d faster, but still subdued, grows the music, the
striving figure of the _Legend_ being prominent. A broadening out
then comes and with it a magnificent, raw strength, in which is
heard the romantic call that opens the whole work in the
introduction to the first movement. The bare tonic is now struck
with a gesture of great force. A roll of sound follows. Again the
bare note is sounded, and again the roll of sound succeeds. The
last dozen bars thunder solely on the tonic note, with a rude,
but stern and manly elemental absence of harmonic colouring,
typifying with undeniable dignity the savage, but often
impressive and noble figure of the Red Man, forgotten now that
his great race has been succeeded by the greatest and most
striking nation of the white races--the Republic of the West.

The _Indian Suite_ is obtainable in pianoforte score.

OPUS 49. AIR AND RIGAUDON, FOR PIANOFORTE.

_First Published_, 1894 (Breitkopf & Haertel).

This work has been curiously neglected. It comes just at the
beginning of MacDowell's more mature period, but nobody seems to
know much about it. It is true that it lacks the definitely
indicated poetic basis that is a feature of the composer's finest
work, but it is a well written and melodious composition. It is
at least more deserving of attention than the popular _Hexentanz,
Op. 17_, and the _Etude de Concert in F sharp, Op. 36_, but these
two owe their popularity to the virtuoso pianist. Grove's
_Dictionary of Music and Musicians_ refers to _Op. 49_ as "some
dances published in a Boston collection."

OPUS 50. SECOND SONATA, EROICA, IN G MINOR, FOR PIANOFORTE.

_First Published_, 1895 (Breitkopf & Haertel).

_Dedicated to William Mason._

"_Flos regum Arthurus._"

1. _Slow, with nobility_--_Fast, passionately, etc._

2. _Elf-like, as light and swift as possible._

3. _Tenderly, longingly, yet with passion._

4. _Fiercely, very fast._

The _Sonata Eroica_ is perhaps the most beautiful and noble,
although not the grandest or most stirring, of MacDowell's four
pianoforte sonatas. It has not the weight and power of the
_Sonata Tragica, Op. 45_, but in its beauty and noble dignity it
is infinitely more impressive. The whole work was inspired by the
Arthurian legends that MacDowell, with his love of ancient
chivalry and romance, loved to idealise. In the sonata he has
illuminated his subject with compelling nobleness of thought and
beauty of effect, freely adapti