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 in the particular style of piece of which it is an example. Poetic significance, as we know it in MacDowell's representative works, is conspicuous by its absence in these two compositions. OPUS 19. FOREST IDYLS, FOR PIANOFORTE. _First Published_, 1884. New Edition, 1912 (C. F. Kahnt Nachfolger. British Empire--Elkin & Co.). _Dedicated to Miss Marian Nevins._ 1. _Forest Stillness._ 2. _Play of the Nymphs._ 3. _Rêverie._ 4. _Dance of the Dryads._ These pieces are noteworthy as early attempts at significant expression and the consequent foreshadowing of MacDowell's mature period. Their suggesting of their particular subjects as indicated in the titles is fairly well done, but they are of little importance as music, reflecting as they do the nineteenth century German romanticism that had already been fully exploited by Schumann and others. There is little of the individuality of MacDowell in any of the _Forest Idyls_. The dedication is interesting, for Miss Marian Nevins became Mrs. MacDowell in the year of the original publication of the pieces. The revised edition of _Forest Idyls_ now in circulation in England is by Robert Teichmüller, and was issued in 1912. MacDowell himself revised the _Rêverie_ (No. 3) and the _Dance of the Dryads_ (No. 4) in his later period, and these are published in America by Arthur P. Schmidt. 1. _Forest Stillness_ is an _Adagio_, opening with softly breathed chords _misterioso_. The effect is one of deep stillness, but soon becomes dull and burdensome, seeming to lack that touch of genius found in the composer's later works, which are able to preserve their interest throughout. 2. _Play of the Nymphs_ is technically clever and brilliant, but lacks interest and is too spun out. 3. _Reverie_ is a short and tuneful little piece with little or nothing MacDowell-like in it and much of nineteenth century German romanticism and harmonies. It has been arranged for orchestra, and for pianoforte and strings. 4. _Dance of the Dryads_ would doubtless attract lovers of the Sydney Smith type of salon music, if there are any of them left. It opens in quite a bewitching dance manner and then goes on tinkling away on top notes, with chromatic runs, half floating arpeggios and all the rest of the stock-in-trade of pretty salon music. There are, however, some rather characteristic touches in it, which distinguish it from its companions. The key transitions from A flat major through distant D major and then F sharp major in bars 22, 23 and 24 (Teichmüller 1912 Edition) respectively are quite personal. OPUS 20. THREE POEMS, FOR PIANOFORTE DUET.