_Dedicated to Camille Saint-Saens._

1. _Præludium_.

2. _Fugato_.

3. _Rhapsody_.

4. _Scherzino_.

5. _March_.

6. _Fantastic Dance_.

Much of this music was composed in the makeshift studio of a
German railway carriage, while the composer was travelling to and
fro to give lessons, between Frankfort and Darmstadt and from one
of these to Erbach-Fürstenau, the latter place entailing a
typically tiring Continental journey. The suite, like its
predecessor, the _First Modern Suite for Pianoforte, Op. 10_, was
published at Leipzig by Breitkopf and Härtel on the recommendation
of Liszt. The music is of little importance to-day, although it is
melodious and well written. The opening _Præludium_ foreshadows
the composer's later regard for significance of expression, for it
bears an explanatory quotation from Byron's _Manfred_. Teresa
Carreño, the masculine woman pianist, from whom MacDowell had
received one or two early lessons in pianoforte playing, performed
the _Suite_ in New York City on March 8th, 1884, and toured three
movements of it in the following year, in other parts of the United