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.

5. _From an Indian Lodge_ (_Sternly, with great emphasis_). This
is as strong and impressive a piece as MacDowell ever composed
for the pianoforte. From the first bar the note of the stern
stolidity of the Red man is struck. The rude, elemental power of
the bare octaves of the introductory bars is unmistakable. The
ensuing stolid oration, punctuated by emotionless grunts, is an
ingenious musical sketch of a pow-wow scene in an Indian wigwam.
The piece closes with a reminiscence of the last part of the