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From the PREFACE. ...The expression revised edition is apt to be misleading: It so often implies radical changes. In this case that part of the editing really means the correction of a number of printer's mistakes, the judicious simplifying of a very few phrases, and the addition of a great many marks of expression, the latter largely at my suggestion. My position with regard to this question of added expression marks is this: In common with almost all composers, once a composition was written, MacDowell found the correction of proofs, and putting in of expression marks, an irksome task, and one usually accomplished too hastily. In the Concerto, No. 2, certain pages were almost laboriously complete, in the composer's desire to express his wish as to how the music should be played. Other sections were almost unmarked. The fact that I heard MacDowell compose, teach, practice and play his music, and that I have been playing it myself for fifteen years, and that therefore there is no break in my memory of the manner in which he played this music, offers whatever excuse is necessary for my sponsoring this revised edition with so many hints as to expression. In MacDowell's playing there was an incessant rise and fall in color of expression, too often not even indicated in the expression marks.... Mrs. Edward MacDowell.

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