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. CHAPTER X MODERN FRENCH PIANOFORTE MUSIC Classical traditions: Saint-Saëns, and others; C. V. Alkan--César Franck: his compositions and his style--Vincent d’Indy--Fauré--The new movement: Debussy and Ravel--Debussy’s innovations: new harmonies, scales, overtones, pianoforte technique; his compositions--Ravel differentiated; his compositions; Florent Schmitt and Eric Satie--Conclusion. I By far the most interesting and generally the most significant developments in pianoforte music since the time of Schumann, Chopin, and Liszt are those which have taken place in France. Not only have the French composers greatly enriched the literature for the instrument with compositions that have a value beyond that which fashion temporarily lends them; they have refreshed it as well with new ideas of harmony, and effects, which if they are not essentially new, are newly extended and applied.