In the "Four Little Poems" of op. 32 one encounters a piece which it is possible to admire without qualification: I mean the music conceived as an illustration to Tennyson's poem, "The Eagle." The three other numbers of this opus, "The Brook," "Moonshine," and "Winter," one can praise only in measured terms--although "Winter," which attempts a representation of the "widow bird" and frozen landscape of Shelley's lyric, has some measures that dwell persistently in the memory: but "The Eagle" is a superb achievement. Its deliberate purpose is to realise in tone the imagery and atmosphere of Tennyson's lines--an object which it accomplishes with triumphant completeness. As a feat of sheer tone-painting one recalls few things, of a similar scope and purpose, that surpass it in fitness, concision, and felicity. It displays a power of imaginative transmutation hitherto undisclosed in MacDowell's writing. Here are precisely the severe and lonely mood of the opening lines of the poem, the sense of inaccessible and wind-swept spaces, which Tennyson has so magnificently and so succinctly conveyed. Here, too, are the far-off, "wrinkled sea," and the final cataclysmic and sudden descent: yet, despite the literalism of the close, there is no yielding of artistic sobriety in the result, for the music has an unassailable dignity. It remains, even to-day, one of MacDowell's most characteristic and admirable performances. Of the "Romance" for 'cello and orchestra (op. 35), the Concert Study (op. 36), and "Les Orientales" (op. 37),--three _morceaux_ for piano, after Victor Hugo,--there is no need to speak in detail. "Perfunctory" is the word which one must use to describe the creative impulse of which they are the ungrateful legacy--an impulse less spontaneous, there is reason to believe, than utilitarian. Perhaps they may most justly be characterised as almost the only instances in which MacDowell gave heed to the possibility of a reward not primarily and exclusively artistic. They are sentimental and unleavened, and they are far from worthy of his gifts, though they are not without a certain rather inexpensive charm. [Illustration: A WINTER VIEW OF THE PETERBORO HOUSE]