ains four symphonic poems for orchestra, the
First Suite, scored for orchestra, and the Second, or "Indian"
Suite,--in all, six large works for orchestra. There are two concertos
for pianoforte and orchestra, both of which have been played very
successfully, the first one many times over by Mme. Carreno and by Mr.
MacDowell himself. There is a romance for 'cello and orchestra; two
numbers of four-hand pieces, originally so composed; twelve books of
songs; and quite a long list of pieces for the pianoforte.

To take the more important of the latter, there are, first, twelve
studies, opus 39, which are of various lengths, from two to six pages
each; in part fancy pieces for the piano, and in part intended to serve
as exercises in different styles of playing. Then there are twelve
virtuoso studies, opus 46, much more difficult than the preceding and
very interesting and marked in their characteristics. There are six
Idylles, opus 28, and quite a number of other small pieces for piano,
of no great ambition, but all poetic and seriously done. The most
popular of the purely pianoforte pieces, perhaps, is the "Witches'
Dance," which has the advantage of being a most excellent finger study.
The only drawback to this piece is the rather commonplace character of
the melody which serves as middle piece. This, however, is somewhat
concealed by the cleverness of the treatment.

Of all the piano works, the three upon which Mr. MacDowell's reputation
in the higher musical circles will rest are his First Suite and his two
sonatas, the one called "Tragic," the other "Heroic." The First Suite
dates from the time when he was with Raff at Frankfort, and it was
published in Germany by Breitkopf and Hartel. It is perhaps modeled
somewhat on a suite by Raff. The first movement, praeludium, is quite
in the old style at first. Presently, a flowing melody in the bass
begins against a pianissimo, arpeggiated accompaniment in the right
hand, with a very charming and thoroughly pianistic effect, and the
praeludium is carried through on this motive. The second movement,
presto, is practically a scherzo with a strong flavor of fugue at the
beginning. It is very fully developed, extending to eight pages. Then
follows the slow movement, andantino and allegretto, bearing a motto,
"_Per arnica silentia lunae_" (Virgil); and "by the friendly silence of
the moon" the sweet cantilena goes on, now for soprano, now for tenor.
The middle piece is