MacDowell's work, for it can be performed to-day
with success. It has a lasting white heat of inspiration and even
in the light of the composer's greater works it still sounds
remarkably brilliant and fresh. The influence of Teutonic
training is evident and although the concerto cannot now be
considered as thoroughly representative of MacDowell, it has a
confident bearing and a certain individuality that mark it as
something considerably more than a mere academic experiment. It
must always be remembered, however, that a two-page piece from
_Sea Pieces, Op. 55_, or _New England Idyls, Op. 62_, or any
mature work by MacDowell is of greater artistic value than the
whole of the concerto in question.

OPUS 16. SERENATA, FOR PIANOFORTE.

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

This is a weak and unimportant work in MacDowell's catalogue. The
conventional _morceau_ style did not suit his type of genius even
before it was fully developed. Some years later the composer
revised the piece, but it is still of little value, despite its
outward grace and charm.

OPUS 17. TWO FANTASTIC PIECES, FOR PIANOFORTE.

_First Published_, 1884 (J. Hainauer). (Revised Edition of No.
2--Arthur P. Schmidt.)

1. _Legend._

2. _Witches' Dance_ (_Hexentanz_).

The _Legend_ is interesting and by stretching the imagination may
suggest some fantastic fairy tale, but its chief merit is that it
is more in keeping with MacDowell's natural gift for musical
suggestion than are the preceding pianoforte pieces, and also the
succeeding ones comprising _Op. 18_.

The _Witches' Dance_ became popular with pianoforte virtuosi,
being better known under its German title of _Hexentanz_.
MacDowell grew to detest its shallow outlook and the appeal it
made to the flashy pianist, although he himself played it in
public as late as 1891. He revised both the _Two Fantastic
Pieces_ some years after their original publication.

OPUS 18. TWO PIECES, FOR PIANOFORTE.

_First Published_, 1884 (J. Hainauer). (Revised Edition of No.
1--Arthur P. Schmidt.)

1. _Barcarolle in F._

2. _Humoresque in A._

These are two more unimportant pieces in conventional style,
indicating that MacDowell had not realized at that time just
where his true genius lay. The revised version of _Barcarolle_
made some years after its original publication, fails to make it
convincing, although it has a certain outward charm and is well
written