continent, he
returned with his wife to America.

[4] The rest of the programme, it may be interesting to note,
contained Arthur Foote's overture, "In the Mountains," Van der
Stucken's suite, "The Tempest," Chadwick's "Melpomene" overture,
Paine's "Oedipus Tyrannus" prelude, a romance and polonaise for violin
and orchestra by Henry Holden Huss, and songs by Margaret Ruthven
Lang, Dudley Buck, Chadwick, Foote, Van der Stucken. The concert ended
with an "_ouverture festivale sur l'Hymne Americaine_, 'The Star
Spangled Banner,'" by Dudley Buck.

MacDowell found in Boston a considerable field for his activity as
pianist and teacher. He took many private pupils, and he made, during
the eight years that he remained there, many public appearances in
concert. In composition, these years were the most fruitful of his
life. He wrote during this period the Concert Study for piano (op.
36); the set of pieces after Victor Hugo's "Les Orientales" (op.
37)--"Clair de lune," "Dans le Hamac," "Danse Andalouse"; the
"Marionettes" (op. 38); the "Twelve Studies" of op. 39; the "Six Love
Songs" (op. 40); the two songs for male chorus (op. 41)--"Cradle Song"
and "Dance of the Gnomes"; the orchestral suite in A-minor (op. 42)
and its supplement, "In October" (op. 42-A);[5] the "Two Northern
Songs" and "Barcarolle" (op. 43 and op. 44) for mixed voices; the
"Sonata Tragica" (op. 45); the 12 "Virtuoso Studies" of op. 46; the
"Eight Songs" (op. 47); the second ("Indian") suite for orchestra; the
"Air" and "Rigaudon" (op. 49) for piano; the "Sonata Eroica" (op. 50);
and the "Woodland Sketches" (op. 51). This output did not contain his
most mature and characteristic works--those were to come later, during
the last six years of his creative activity; yet the product was in
many ways a notable one, and some of it--the two sonatas, the "Indian"
suite, the songs of op. 47, the "Woodland Sketches"--was, if not
consistently of his very best, markedly fine and characteristic in
quality. This decade (from 1887 to 1897) saw also the publication of
all his work contained between his op. 22 ("Hamlet and Ophelia") and
op. 51 (the "Woodland Sketches") with the exception of the symphonic
poem "Lamia," which was not published until after his death.

[5] This episode formed part of the suite in its original form, but
was not printed until several years after the publication of the rest
of the music. The earlier portion, comprising four parts ("In a
Haunted For