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. _Reverie._

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 Teichmueller, and was issued in 1912. MacDowell himself
revised the _Reverie_ (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 fla