These widely known pieces were composed during the last part of MacDowell's residence at Boston, just before he left for New York to take up his duties as professor of music at Columbia University. In these _Woodland Sketches_ we come for the first time to the point at which his pianoforte poems are absolutely responsive to elemental moods, unaffected in style and yet distinguished, free from commonplace, speaking with a personal note that is inimitable. They are, as a whole, mature Nature poems of an exquisite and charming order, beautiful not only for their outward manifestations, but for the deeper significance they give to their sources of inspiration. 1. _To a Wild Rose_ (_with simple tenderness_). This is one of the most charming and well known of MacDowell's small pieces. It is founded on a simple melody of the Brotherton Indians, and has a poise of the most refined and beautiful order. The composer was always afraid of the less intelligent music lovers "tearing it up by the roots." A vocal arrangement has been made by Herman Hagedorn, but the words are sickly and commonplace in sentiment, and so unnaturally cramped, that the song is artistically worthless. 2. _Will o' the Wisp_ (_Swift and light; fancifully_). This is a very imaginative piece, full of mysterious and shadowy lightness, and swift of movement. It seems to just float over the keys and in its general effect is fascinating and spirit-like, with dancing little lights flickering in the shadows. 3. _At an Old Trysting-place_ (_Somewhat quaintly; not too sentimentally_). This is the shortest piece of the set, and is only thirty bars long. It is cramped into one page in the current edition of the sketches. The melody is tender, undulating and expressive and is supported by full but always clear chords, with typical modulations. The broadness of the chord writing, together with the general tone of the piece as a whole, seems to call for orchestral colouring and foreshadows MacDowell's most advanced period. As a whole, it is contemplative, expressing the wistfulness of one who stands at a quiet place, musing on bygone meetings there. 4. _In Autumn_ (_Buoyantly, almost exuberantly_). MacDowell threw an irresistible joyous excitement into this piece (as he did later in the superb _The Joy of Autumn_, from _New England Idyls, Op. 62_). _In Autumn_ opens with a brisk staccato theme, followed by little chromatic runs which seem to suggest the whistling of the wind through the tree-tops. A middle section brings a complete change of mood, as if questioning the elements. A mysterious and fanciful little passage leads to a resumption of the opening joy of existence. In short, this piece is most exhilarating, and pulsates with life and with an exuberance that is most infectious.