away, on the Rock-coast of Scotland. Shepherd Boy 's a King. Death Nothing is but Cooling Night. Poeme Certain of these pieces, in the edition revised by the composer, axe rather good, and are full Opus 31 6 9 of suggestive effort. They have, too, a touch of the composer's individuality about them, although not of Ms greater kind. The pianoforte writing is well done and effective, but lacks the sweep of line and power of the later works.

As a whole, however, the Six Poems after Heine are quite creditable and self contained pieces, each number bearing some Heine verses indicating its poetic basis. The first piece is contemplative and contains some distinctly MacDowell-Eke harmonic touches. The second graphically depicts the raging sea of the rocky coast of Scotland, a grey old castle and a beautiful, but ailing, woman harpist, whose gloomy song goes out into the storm.

The music is powerful and picturesque in the storm pas- sages, while the sad Scottish song of the woman adds vivid local colour to the whole. The third number is rather poor and devoid of any real interest. The journey in the post-chaise is told fairly graphically in the fourth piece. The music is not very interesting, although its hurried pro- gress suggests the monotony of travel in a rumbling vehicle on a night journey. The fifth piece is lovely and tender, but not particularly expressive. Its agitated middle section provides a good contrast. Two of the poems were played in orchestral garb for the first time in England at a London Queen's Hall Promenade Concert on October 3rd, Revised by the Composer, These pieces are, in their revised version, more individual and more worth playing than any of the preceding small pianoforte works by Mac- Dowell.

The Eagle is a tone picture of Tennyson's lines: He clasps the crag with crooked hands ; Close to the sun in lonely lands, Ring'd with the azure world, he stands. The wrinkled sea beneath him crawls ; He watches from his mountain walls, And like a thunderbolt he falls. The opening high, wind-swept chords ; the succeeding softly-breathed, high chromatics, with the deep- voiced bass, creating an atmosphere of the vast loneliness of wild mountain heights ; the gradual descent to spell-binding silence and then the startling shriek and swoop down of the eagle all these are suggested in this tiny piece with unmistakable power.

The Eagle is remark- able for its programme music aspect in the light of MacDowelFs later works, for in these it is perfected suggestion and not realism that we find. The Brook is a clever little piece, delicate and refined. It begins with lovable simplicity, which is broken for a time by an expressive and characteristic passage marked sotto voce. The piece as a whole has for its motto Bulwer's lines: Gay below the cowslip bank, see the billow dances ; There I lay, beguiling time when I liv'd romances; Dropping pebbles in the wave, fancies into fancies.

Moonshine opens softly with a broad and dignified melody. The expression soon becomes tender, but is interspersed with jocular little passages. MacDowell illustrates in his charac- teristic manner a lonely tramp at night, with the grotesque streaks of the moonlight breaking quaintly into the pedestrian's contemplative mood. The music is curiously lonely and suggestive of a quiet moonlight night in the country.

Particularly lovable are the soft, characteristic chord progressions, followed by lonely silence, on the second page, just before the opening melody returns. The piece ends with the moon kissing the traveller good-night. Winter is a piece of deep feeling, quite haunting- in its expression of lonely grief. Its motto is taken from some lines by Shelley: Opus 33 73 A widow bird sate mourning for her love Upon a wintry bough ; The frozen wind crept on above, The freezing stream below.

There was no leaf upon the forest bare, No flower upon the ground, And little motion in the air Except the mill-wheel 9 s round. The music is of the kind that remains in the memory for a long time and is of a quality as moving in its sadness as anything MacDowell ever composed. Its suggested scene seems to be the bleak and icy winter of North America. Revised Edition of Nos.

These songs are rather beautiful, and sincerely, although not grandly, inspired. These two songs are full of freshness and charm of expression. Menie is a beautiful song ; My Jean is, however, the more important of the two, it is inspired and characteristically human in spirit. Neither of these songs, however, can be compared for spontaneous beauty and expression with MacDowelTs later groups. Dedicated to David Popper. The usual significant poetic matter is absent, but unlike the pianoforte concertos Ops.

The technical side of the work is fair, the tone quality of the violoncello having been evidently con- sidered. The piece is dedicated to Popper, whose name is familiar to all 'cello players. First Pub- lished, Arthur P. It is good enough for the salon composer and the show pianist, but as coming from MacDowelTs pen it made a poor start as practically the first thing he composed on his return to his native country in , especially as he had been preceded there by his good European reputation.

