The _First Pianoforte Concerto_ hardly ranks as one of MacDowell's finest works, it having been written before he had attained, in any notable degree, to his mature impressionist style. It is, however, brilliantly written, bold and original in harmonic treatment and full of youthful fire and vigour. With the second concerto (_Op. 23_), it is one of his few large works not having some definitely indicated poetic content. If it has not the significant expression of its greater successors, it has at least a strength and fervency that indicate a youthful genius of no common order. Its interest is not of mere historic value as an early example of 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._