Composers in England have not written a great deal for the pianoforte. Sir A. C. Mackenzie’s Scottish Concerto is an outstanding work, and recently Cyril Scott and Percy Grainger have added works to piano literature which have charm and interest. Scott experiments with modern systems of harmony, but Grainger has chosen to make use of the uniquely beautiful songs and dances of England, Scotland, and Ireland. His arrangements of many of these are effective; and as music they have the perennial freshness of the melodies about which they are woven.
In the United States but one name stands out prominently among the composers for the pianoforte. This is Edward MacDowell, who wrote numerous short pieces, études and concert pieces, as well as three big sonatas and two concertos. MacDowell’s treatment of the keyboard can hardly be said to be original, but the concertos, and among the shorter pieces the Hexentanz prove to be highly effective. Many of the short pieces, which are grouped together in sets, are charming. On the whole there is little suggestion of a new spirit in the work of this composer of a new land. Now and then he uses negro rhythms, as in the ‘Uncle Remus,’ sometimes he uses Indian motives, as in the ‘Indian Lodge’ of the ‘Woodland Sketches.’ His forms and his style are perhaps more akin to those of Grieg, with whom, indeed, his music will be often compared, than to the earlier Romantics. Unfortunately, however, instead of in a national idiom, he speaks in an intensely personal one. Short phrases and rhythms which are seldom varied seem almost to hamper his music, almost to clog its movement. On the other hand, as in some of the ‘Sea Pieces,’ he writes sometimes in a broad and open style, seeming to shake off the fetters of too intense a mannerism.
Ethelbert Nevin wrote several sets of short pieces, ‘In Arcady,’ ‘Venezia,’ and others, which have at least the charm of simple, sweet melody.
Mr. Arthur Foote and Mrs. H. H. A. Beach have shown themselves masters of an effective pianoforte style, a mastery that has on the whole been rare in this country.[41]
FOOTNOTES:
[38] The third hand part was written for one who did not know how to play the piano, and has but one and the same note throughout the piece.
[39] Die Neurussische Klaviermusik. In Die Musik, 1903, No. 8.
[40] Op. cit.
[41] For a detailed discussion of American composers the reader is referred to Volume IV of this series.