should from their own experience have clearly understood the advantages it offers.

Gradually, in the face of discouraging skepticism and in spite of inadequate equipment, it has won recognition and support. Its triumph over initial obstacles is best illustrated by the extent to which it has grown and by the number of earnest art workers who have availed themselves of its opportunities.

Starting with MacDowell's home, his Log Cabin, and two hundred acres of land, the Colony now has five hundred acres of land, including three hundred and fifty acres of forest and a farm in good cultivation, well equipped farm buildings, fifteen studios, and five dwelling houses. There is also Colony Hall, a very large barn which through the generosity of Mrs. Benjamin Prince is being converted into a beautiful building. Colony Hall is the social centre of the Colony. The John W. Alexander Memorial Building, to be used for summer exhibitions of paintings and sculptures, is now under construction and will soon be completed. The Colony has also amassed equipment of another sort including the splendid Cora Dow library of some three thousand volumes and a most valuable collection of scores and costumes. Furthermore a superb open air theatre for outdoor festivals of music and drama has lately been completed. The beautiful stadium seats of this theatre are a gift from the National Federation of Musical Clubs.

Such growth in the physical plant of any enterprise is evidence enough of an actual, tangible success. The number of artists who have availed themselves of the advantages offered by the Colony are proof of another kind of success.

A SOCIAL ASSET

It should be clearly understood that the MacDowell Colony is in no sense a philanthropic enterprise. Although it does strive as far as possible to lower the barriers which lack of means so often places in the path of talent, yet it is not intended primarily for the impecunious. The qualification for admission to the Colony is talent. A prospective colonist must either have some fine achievement to his credit, or be possessed of a talent for which two recognized artists in his own field are willing to vouch.

The directors of the Association consider that it is a sound economic policy to offer the advantages of the Colony at a nominal price. They look upon the amount paid by the residents for board and lodging as the directors of a university look upon the tuition fees paid by the students. These fees are as much as the students can be expected to pay, yet they do not go far toward defraying the entire expenses of the university. The real return to be made by the student is that later contribution to society which in all likelihood will be more important on account of his years of study in the university. Similarly the directors of the Association are carrying on their undertaking for the enrichment of American Art and Letters. Like the university, the Colony must have either public or private support.

In a civilization like ours where the social significance of creative art is not yet popularly recognized, support for an enterprise like the MacDowell Colony cannot be expected from the government. Such support must come from individuals.

This is the reason why the directors of the MacDowell Association are appealing at this time to the friends and patrons of American art to help them raise an endowment of two hundred thousand dollars. Up to the present most of the necessary funds have been raised through the personal efforts of Mrs. MacDowell. The Directors feel that the time has come when her strength, never very great, must be more carefully conserved by lifting from her shoulders this very heavy financial burden. The Colony has had an amazing twelve years of life. Shall its future be threatened by lack of permanent income?

A CHANGE IN NAME

The name of the Edward MacDowell Memorial Association has been changed to the Edward MacDowell Association, Incorporated. The use of the word Memorial has sometimes given people the mistaken idea that the work of the Association was in the nature of propaganda for the MacDowell music. MacDowell's work is finished.

His music has long since spoken for itself and has gained whatever hearing it deserves. The concern of the Association is for contemporary work and for the future of American art in all its branches—this and nothing else.

[Illustration: Handwritten Letter.]

To the Hof-Capellmeister Dr. Haase, Darmstadt,

19th Oct., 1885.

DEAR MR. HOF-CAPELLMEISTER,

I permit myself to address you in the hope that you may perhaps feel inclined to have a little work of mine listed on a convenient occasion at a theatre. The Opus would take at most 15-20 minutes in performance. Tune and scores are throughout clearly and correctly copied.

You would infinitely oblige me if you would have the great kindness to grant my request.

In the hope of receiving your early and favourable answer,

I am,

With great respect,

Yours gratefully,

E.A. MACDOWELL.

THE MUSIC

ANALYTICAL AND DESCRIPTIVE NOTES ON MACDOWELL'S COMPOSITIONS IN ORDER OF OPUS NUMBER. WORKS UNNUMBERED FOLLOW ON

NOTE.—In the British Empire, the more important of MacDowell's pianoforte pieces and songs published in America by Arthur P. Schmidt are obtainable from Elkin & Co., Ltd., 8 & 10, Beak Street, London, W.I., who issue a list of the composer's works they sell. Other MacDowell compositions are mostly obtainable through J. & W. Chester, Ltd., II Great Marlborough Street, London, W.I. Ops. 24, 28 & 31 are issued by Winthrop Rogers, Ltd., 18, Berners Street, London, W.I. In America, Arthur P. Schmidt for all MacDowell works.

OPUS 1 TO OPUS 8.

Destroyed by the Composer.

OPUS 9. TWO OLD SONGS, FOR VOICE AND PIANOFORTE.

First Published, 1894. (Arthur P. Schmidt).

1. Deserted.

2. Slumber Song.

The Two Old Songs, Op. 9, head the list of MacDowell's published works with opus numbers. Their position in it, however, is somewhat misleading to the casual observer of the composer's artistic development, for they are the fruits of a mature period and were given the opus number they bear only as a matter of convenience. They were composed about ten or eleven years after the songs of Ops. 11 and 12, which in comparison with the Two Old, Songs are weak and devoid of individuality and originality. The Two Old Songs are very beautiful and expressive, exhibiting the composer's melodic gift.

Deserted is a setting of Robert Burns's lines, "Ye banks and braes o' bonnie Doon." It is one of the most expressive of MacDowell's songs, being full of deep and very human pathos. The melody is one of the most poignant he set down, but it is subjected to repetition that becomes monotonous. The song is expressively indicated Slow: With pathos, yet simply.

Slumber Song is a setting of some of the composer's own lines, "Dearest, sleep sound." The song presents a fairly good mating of words and music, and its expression is a lovable one, inimitably MacDowell-like in effect.

OPUS 10. FIRST MODERN SUITE, FOR PIANOFORTE.

_Composed, Frankfort,