plendidly achieved in the soft,
shimmering liquidity of the music. Then there are two abrupt, but
soft, short chords that will represent, to the imaginative, the quick
fixing of the eagle's heart on some prey beneath; and there follows a
sudden precipitation down the keyboard, _fortississimo_, that
represents the thunderous swoop of the eagle with startling effect.

On the other hand, the "Moonshine" seems to be attempting too much.
"Winter" does better, for it has a freezing stream, a mill-wheel, and
a "widow bird." These "four little poems" of opus 32 had been preceded
by six fine "Idylls" based on lyrics of Goethe's. The first, a forest
scene, has a distinct flavor of the woods, the second is all laziness
and drowsiness, and the third is moonlight mystery. The fourth is as
intense in its suppressed spring ecstasy as the radiant poem itself
singing how

"Soft the ripples spill and hurry
To the opulent embankment."

The six short "Poems" (op. 31) based on poems of Heine's are
particularly successful, especially in the excellent opportunity of
the lyric describing the wail of the Scottish woman who plays her harp
on the cliff, and sings above the raging of sea and wind. The third
catches most happily the whimsicality of the poet's reminiscences of
childhood, but hardly, I think, the contrasting depth and wildness of
his complaint that, along with childhood's games, have vanished Faith
and Love and Truth. In the last, however, the cheery majesty that
realizes Heine's likening of Death to a cool night after the sultry
day of Life, is superb.

Then there are some four-hand pieces, two collections, that leave no
excuse for clinging to the hackneyed classics or modern trash. They
are not at all difficult, and the second player has something to
employ his mind besides accompanying chords. They are meaty, and
effective almost to the point of catchiness. The "Tale of the Knights"
is full of chivalric fire and martial swing, while the "Ballad" is as
exquisitely dainty as a peach-blossom. The "Hindoo Maiden" has a deal
of the thoroughly Oriental color and feeling that distinguish the
three solos of "Les Orientales," of which "Clair de Lune" is one of
his most original and graceful writings. The duet, "In Tyrol," has a
wonderful crystal carillon and a quaint shepherd piping a faint
reminiscence of the Wagnerian school of shepherds. This is one of a
series of "Moon Pictures" for four hands, based on Hans Christian
And