quality. This decade (from 1887 to 1897) saw also the publication of
all his work contained between his op. 22 ("Hamlet and Ophelia") and
op. 51 (the "Woodland Sketches") with the exception of the symphonic
poem "Lamia," which was not published until after his death.

[5] This episode formed part of the suite in its original form, but
was not printed until several years after the publication of the rest
of the music. The earlier portion, comprising four parts ("In a
Haunted Forest," "Summer Idyll," "The Shepherdess' Song," "Forest
Spirits"), was published in 1891, the supplement in 1893.

Meanwhile his prestige grew steadily. Each new work that he put forth
met with a remarkable measure of success, both among the general
public and at the hands of many not over-complacent critical
appraisers. On January 10, 1890, his "Lancelot and Elaine" was played
at a Boston Symphony concert under Mr. Nikisch. In September, 1891,
his orchestral suite in A-minor (op. 42) was performed for the first
time at the Worcester Festival, and a month later it was played in
Boston at a Symphony concert under Mr. Nikisch. In November of the
same year the Boston Philharmonic Orchestra, under Bernhard Listemann,
performed for the first time, at the Tremont Theatre, his "Roland"
pieces, "The Saracens" and "The Lovely Aldâ." On the following
day--November 6, 1891--he gave his first piano recital, playing, in
addition to pieces by Bach, Schubert, Schumann, Templeton Strong, P.
Geisler, Alabieff, and Liszt, his own "Witches' Dance," "Shadow Dance"
(op. 39), "The Eagle," the Étude in F-sharp (op. 36), the Prelude from
the first suite, and the fourth of the "Idyls" after Goethe. He
followed this with a second recital in January, 1892, at which he
played, among other things, the "Winter," "Moonshine," and "The
Brook," from the "Four Little Poems" (op. 32). Discussing the first of