edicated to David Popper._

This is an outwardly charming and melodious work, but strangely
alien to MacDowell's general high tone. The usual significant
poetic matter is absent, but unlike the pianoforte concertos
(_Ops._ 15 and 23), which are also abstract works, the piece is
altogether inferior in artistic value, even if we look upon it as
an early attempt, for preceding pieces are, at least, more
sincere. The two following numbers, 36 (_Etude de Concert for
Pianoforte_) and 37 (_Les Orientales for Pianoforte_), and this
_Romance for Violoncello and Orchestra_ present a sequence of
creative work unworthy of MacDowell, a falling off common to most
composers of standing at some time or other. The technical side
of the work is fair, the tone quality of the violoncello having
been evidently considered. The piece is dedicated to Popper,
whose name is familiar to all 'cello players.

OPUS 36. ETUDE DE CONCERT, IN F SHARP, FOR PIANOFORTE.

_Composed, Boston, U.S.A._, 1889. _First Published_, 1889 (Arthur
P. Schmidt).

"Don't put that dreadful thing on your programme," was the burden
of a telegram MacDowell once despatched to Teresa Carreno when he
heard she was to play the _Etude de Concert in F sharp_, so we
know that the composer himself came, later on, to recognise the
inferior quality of this work. It is good enough for the salon
composer and the show pianist, but as coming from MacDowell's pen
it made a poor start as practically the first thing he composed
on his return to his native country in 1888, especially as he had
been preceded there by his good European reputation. The
brilliant pianistic effect of the piece, however, is undeniable.

OPUS 37. LES ORIENTALES, FOR PIANOFORTE.

_Composed, Boston_, 1889. _First Published_, 1889 (Arthur P.
Schmidt).

1. _Clair de Lune._

2. _Dans le Hamac._

3. _Danse Andalouse._

The first work produced by MacDowell in Boston, _Etude de
Concert, Op. 36_, was followed by music of equally poor quality,
in the composer's opinion. The pieces under notice are after
Hugo's _Les Orientales_, and although tolerably suggestive of
their titles, are of such poor inspiration that they have little
or no musical value outside the salon type of compositions that
the composer himself abhorred. Even the pretty _Clair de Lune_ is
shallow stuff, although it has attained some popularity as a
melodious solo, both in its original version and in its
arrangement for violin an