composers of standing at some time or other. The technical side
of the work is fair, the tone quality of the violoncello having
been evidently considered. The piece is dedicated to Popper,
whose name is familiar to all 'cello players.



OPUS 36. ETUDE DE CONCERT, IN F SHARP, FOR PIANOFORTE.

_Composed, Boston, U.S.A._, 1889. _First Published_, 1889 (Arthur
P. Schmidt).

"Don't put that dreadful thing on your programme," was the burden
of a telegram MacDowell once despatched to Teresa Carreño when he
heard she was to play the _Etude de Concert in F sharp_, so we
know that the composer himself came, later on, to recognise the
inferior quality of this work. It is good enough for the salon
composer and the show pianist, but as coming from MacDowell's pen
it made a poor start as practically the first thing he composed
on his return to his native country in 1888, especially as he had
been preceded there by his good European reputation. The
brilliant pianistic effect of the piece, however, is undeniable.



OPUS 37. LES ORIENTALES, FOR PIANOFORTE.

_Composed, Boston_, 1889. _First Published_, 1889 (Arthur P.
Schmidt).