The "Twelve Studies" of op. 39 are less original in conception and of less artistic moment than the "Marionettes." Their titles--among which are a "Hunting Song," a "Romance," a "Dance of the Gnomes," and others of like connotation--suggest, in a measure, that imperfectly realised romanticism which I have before endeavoured to separate from the intimate spirit of sincere romance which MacDowell has so often succeeded in embodying. The same thing is true, though in a less degree, of the suite for orchestra (op. 42). It is more Raff-like--not in effect but in conception--than anything he has done. There are four movements: "In a Haunted Forest," "Summer Idyl," "The Shepherdess' Song," and "Forest Spirits," together with a supplement, "In October," forming part of the original suite, but not published until several years later. The work, as a whole, has atmosphere, freshness, buoyancy, and it is scored with exquisite skill and charm; but somehow it does not seem either as poetic or as distinguished as one imagines it might have been made. It is carried through with delightful high spirits, and with an expert order of craftsmanship; but it lacks persuasion--lacks, to put it baldly, inspiration. Passing over a sheaf of piano pieces, the "Twelve Virtuoso Studies" of op. 46 (of which the "Novelette" and "Improvisation" are most noteworthy), we come to a stage of MacDowell's development in which, for the first time, he presents himself as an assured and confident master of musical impressionism and the possessor of a matured and fully individualised style. CHAPTER V A MATURED IMPRESSIONIST With the completion and production of his "Indian" suite for orchestra (op. 48) MacDowell came, in a measure, into his own. Mr. Philip Hale, writing apropos of a performance of the suite at a concert of the Boston Symphony Orchestra[12] in December, 1897, did not hesitate to describe the work as "one of the noblest compositions of modern times." Elsewhere he wrote concerning it: "The thoughts are the musical thoughts of high imagination; the expression is that of the sure and serene master. There are here no echoes of Raff, or Wagner, or Brahms, men that have each influenced mightily the musical thought of to-day. There is the voice of one composer: a virile, tender voice that does not stammer, does not break, does not wax hysterical: the voice of a composer that not only must pour out that which has accumulated within him, but knows all the resources of musical oratory--in a word, the voice of MacDowell." [12] The suite is dedicated to this Orchestra and its former conductor, Mr. Emil Paur.