THE SONGS

Any one who should undertake casually to examine MacDowell's songs seriatim, beginning with his earliest listed work in this form—the "Two Old Songs," op. 9—would not improbably be struck by an apparent lack of continuity and logic in the initial stages of his artistic development. At first glance, MacDowell seems to have attained a phenomenal ripeness and individuality of expression in these songs, which head the catalogue of his published works; whereas the songs of the following opus (11-12) are conventional and unimportant. The explanation, which I have elsewhere intimated, is simple. The songs of op. 11 and 12, issued in 1883, were the first of his Lieder to appear in print; the songs numbered op. 9, which would appear to antedate them in composition and publication, were not written until a decade later, when they were issued under an arbitrary opus number as a matter of expediency. Their proper place in MacDowell's musical history is, therefore, about synchronous with the mature and characteristic "Eight Songs" of op. 47. From the five songs now published in one volume as op. 11 and 12, the progress of MacDowell's art as a song writer is both steady and intelligible.

He has not been especially prolific in this field, when one thinks of Grieg's one hundred and twenty songs, and of Brahms' one hundred and ninety-six; not to mention Schumann's two hundred and forty-eight, or Schubert's amazing six hundred and over. MacDowell has written forty-two songs for single voice and piano, together with a number of ingenious and effective pieces for men's voices and for mixed chorus.

He has avowed his methods and principles as a song writer. In an interview published a few years before his death he declared his opinion to be that "song writing should follow declamation"—that the composer "should declaim the poems in sounds: the attention of the hearer should be fixed upon the central point of declamation. The accompaniment should be merely a background for the words. Harmony is a frightful den for the small composer to get into—it leads him into frightful nonsense. Too often the accompaniment of a song becomes a piano fantasie with no resemblance to the melody. Colour and harmony under such conditions mislead the composer; he uses it instead of the line which he at the moment is setting, and obscures the central point, the words, by richness of tissue and overdressing; and all modern music is labouring under that. He does not seem to pause to think that music was not made merely for pleasure, but to say things.

"Language and music have nothing in common. In one way, that which is melodious in verse becomes doggerel in music, and meter is hardly of value. Sonnets in music become abominable. I have made many experiments for finding the affinity of language and music. The two things are diametrically opposed, unless music is free to distort syllables. A poem may be of only four words, and yet those four words may contain enough suggestion for four pages of music; but to found a song on those four words would be impossible. For this reason the paramount value of the poem is that of its suggestion in the field of instrumental music, where a single line may be elaborated upon.... To me, in this respect, the poem holds its highest value of suggestion.... A short poem would take a lifetime to express; to do it in as many bars of music is impossible. The words clash with the music, they fail to carry the full suggestion of the poem ...

"Many poems contain syllables ending with e or other letters not good to sing. Some exceptionally beautiful poems possess this shortcoming, and, again, words that prove insurmountable obstacles. I have in mind one by Aldrich in which the word 'nostrils' occurs in the very first verse, and one cannot do anything with it. Much of the finest poetry—for instance, the wonderful writings of Whitman—proves unsuitable, yet it has been undertaken....

"A song, if at all dramatic, should have climax, form, and plot, as does a play. Words to me seem so paramount and, as it were, apart in value from the musical setting, that, while I cannot recall the melodies of many of the songs that I have written, the words of them are so indelibly impressed upon my mind that they are very easy of recall.... Music and poetry cannot be accurately stated unless one has written both."

It is clear that these are the views of a composer who placed veracious declamation of the poetic idea very much to the front in his conception of the art of the song-writer. They explain in part, also, the fact that MacDowell himself wrote the words of many of his songs, though, quite characteristically, he did not avow the fact in the printed music. The verses of all the songs of op. 56, save one, op. 58, and op. 60 (the last three sets that he wrote), of the "Slumber Song" of op. 9, of "The Robin Sings in the Apple Tree," "Confidence," and "The West Wind Croons in the Cedar Trees" (op. 47), and of some of the choruses, were of his authorship. He enjoyed what he called "stringing words together," and most of his verses were written off-hand, with a facility which betrayed the marked gift for verbal expression which is apparent in his often admirably stated lectures. But his especial reason for writing the words for his songs was his difficulty hi finding texts which quite suited him. Many poems which he would have liked to set were, as he explained in the words I have quoted, full of snags in the way of unsingable words. And though it used to make him uncomfortable to do so, he often felt compelled for this reason to refuse much otherwise excellent poetry that was sent to him with the request that he use it for music. Some of the verse that he wrote for use in his songs is of uncommon quality—imaginative, distinguished in diction, and, above all, perfectly suited to musical utterance. Of uncommon quality, too, are some of the brief verses which he used as mottos for certain of his later piano pieces—as for the "Sea Pieces" and "New England Idyls."

That his songs, as a whole, are comparable in inherent artistic consequence with his sonatas, or with such things as the "Woodland Sketches," the "Sea Pieces," and the "New England Idyls," I do not believe, although I readily grant the beauty and fascination of many passages, and of certain pages in which he is incontestably at the height of his powers. Here, as in his writing for piano and for orchestra, one will find abundant evidence of his distinguishing traits—sensitiveness and fervour of imagination, a lovely and intimate sense of romance, whimsical and piquant humour, virility, passion, an unerring instinct for atmospheric suggestion. But there are times when, despite his avowed principles in the matter, he sacrifices truth of declamation to the presumed requirements of melodic design—when he seems to pay more heed to the unrelated effect of tonal contours than to the dramatic or emotional needs of his text. As an instance of his not infrequent indifference to justness of declamatory utterance, examine his setting of "in those brown eyes," at the bottom of the last page of "Confidence" (op. 47), and of the word "without" in the fourth bar of "Tyrant Love" (op. 60). I dwell upon this point, not in any spirit of captiousness, I need scarcely say, but because it exemplifies a fairly persistent characteristic of MacDowell's style as a song writer.

Of that other trait to which I have referred—his not exceptional preoccupation with a purely musical plan at the expense of dramatic and emotional congruity—the attentive observer will not want for examples in almost any of MacDowell's song-groups. As a single instance, I may allege the run in eighth-notes which encumbers the setting of the second syllable of the word "again," in the fourth bar of "Springtide" (op. 60). Such infelicities are difficult to account for in the work of a musician so exceedingly sensitive in matters of poetic fitness as he. It may be that his acute sense of dramatic and emotional values operated perfectly only when he was unhampered by the thought of the voice.