idealism and vivid thought of the true poet. The poetry of these
studies is not of the composer's finest inspiration, but it is of
a quality sufficient to prevent their being viewed solely as
technical exercises. Generally, they do not require advanced
executive ability to play.

_Hunting Song _(_Allegretto_) is a study for accent and grace,
but not particularly interesting as music.

_Alla Tarantella _(_Prestissimo_) is a fairly effective study for
speed and lightness of touch. It is not very difficult to play,
having convenient three-note phrases.

_Romance_ (_Andantino_) is fairly tuneful, but not particularly
interesting. It is a study for the development of the singing
touch.

_Arabeske_ (_Allegro scherzando_) is a sparkling wrist study.

_In the Forest_ (_Allegretto con moto_) is suggestive enough, but
not in MacDowell's finest style. It does not compare favourably
with the forest pieces in his delightful _Woodland Sketches, Op.
51, or with the deeply inspired and mature _New England Idyls,
Op. 62_. Its technical object is the development of delicate
rhythmical playing.

_Dance of the Gnomes_ (_Prestissimo confuoco_), the last study of
Book I, is another piece of imperfectly realised suggestive tone
poetry. It is difficult to play, requiring great crispness of
finger action combined with perfect control of tone volume.