A well-known critic calls him the American Grieg, but while applauding the fanciful style of the Norwegian, one often hears MacDowell accused of being merely capricious. But what is caprice?
Bishop Trench reminds us in his famous treatise that the word is derived from _capra_, "a goat," and represents, in a picturesque manner, a mental movement as unaccountable, as little to be calculated on beforehand, as the springs and bounds of that whimsical animal.
The work of MacDowell certainly has the characteristic vigor and vividness, the unstudied activity, the unexpected leaps and springs that the derivation of the word "caprice" suggests. And, if one cares for mysticism, it is interesting to know that according to the teachings of the ancient science of astrology, which is having a considerable revival at present, the composer is entitled to unconventional methods and an unusual combination of qualities, as he was born on the cusp between the zodiacal signs of Sagittarius and Capricornus. The latter sign produces people who will work well independently, but are very restless when under orders or hampered by rules and regulations. They love freedom, are fine entertainers, have little self-esteem, are inclined to be either on the heights or in the depths, are excellent musicians and lovers of harmony and beauty. They are often victims of over-work because of the determination to make a brilliant success of what they undertake and of their lack of judgment in regard to their powers of endurance. Sagittarius people are characterized by directness of speech and act. They are of varied talents, very musical and turn naturally to the spiritual side of life. They belong to the prophetic realm and see wonderful visions, but are no idle dreamers, being always mentally and physically active. Whatever there may be in the science of astrology, one who is familiar with the life and character of Edward MacDowell cannot fail to be impressed by the correctness of this delineation, so far as it goes.
But his style of composition is not, to my mind, capricious. It is the result of many interesting influences of heredity, culture and individual temperament and application. When he went to Paris, at fifteen, he was a pupil of Marmontel in piano and of Savard in theory and composition; but young as he was, the French school did not satisfy him. He heard Nicholas Rubinstein play while in Paris, and became fired with enthusiasm by his style and impressed with the idea that in Germany he would find his own. His father was of Quaker extraction and had decided artistic ability, but his pious parents would not permit him to indulge even the thought of cultivating or pursuing so trivial a calling. Edward inherited his father's talent, and while in the French capital, during a period of despondency over his slow progress with the language, he made a caricature of the teacher of his French class on a leaf of his exercise book. In some way it fell under the tutor's eye, and it was of such excellence that it aroused new interest in the gifted hoy instead of indignation. The teacher showed it to one of the leading artists in Paris, who implored young MacDowell to leave off music and study art, assuring him that he had unusual ability. But the lad also had a well-developed discriminative faculty. He had chosen his ideal and could not he persuaded to forsake it, preferring tone-pictures to those made with brushes and palette.