ancelot and Elaine" (op. 25); the six songs, "From An Old Garden,"
to words by Margaret Deland (op. 26); the three songs for male chorus
of op. 27 ("In the Starry Sky Above Us," "Springtime," "The
Fisherboy"); the "Idyls" and "Poems" for piano (op. 28 and op. 31),
after Goethe and Heine; the symphonic poem "Lamia" (op. 29); the two
"Fragments" for orchestra after the "Song of Roland": "The Saracens"
and "The Lovely Alda" (op. 30); the "Four Little Poems" for
piano--"The Eagle," "The Brook," "Moonshine," "Winter" (op. 32); the
three songs of op. 33 ("Prayer," "Cradle Hymn," "Idyl") and the two of
op. 34 ("Menie," "My Jean"); and the "Romance" for 'cello and
orchestra. He had, moreover, the satisfaction of knowing that his work
was being received, both in Europe and in his own country, with
interest and respect. His reputation had begun unmistakably to spread.
"Hamlet and Ophelia" had been performed at Darmstadt, Wiesbaden,
Baden-Baden, Sondershausen, Frankfort. On March 8, 1884, his former
teacher, Teresa Carreno, had played his second piano suite at a
recital in New York; in March of the following year two movements from
the first suite were played at an "American Concert" given at Princes'
Hall, London; on March 30, 1885, at one of Mr. Frank Van der Stucken's
"Novelty Concerts" in New York, Miss Adele Margulies played the second
and third movements from the first piano concerto. In the same year
Mme. Carreno played on tour in America three movements from the second
suite, and in the following September she played at the Worcester
Festival of that year the "Hexentanz" of op. 17. On November 4,
1886, the "Ophelia" section of op. 22 was performed at the first of
Mr. Van der Stucken's "Symphonic Concerts" at Chickering Hall, New
York. Mr. H.E. Krehbiel, reviewing the work in the _Tribune_, praised
the orchestration as "brilliant" ("though the models studied are
rather more obvious than we like"), the melodic invention as
"beautiful" and as having a poetical mood and characteristic outline.
He considered that the music deserved repetition during the course of
the season, and pronounced it "a finer work in every respect than the
majority of the novelties which have come to us this season with
French and English labels." Mr. Henry T. Finck, writing in the
_Evening Post_, characterised the work as "an exquisitely conceived
tone-poem, charmingly orchestrated and full of striking harmonic
progressions." A year after the performan