Much of this music was composed in the makeshift studio of a German railway carriage, while the composer was travelling to and fro to give lessons, between Frankfort and Darmstadt and from one of these to Erbach-Fürstenau, the latter place entailing a typically tiring Continental journey. The suite, like its predecessor, the _First Modern Suite for Pianoforte, Op. 10_, was published at Leipzig by Breitkopf and Härtel on the recommendation of Liszt. The music is of little importance to-day, although it is melodious and well written. The opening _Præludium_ foreshadows the composer's later regard for significance of expression, for it bears an explanatory quotation from Byron's _Manfred_. Teresa Carreño, the masculine woman pianist, from whom MacDowell had received one or two early lessons in pianoforte playing, performed the _Suite_ in New York City on March 8th, 1884, and toured three movements of it in the following year, in other parts of the United States. OPUS 15. FIRST CONCERTO, IN A MINOR, FOR PIANOFORTE AND ORCHESTRA. _Composed, Frankfort_, 1882. _First Published_, 1885 (Breitkopf & Härtel). _Dedicated to Franz Liszt._ 1. _Maestoso, Allegro con fuoco._ 2. _Andante Tranquillo._ 3. _Presto_--_Maestoso_--_Molto piu lento_--_Presto_. Joachim Raff frightened MacDowell into composing this concerto. He called on his young American pupil one day and asked him what he had in hand? MacDowell, who stood in great awe of his master, was confused and hardly knowing what he was saying replied that he "was working at a concerto." Raff told him to bring it along on the following Sunday, but when that day arrived MacDowell had only the first movement completed, which had been commenced as soon as Raff had left him. He evaded his appointment, and his master named the following Sunday for their meeting, but MacDowell's visit had to be further postponed until the following Tuesday, and by that day he had finished the concerto. On Raff's advice he took the work to Liszt, arranging a second pianoforte part for the purpose. The old master received him kindly and asked D'Albert, who was present, to play the second pianoforte. At the finish he not only complimented MacDowell on his composition, but on his ability as a pianist, which pleased the young American immensely, for he had not yet come to regard his compositions as of any value, and pianoforte playing was his first study. Afterwards MacDowell wrote to Liszt asking him to accept the dedication of the concerto, which the venerable Hungarian did.