The brilliant pianistic effect of the piece, however, is un- deniable. The pieces under notice are after Hugo's Les Orientates, and although tolerably suggestive of their titles, are of such poor inspira- tion that they have little or no musical value outside the salon type of compositions that the composer himself abhorred. Even the pretty Opus 38 77 Clair de Lune is shallow stuff, although it has attained some popularity as a melodious solo, both in its original version and in its arrange- ment for violin and pianoforte.

Revised and rearranged by the Composer, Revised Version, Arthur P. Dedicated to Miss Nina Nevins. These little pieces are quite notable and extremely interesting both in their original and 78 Edward MacDowell revised versions. Although the subjects they portray are the stiff-moving and grotesque figures of Marionettes, their general effect is often intensely human.

The set as a whole may be viewed as a half serious, half whimsical study of characters in human life, issued under the disguise of jointed and painted dummies. Beneath the quaint, stiff movement of the music there is just that touch of seriousness, a sort of droll sadness, that makes of it something more than a doll's play.

The revised edition of Marionettes is the best and most characteristic, and in the United States is the accepted one. In England, however, the original edition, published at Breslau in by Julius Hainauer, is still being sold. Soubrette is a stiff, but bright little piece. In places it has a wistfulness that seems to suggest that the human counterpart of the character has feelings, not being merely an emotionless puppet for public amusement. Lover has much the same stiff movement as the preceding piece, but is more tender and subdued, dying softly away in the final bars.

List of compositions by Viktor Kosenko - Wikipedia

There is much human feeling in this number. Villain is a realistic Marionette piece, with a quaint, foreboding and sardonic spirit, the little climax being quite villainous. OpUS 38 79 Lady-love brings a gentle and charming study to view, the typical quaint movement of the pieces as a whole being here considerably softened and made more flowing and graceful. Clown makes a 'jolly number, but beneath its outward dummy-like comicalness there runs a strain of human feeling that towards the end comes uppermost, the music becoming quite subdued, growing fainter and fainter until noth- ing is left but a few little final jerks.

Witch has a grotesque and mechanical jaunti- ness. There are some powerful and sinister passages in it, the final gesture, with its sudden tonic minor chord, capping the realism of the piece. In the revised version of Marionettes the character drawing is more skilful, and we inci- dentally notice the illuminating and character- istic English used in the works of MacDowelTs mature period instead of the conventional Italian musical terms.

The little comedy-drama is opened by a Prologue, in which jovial, wistful and sardonic motives variously indicate the types of characters in the play, and is rounded off by an Epilogue, which is one of the most beautiful of MacDowelTs smaller pieces, being full of tender feeling, and indicating unmistak- ably the deeper and human significance of the 80 Edward MacDowell composer's Marionette studies.

The whole album comprises one of MacDowelTs most interesting portrayals of everyday human nature, standing quite alone in its droll half-amusing, half-pathetic mode of expression. It is some- thing quite apart from the more specialised romantic and heroic figures of the three sym- phonic poems, Hamlet and Ophelia Op. Dance of the Gnomes. These pieces have as their chief object the development of pianoforte technique, but are quite interesting as poetical music. In his technical instruction, whether through musical examples or verbally, MacDowell inspired his subject with the idealism and vivid thought of the true poet.

The poetry of these studies is not of the composer's finest inspiration, but it is of a quality sufficient to prevent their being viewed solely as technical exercises. A major addition to the catalog. The piano music of Arthur Foote comprises perhaps the least known branch of his output.

We are indebted to the enterprising Kirsten Johnson for recording it complete for the first time. Naturally many of these pieces are world premieres…. One of the major discoveries of this set is the Serenade Op. Though seemingly slight, the five pieces of this suite show the composer at his most genial and even endearing.

The much later 5 Silhouettes is more dramatic — with a Prelude reminiscent of those of Op. American Record Guide , January Johnson engages these works with eloquence and expression….

Here her playing is understated yet deeply affecting…. Kirsten Johnson has given us an impressive series of fabulous CD recordings, mostly for Guild: In these she has shown a great spirit of discovery — as in her album of Albanian piano music; likewise the piano works of Amy Beach and Heinrich Schulz-Beuthen. Her enchanting phrasing combines with her breathtakingly soulful delivery to produce tremendous emotional impact.

Kirsten Johnson breathes life into her music. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. AmazonGlobal Ship Orders Internationally. Amazon Inspire Digital Educational Resources. Amazon Rapids Fun stories for kids on the go. Amazon Restaurants Food delivery from local restaurants.

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