Another San Isidro work which, like the , Op 54, eschews any folk idioms, is in 34 time and reverts to Gottschalk’s Chopinesque salon style. A derivative mazurka in B minor opens and closes the work (its semiquaver runs are printed with a simple chordal ossia above them) while the central section in B major with its bass melody is marked fiero. sonoro. [sic] and martellato.
It is a pleasant enough trifle but makes one regret more interesting-sounding works from this same period that are now lost—several Lieder, variations on Gottlieb Reissiger’s La Dernière Pensée, a Mouvement perpétuel, a Ballade and, saddest of all, a Septet for piano and strings.
from notes by Jeremy Nicholas © 2003