A pupil of
Liszt and schooled in the Romanticism of
Chopin,
Schumann, and
Brahms, Edward MacDowell was celebrated internationally as both a virtuoso pianist and composer, one of the first American artists so widely recognized. While MacDowell's reputation lasted for a considerable time after his premature death in 1908, his output gradually became obscure except for the perennial "To a Wild Rose," which contributed to a false impression that MacDowell wrote only sentimental miniatures and nothing more ambitious. One hearing of the truly grand "Sonata Eroica, Op. 50," or even the grandiose "Suite in E minor, Op. 10," will change that notion, and make a convincing case for his ambition and ingenuity. While there is still plenty of gushing passion, flamboyance, and bombast in MacDowell's larger pieces -- in fairness, what was expected of a Lisztian -- there are some surprises, most notably the
Grieg-like sprightliness in the "Suite"'s Intermezzo, the clever Fugue in the same piece, and the fluttering grace notes in the "Sonata"'s second movement, which reveal MacDowell's invention and good humor. Pianist Sandra Carlock gives bold performances of these overlooked works, and renders a more complete portrait of MacDowell, with deeper shadings and richer colors than the quaint parlor favorites ever suggested. Somm's sound quality is clear and resonant, but with a hard metallic edge in the loudest passages.
