to his
God-given creative art. Happily he did not know at the time that
_From a Log Cabin_ was to prove a truer-expression of his future;
a prophetic description of the tragic end of his life.

WORKS WITHOUT OPUS NUMBERS

SIX LITTLE PIECES ON SKETCHES FOR PIANOFORTE, BY J.S. BACH,

Published by Arthur P. Schmidt.

1. _Courante_.

2. _Menuet_.

3. _Gigue_.

4. _Menuet_.

5. _Menuet_.

6. _Marche_.

These are illuminating little MacDowell-like adaptations of some
sketches by "one of the world's mightiest tone poets," as
MacDowell described J.S. Bach. They are charmingly and cleverly
written, although not always satisfying, it is to be feared, to
the strict purist.

FROM THE EIGHTEENTH CENTURY (TRANSCRIPTIONS FOR PIANOFORTE OF
HARPSICHORD AND CLAVICHORD PIECES).

Published by Arthur P. Schmidt.

BOOK I:

1. _Courante_ (_Rameau_).

2. _Sarabande_ (_Rameau_).

3. _Tempo di Minuetto_ (_Grazioli_).

4. _Le Bavolet Flottant_ (_The Waving Scarf_)(_Couperin_).

5. _Gigue_ (_Mattheson_).

6. _Sarabande_ (_Loeilly_).

BOOK II:

7. _Gigue_ (_Loeilly_).

8. _La Bersan_ (_Couperin_).

9. _L'Ausonienne_ (_Couperin_).

10. _Aria from Handel's_ "_Susanna_" (_Lavignac_).

11. _Gigue_ (_Graun_).

These pieces were much used by MacDowell in his lessons, as
illustrations of eighteenth century music, and were published in
two books about a dozen years after his death. They have not met
with unanimous approval, for his transcriptions of the old pieces
for the harpsichord and clavichord, in a manner suited to the
modern pianoforte, is considered by many purists to be too free.
The fact is that in their original form they are quite unsuitable
for the modern pianoforte, being far too slight. MacDowell has,
for many of us, done the right thing by filling in their implied
harmonies and otherwise bringing out their qualities, so that
they may be done justice under present-day keyboard conditions.

TWO SONGS FROM THE THIRTEENTH CENTURY, FOR MALE CHORUS.

_First Published_, 1897 (Arthur P. Schmidt).

1. _Winter Wraps his Grimmest Spell_.

2. _As the Gloaming Shadows Creep_.

These are two effective male-voice choruses. The first number
being a setting of MacDowell's lines after Nithart, and the
second of verses by the composer, inspired by Frauenlob. These
latter beautiful lines were also used in number four of the _Four
Songs, Op. 56_.

MacD