later the composer revised the piece, but it is still of little value, despite its outward grace and charm.

OPUS 17. TWO FANTASTIC PIECES, FOR PIANOFORTE.

First Published, 1884 (J. Hainauer). (Revised Edition of No. 2—Arthur P. Schmidt.)

1. Legend.

2. Witches' Dance (Hexentanz).

The Legend is interesting and by stretching the imagination may suggest some fantastic fairy tale, but its chief merit is that it is more in keeping with MacDowell's natural gift for musical suggestion than are the preceding pianoforte pieces, and also the succeeding ones comprising Op. 18.

The Witches' Dance became popular with pianoforte virtuosi, being better known under its German title of Hexentanz. MacDowell grew to detest its shallow outlook and the appeal it made to the flashy pianist, although he himself played it in public as late as 1891. He revised both the Two Fantastic Pieces some years after their original publication.

OPUS 18. TWO PIECES, FOR PIANOFORTE.

First Published, 1884 (J. Hainauer). (Revised Edition of No. 1—Arthur P. Schmidt.)

1. Barcarolle in F.

2. Humoresque in A.

These are two more unimportant pieces in conventional style, indicating that MacDowell had not realized at that time just where his true genius lay. The revised version of Barcarolle made some years after its original publication, fails to make it convincing, although it has a certain outward charm and is well written in the particular style of piece of which it is an example. Poetic significance, as we know it in MacDowell's representative works, is conspicuous by its absence in these two compositions.

OPUS 19. FOREST IDYLS, FOR PIANOFORTE.

First Published, 1884. New Edition, 1912 (C. F. Kahnt Nachfolger. British Empire—Elkin & Co.).

Dedicated to Miss Marian Nevins.

1. Forest Stillness.

2. Play of the Nymphs.

3. Rêverie.

4. Dance of the Dryads.

These pieces are noteworthy as early attempts at significant expression and the consequent foreshadowing of MacDowell's mature period. Their suggesting of their particular subjects as indicated in the titles is fairly well done, but they are of little importance as music, reflecting as they do the nineteenth century German romanticism that had already been fully exploited by Schumann and others. There is little of the individuality of MacDowell in any of the Forest Idyls. The dedication is interesting, for Miss Marian Nevins became Mrs. MacDowell in the year of the original publication of the pieces. The revised edition of Forest Idyls now in circulation in England is by Robert Teichmüller, and was issued in 1912. MacDowell himself revised the Rêverie (No. 3) and the Dance of the Dryads (No. 4) in his later period, and these are published in America by Arthur P. Schmidt.

1. Forest Stillness is an Adagio, opening with softly breathed chords misterioso. The effect is one of deep stillness, but soon becomes dull and burdensome, seeming to lack that touch of genius found in the composer's later works, which are able to preserve their interest throughout.

2. Play of the Nymphs is technically clever and brilliant, but lacks interest and is too spun out.

3. Reverie is a short and tuneful little piece with little or nothing MacDowell-like in it and much of nineteenth century German romanticism and harmonies. It has been arranged for orchestra, and for pianoforte and strings.

4. Dance of the Dryads would doubtless attract lovers of the Sydney Smith type of salon music, if there are any of them left. It opens in quite a bewitching dance manner and then goes on tinkling away on top notes, with chromatic runs, half floating arpeggios and all the rest of the stock-in-trade of pretty salon music. There are, however, some rather characteristic touches in it, which distinguish it from its companions. The key transitions from A flat major through distant D major and then F sharp major in bars 22, 23 and 24 (Teichmüller 1912 Edition) respectively are quite personal.