Mr. Loeffler does not intend to present in this music a literal translation of Virgil’s verse into tones. The poem is a fantasy, inspired by the verses.
The poem opens, adagio, 2-2, with a short motive, which, with an inversion of it, is much used throughout the work. The first chief theme is announced dolce, mezzo-forte, by viola solo and three flutes. It may be called the theme of invocation. The latter half of it may be divided into two motives, the first a phrase descending in whole tones, the second a rising and falling wail. These two motives are used separately and frequently in all sorts of ways. After the exposition of this theme the pianoforte enters fortissimo with a harmonized inversion of the introductory motive; a crescendo follows with use of the foregoing thematic material, and a glissando for the pianoforte leads to an allegro, in which now familiar thematic material is used until the second theme appears (first violins, harp, pianoforte). This theme is developed. A pianoforte cadenza built on thematic material leads to a lento assai, 6-4, with a dolorous theme (No. 3) for the English horn. The trumpets behind the scenes give out the burden of the sorceress. The più vivo section may suggest to some a chase of wolves (“I have often seen Moeris become a wolf and plunge into the forest”). Tranquillo: a fourth theme, 4-4, is given to the pianoforte. Calando: the refrain is heard again from behind the scenes. Moderato: the second chief theme, 6-4, now appears, and it is used extensively. Largamente: the trumpets, now on the stage, announce the coming of Daphnis, and there is the suggestion of the barking Hylax. The ending is a fanfare of frantic exultation.
This poem, dedicated to the memory of Gustave Schirmer, was written originally in 1901 for performance as chamber music.
In 1905 and 1906 the work was remoulded and treated much more symphonically. The first public performance was by the Boston Symphony Orchestra in Boston on November 23, 1927, Mr. Gebhard pianist.
The poem is scored for three flutes (and piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets (and three trumpets off-stage), three trombones, bass tuba, kettledrums, glockenspiel, tam-tam, harp, pianoforte, strings.
EDWARD
MacDOWELL
(Born in New York, December 18, 1861; died there, January 23, 1908)
ORCHESTRAL SUITE NO. 2, IN E MINOR, “INDIAN,” OP. 48
I. Legend II. Love Song III. In War Time IV. Dirge V. Village Festival
The music has the characteristic force and tenderness of this composer when he was writing for himself and not directly for the general public. It is not necessary to lug in any question of whether this be distinctively American music, for the best pages of the suite are not parochial—they are not national.