Mrs. Edward MacDowell: piano recitals of MacDowell music

              Available Jan 27 & Feb 2 or just 
Mrs. Edward MacDowell


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PIANO RECITALS OF MACDOWELL MUSIC


Management
 GERTRUDE F. COWEN 1451 BROADWAY NEW YORK

STEINWAY PIANO


Mrs. Edward MacDowell



THE name of Mrs. Edward MacDowell has been so absolutely identified with the development of the MacDowell Memorial Association, that a reply to the many requests from press and public concerning Mrs. MacDowell's own artistic achievements is now timely, in view of the countrywide interest more than ever strongly aroused in the life and work of America's great composer.




Born in New York of good American ancestry, Marian Nevins-MacDowell first evinced her rare musical gifts as a very young child.  Later at the age of eleven, she commenced thorough systematic study with her aunt, Mrs. Roger Perkins, of Camden, S. C., who had come North to live, following the vicissitudes consequent upon the civil war.




Mrs. Perkins was an excellent musician and gave her niece the fine foundation for her later work in Europe, where she journeyed at the age of eighteen for the specific purpose of studying with Clara Schumann.  Arrived at Frankfort, Mrs. MacDowell learned that a year of advance preparation with one of the daughters was required from all alike, before being admitted to Frau Schumann's classes.




Being of a practical turn of mind she could see no value in that for herself, so, acting upon the advice of Joachim Raff, with whom young Edward MacDowell was then studying composition, she decided to take up further preparation with this American teacher, more particularly as both spoke the one language.




Thus was established that close relationship of apt pupil and earnest teacher during a period of four years, when the time arrived for Miss Nevins' return home.  Only then did both come into the conscious realization of what the mutuality of ideals and ideas had meant to them.  Their marriage followed a year later upon Mr. MacDowell's return to this country.




Though amply prepared for a brilliant concert career, Mrs. MacDowell decided much against her husband's wishes to subordinate her own plans in order to give an undivided attention to Mr. MacDowell, arguing, that the fostering of a great 


Mrs. Edward MacDowell
creative gift was an infinitely higher mission for her, than interpreting the works of others.


But the priceless heritage has remained hers none the less, since, as exponent of the MacDowell works, she stands unique and alone in the musical world to-day.




The number of return engagements Mrs. MacDowell fills and the gratifyingly large demand for her artistic services which gave her fifty engagements each season, the past two seasons, and included the Coast and our great northwest in her itinerary, proves fully the important niche that is now hers in the musical life of America.  And, justly so, since the proceeds of these recitals revert unreservedly to furthering the work of the MacDowell Memorial Association, which aims to help foster creative talent in all its branches.



The subjoined fac-simile letter of Mr. MacDowell written in reply to some American friend's questioning the practicability of the then Miss Nevins' lengthy sojourn abroad, explains one of the seriocomic incidents of their student life.



TUESDAY




I have this honor to inform any persons who have the slightest doubt of my pupil M  M. Nevins' musical capability or advancements; that she, by her unwavering perseverance and hard work has placed herself since last Autumn 1880, on a level but rarely assumed by musical students 
professional
 or otherwise, I respect Miss Nevins' talent highly and shall only be too happy  her by all means in my power in her musical future which I consider assured her



E  MacDowell
Professor of Piano for the D  Conservatory


D 
14 L 
31/5/87.



Press Comment



Mrs. Edward MacDowell knows better how her great husband wanted his music to be interpreted than any one else does.


New York Evening Post (Henry T. Finck).




Mrs. MacDowell's interpretations of her husband's compositions are ideal.  To students and lovers of music, the rare opportunity enjoyed last evening will ever remain one of the brightest spots in the history of Port Huron's musical attainments.


Times-Herald, Port Huron, Mich.,
 Dec. 5, 1918.




Perhaps no one else could understand and interpret her husband's work quite as sympathetically as Mrs. Edward MacDowell.


Beacon-Journal, Akron, Ohio,
 Jan. 30, 1919.




The audience felt a close personal acquaintance with the greatest of American composers, and a new understanding of his music as they listened to the brilliant recital of Mrs. MacDowell.  She brought out with true artist sense the harmony and depth of the MacDowell music.


Daily Times, Davenport, Ia.,
 Feb. 13, 1919.




The individual charm and deep sincerity displayed by Mrs. Edward MacDowell made an unforgettable impression on her large audience when she told the story of her husband's life and ideals.  But, still greater interest, if that be possible, was displayed in her interpretation of the MacDowell music, because of the fact that all was played as the composer wished the numbers interpreted.


Lincoln Daily Star, Lincoln, Neb.,
 Feb. 21, 1919.




