ng.
The next year he gave a concert of his own works, and the same year,
1889, Van der Stucken produced his violin romance and polonaise for
violin and orchestra at the Paris Exposition.

His piano concerto for piano and orchestra he played first with the
Boston Symphony Orchestra in 1894, and has given it on numerous
occasions since.

Other works, most of which have also been published, are: "The
Fountain," for women's voices a cappella; a festival "Sanctus," for
chorus and orchestra; an "Easter Theme," for chorus, organ, and
orchestra; "The Winds," for chorus and orchestra, with soprano and
alto solos; a "Festival March," for organ and orchestra; a concerto
for violin, and orchestra; a trio for piano, violin, and 'cello; a
"Prelude Appassionata," for the piano, dedicated to and played by Miss
Adele aus der Ohe, to whom the concerto is also dedicated.

This concerto, which is in D major, is a good example of the
completeness of Huss' armory of resources. The first movement has the
martial pomp and hauteur and the Sardanapalian opulence and color that
mark a barbaric triumph. Chopin has been the evident model, and the
result is always pianistic even at its most riotous point. Huss has
ransacked the piano and pillaged almost every imaginable fabric of
high color. The great technical difficulties of the work are entirely
incidental to the desire for splendor. The result is gorgeous and
purple. The andante is hardly less elaborate than the first movement,
but in the finale there is some laying off of the _impedimenta_ of the
pageant, as if the paraders had put aside the magnificence for a
period of more informal festivity. The spirit is that of the scherzo,
and the main theme is the catchiest imaginable, the rhythm curious and
irresistible, and the entire mood saturnalian. In the coda there is a
reminder of the first movement, and the whole thing ends in a blaze of
fireworks.

On the occasion of its first performance in Cincinnati, in 1889,
Robert I. Carter wrote:

"It is preeminently a symphonic work, in which the piano is
used as a voice in the orchestra, and used with consummate
skill. The charm of the work lies in its simplicity. The
pianist will tell you at once that it is essentially
pianistic, a term that is much abused and means little. The
traditional cadenza is there, but it is not allowed to step
out of the frame, and so perfect is the relation to what
precedes and follows