an
outstanding feature of all MacDowell's later and finest works.
Two movements of the suite were first heard in London in March,
1885, at a concert composed of American music.

OPUS 11 AND OPUS 12. FIVE SONGS, FOR VOICE AND PIANOFORTE.

_First Published_, 1883 (C.F. Kahnt Nachfolger. British
Empire--Elkin & Co.).

1. _My Love and I_ (_Op. 11, No. 1_).

2. _You Love Me Not!_ (_Op. 11, No. 2_).

3. _In the Sky, where Stars are Glowing_ (_Op. 11, No. 3_).

4. _Night Song_ (_Op. 12, No. 1_).

5. _The Chain of Roses_ (_Op. 12, No. 2_).

These songs are interesting as the first examples published of
MacDowell's work in this form of composition. They are well
written and obviously sincere, which is in itself a merit rare in
song writing, but they have little of the individual charm and
beauty of expression found in the composer's later song groups.
_My Love and I_ is the most popular of the set, having a certain
distinctive charm of its own.

OPUS 13. PRELUDE AND FUGUE, FOR PIANOFORTE.

_First Published_, 1883. (Revised Edition--Arthur P. Schmidt).

This is a well-written number in conventional form, but it is
obviously foreign to MacDowell's temperament, which was only at
its best in subjects having some definite poetical basis. The
work was later revised by the composer, and while quite a good
example of its form, as a MacDowell work it is unconvincing.

OPUS 14. SECOND MODERN SUITE, FOR PIANOFORTE.

_Composed, Frankfort-Darmstadt_, 1881. _First Published_, 1883
(Breitkopf & Haertel).

_Dedicated to Camille Saint-Saens._

1. _Praeludium_.

2. _Fugato_.

3. _Rhapsody_.

4. _Scherzino_.

5. _March_.

6. _Fantastic Dance_.

Much of this music was composed in the makeshift studio of a
German railway carriage, while the composer was travelling to and
fro to give lessons, between Frankfort and Darmstadt and from one
of these to Erbach-Fuerstenau, the latter place entailing a
typically tiring Continental journey. The suite, like its
predecessor, the _First Modern Suite for Pianoforte, Op. 10_, was
published at Leipzig by Breitkopf and Haertel on the recommendation
of Liszt. The music is of little importance to-day, although it is
melodious and well written. The opening _Praeludium_ foreshadows
the composer's later regard for significance of expression, for it
bears an explanatory quotation from Byron's _Manfred_. Teresa
Carreno, the masculine woman pianist, from wh