rom publication, at the time of its composition, because of his
uncertainty as to its effect. He had not had an opportunity to secure
a reading of it by one of the _Cur-Orchester_ which had accommodatingly
tried over his preceding scores at their rehearsals; and such a thing
was of course out of the question in America. Not only was he
reluctant to put it forth without such a test, but he lacked the funds
to pay for its publication. He came to realise in later years, of
course, that the music was immature and far from characteristic,
though he still had a genuine affection for it. In a talk which I had
with him a year before his collapse, he gave me the impression that he
considered it at least as good a piece of work as its predecessors,
"Hamlet and Ophelia" and "Lancelot and Elaine," though he made sport,
in his characteristic way, of its occasional juvenility and its
Wagneristic allegiances. He intended ultimately to revise and publish
the score, and he allowed it to remain on the list of his works. After
his death it was concluded that it would be wise to print the music,
for several reasons. These were, first, because of the fear lest,
if it were allowed to remain in manuscript, it might at some future
time suffer from well-meant attempts at revision; and, secondly,
because of the chance that it might be put forward, after the death
of those who knew its history, in a way which would seem to make
unwarranted pretensions for it, or would give rise to doubts as to its
authenticity. In a word, it was felt that its immediate publication
would obviate any possible misconception at some future time as to its
true relation to MacDowell's artistic evolution. It was, therefore,
published in October, 1908, twenty years after its composition, with a
dedication to Mr. Henry T. Finck.

In "Die Sarazenen" and "Die Schoene Alda," two "fragments" for
orchestra after the "Song of Roland," numbered op. 30, a graver note
is sounded. These "fragments," originally intended to form part of a
"Roland" symphony, were published in 1891 in their present form, the
plan for a symphony having been definitely abandoned. "Die
Sarazenen" is a transcription of the scene in which Ganelon, the
traitor in Charlemagne's camp through whose perfidy Roland met his
death, swears to commit his crime. It is a forceful conception,
barbaric in colour and rhythm, and picturesquely scored. The second
fragment, "Die Schoene Alda," is, however, a more memorable w