3. To the Moonlight.
4. Silver Clouds.
5. Flute Idyl.
6. The Bluebell.
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 preceding small pieces for pianoforte, and foreshadows 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.
OPUS 29. THIRD SYMPHONIC POEM, LAMIA (AFTER KEATS), FOR FULL ORCHESTRA.
Commenced, Wiesbaden, 1888. Completed, Boston, Winter, 1888-9. First Published, 1908 (Posthumously) (Arthur P. Schmidt). Dedicated to Henry T. Finck.
MacDowell refrained from publishing this work because he had been unable to try it over in America with an orchestra, as he had been able to do in Germany with his earlier symphonic works, and he was not altogether certain of its effect. He, however, published his two later suites for orchestra, Ops. 42 and 48, with confidence.
The chief demerit of Lamia is that it is obviously influenced by the music of Wagner, and has but little of MacDowell's customary individual expression. Apart from this defect, however, it is undoubtedly effective, strongly and well written, and interestingly scored. MacDowell himself considered it at least the equal of his two earlier symphonic poems, Hamlet and Ophelia, Op. 22, and Lancelot and Elaine, Op. 25, and intended revising it. 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 recognise the significance of MacDowell's music.
Lamia has its poetic basis in the romantic, legendary poem by John Keats. An introductory note by the composer in the full score briefly outlines the meaning of the music:—