This suite, although reminiscent of the nineteenth century German romanticism amongst which MacDowell was educated, has an atmosphere of its own that at once distinguishes it as an example of the highly sensitive and suggestive tone poetry peculiar to its composer. The work is very skilfully written and is remarkable for its freshness and buoyancy of spirit. The scoring is exquisite and always illustrative of the poetical subjects of the suite. Each of the pieces has in its title a suggestion of a scene of Nature, the first and last having also the fanciful and imaginative atmosphere of folk-lore; this provided MacDowell with a task in tone painting such as he loved. In In a Haunted Forest and Forest Spirits we have examples of the romantic and fanciful sort of tone poetry characteristic of the composer. In the Summer Idyl, in the fine, mellow beauty of In October and in the lovely Song of the Shepherdess we have MacDowell composing in his beloved Nature style, although not in a manner quite comparable with the pianoforte pieces, Woodland Sketches, Op. 51, and New England Idyls, Op. 62. As a whole, the First Suite for Orchestra is not the finest of MacDowell's orchestral works up to this stage, but it stands alone in the style of its poetic subject matter. It has not the same bearing as Hamlet and Ophelia, Op. 22, Lancelot and Elaine, Op. 25_, Lamia, Op. 29, or The Saracens and the Lovely Alda, Op. 30, which all have an historical or romantic outlook, but it possesses instead the wonderful spirit of mysterious Nature. Even the noble Second (Indian) Suite for Orchestra, the grandest of MacDowell's orchestral works, cannot alter the position of this first suite, which has an interest entirely its own. In performance the work is notable for its fresh and finely-coloured material, and makes a fine item in a concert because of its brilliancy and the charmingly interesting suggestions of its poetic sub-titles.
OPUS 43. TWO NORTHERN PART-SONGS, FOR MIXED CHORUS.
Composed, 1891. First Published, 1891 (Arthur P. Schmidt).
1. The Brook.
2. Slumber Song.
These are well written and effective part-songs, making lovely unaccompanied choral numbers. They have been undeservedly overshadowed by the composer's instrumental and solo songs. Both should be sung together for the sake of the intentional contrast.
OPUS 44. BARCAROLLE, FOR MIXED CHORUS AND ACCOMPANIMENT FOR PIANOFORTE DUET.
First Appeared, 1892 (Arthur P. Schmidt).
This is a meritorious choral piece, skilfully written. The somewhat elaborate accompaniment for pianoforte requires two players.