Suite E Major ( See Appendix B )

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Suite in E Major (see Appendix B) Arthur Foote, along with John Knowles Pain, George W. Chadwick, Horatio Parker, Amy Beach, and Edward MacDowell, were a group of composers that became known as the “Second New England School” (Crawford & Hamberlin, 2013, p. 185). Foote was a well-known educator as well who served as a guest lecturer at the University of California, Berkeley in the summer of 1911, and also taught piano at the New England Conservatory from 1921 until his death in 1927 (Cipolla, n.d.) Foote began his music studies at the age of 12 and showed a lot of promise. However, the entered Harvard in 1870 to study law, but continued to take music courses. He was so encouraged by his music experiences in Harvard that he changed…show more content…
The third movement, as the title indicates, is a fugue and demonstrates many traits of Foot’s Romantic style. The movement is in the key of E minor, but borrows heavily from E major tonality ending on the major tonic. To a Wild Rose (see Appendix B) Edward MacDowell was a popular composer who favored the late romantic programmatic style over the classical German Romanticism that was popular among his American contemporaries (Crawford & Hamberlin, 2013). At the age of 16, MacDowell began studying piano and composition in Europe where he had some of his early compositions published. Upon returning to the United States he continued teaching, composing and performing in the Boston area. After becoming on of the nation’s leading musicians, he began teaching at Columbia University. Prior to his time at Columbia he wrote a few symphonic works, however his duties at the university only allowed him to write smaller pieces (Crawford & Hamberlin, 2013). “To a Wild Rose” is the first of ten short pieces from MacDowell’s Woodland Sketches, which is based on scenes from the New England countryside (Crawford, 1996). The programmatic nature of this piece exemplifies MacDowell’s idea that modern harmonies could aid in creating music that is more expressive without the need for words or scenery to describe an idea. The piece also demonstrates the influence of Wagner’s descriptive harmonic style while maintaining the
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