Mrs. MacDowell proved herself an interpretative artist of high rank by playing superbly a beautiful MacDowell program.  Lovers of MacDowell felt themselves the richer for having heard the best possible interpretation of his thought.  Many others acknowledged their debt to Mrs. MacDowell for having given them the first glimpse into a world of imaginative beauty.


The Peru Normalite, Peru, Neb.,
 Feb. 25, 1919.




In the execution of her husband's compositions, the perfect interpretation of a spirit which she thoroughly understood, Mrs. MacDowell submerged her own per-

Press Commentsonality in the creative genius of America's greatest composer.  So closely were the creator and the medium of reproduction allied, that dissemination was impossible.  Throughout her program, Mrs. MacDowell played in brilliant and masterful style.

Tulsa Daily World, Tulsa, Okla.,
 February 26, 1919.


Mrs. MacDowell played her entire program with a finish and perfection of technique that drew the most enthusiastic applause from her audience.  She proved herself a pianist of wonderful feeling and tone.


Evening Herald, Albuquerque, N. Mex.,
 March 3, 1919.



Of all interpreters of MacDowell, Mrs. MacDowell heads the list.  Having studied with her husband for years, as also having been closely identified with him in all of his compositions, she is, as she expresses it, 
a part of the brain of the great musician's work.


El Paso Times, El Paso, Texas,
 March 5, 1919.



Mrs. MacDowell played her program as only one who was so near and who listened daily to his teaching, could interpret the MacDowell works.  Having been her husband's art critic, it can be truthfully said that when she plays, MacDowell himself might be living and breathing again in his compositions.


Okmulgee Daily Democrat, Okmulgee, Okla.,
 March 14, 1919.



Her interpretation of many of the beautiful compositions of MacDowell were marvels of tone pictures and held the audience spellbound.  Mrs. MacDowell's technique is flawless, and is, with her tonal effects, governed and controlled to slightest interpretative shading by the mentality of a sincere, unaffected, well-rounded musician.


Nevada Daily Mail, Nevada, Mo.,
 March 25, 1919.



Mrs. MacDowell's interpretations were exquisite and masterful—her rhythm and tone wonderful.


The Times, Bay City, Mich.
 April 26, 1919.





COMPOSITIONS BY 
EDWARD MACDOWELL

PIANOFORTE




Op. 36.  ETUDE DE CONCERT


$ .75




Op. 37.  LES ORIENTALES





No. 1.  Clair de Lune


.40




No. 2.  Dans le Hamac


.40




No. 3.  Danse Andalouse


.40




Complete


.75




Op. 38.  MARIONETTESAugmented and revised edition.  (Edition Schmidt No. 59)
1.00


Op. 39.  TWELVE ETUDES FOR THE DEVELOPMENT OF TECHNIQUE AND STYLE


1.50



Op. 49.  Two Compositions





No. 1.  AIR


.40



No. 2.  RIGAUDON


.60



Op. 51.  WOODLAND SKETCHES


1.25



Op. 55.  SEA PIECES


1.25



Op. 57.  THIRD SONATA (Norse)


2.00



Op. 59.  FOURTH SONATA (Keltic)


2.00




Op. 61.  FIRESIDE TALES


1.25



Op. 62.  NEW ENGLAND IDYLS


1.25




SIX LITTLE PIECES (After Sketches by J. S. Bach)
.75
COMPOSITIONS PUBLISHED UNDER THE PSEUDONYM OF EDGAR THORN

AMOURETTE


$ .50



FORGOTTEN FAIRY TALES


.75



SIX FANCIES


.75




IN LILTING RHYTHM (2 Compositions)


.75





VIOLIN AND PIANO





Op. 37, No. 1.  CLAIR DE LUNE
.50
(Tr. by Arthur Hartmann)

Op. 51, No. 1.  TO A WILD ROSE (Tr. by Arthur Hartmann).  (
a
) 
Original Edition

.50
(
b
) 
Simplified Edition
 Ea.

Op. 62, No. 4.  WITH SWEET LAVENDER (Tr. by Leopold Auer)


.50




TO A HUMMING BIRD (Tr. by Arthur Hartmann)


.60





VIOLONCELLO AND PIANO





Op. 51.  WOODLAND SKETCHES(Tr. by Prof. Julius Klengel)

1.  To a Wild Rose


.50




2.  At an old Trysting Place


.50



3.  To a Water Lily


.50




4.  A Deserted F rm


.50



5.  Told at Sunset


.60





SIX SELECTED SONGS



Including Vocal Setting of 
To a Wild Rose
 (Sung by Madame Alda) PRICE $1.00




High Voice




Low Voice




The Arthur P. Schmidt Co. BOSTON, 120 Boylston St. NEW YORK, 8 W. 40th St.