vising it. The work was published after his death by friends
who were anxious to provide against any future doubt as to its
authenticity. The composer dedicated it to Henry T. Finck, the
distinguished American musical critic, who was one of the first
to recognise the significance of MacDowell's music.

_Lamia_ has its poetic basis in the romantic, legendary poem by
John Keats. An introductory note by the composer in the full
score briefly outlines the meaning of the music:--

_Lamia, an enchantress in the form of a serpent, loves Lycius, a
young Corinthian. In order to win him she prays to Hermes, who
answers her appeal by transforming her into a lovely maiden.
Lycius meets her in the wood, is smitten with love for her and
goes with her to her enchanted palace, where the wedding is
celebrated with great splendour. But suddenly Apollonius the
magician appears; he reveals the magic. Lamia again assumes the
form of a serpent, the enchanted palace vanishes, and Lycius is
found lifeless._

The music commences with a sinister theme, _Lento misterioso, con
tristezza_, given out by bassoon and celli, accompanied by a soft
drum roll. This motive is the main one of the work, and may be
regarded as that of Lamia. After some impassioned development,
the music leads quietly into an _Allegro con fuoco_. This opens
with a strong tune, having a distinctly Teutonic flavour. It is
announced by the horns _con sordini_, accompanied very softly by
held notes in the strings, except viola, _pizzicato_ in the
celli, and tympani. From now onwards the music is graphic, and
contains some passages of unmistakable dramatic power. The
presence of the sinister opening theme is frequently felt. Near
the end the whole sinks away, a plaintive little clarinet solo,
_Lento_, indicating the death of Lycius. This is followed by a
short and vigorous conclusion.

OPUS 30. TWO FRAGMENTS, THE SARACENS AND THE LOVELY ALDA, FOR
ORCHESTRA.

_Composed, Wiesbaden, about_ 1887-8. _First Performed, November,_
1891, _at Boston, U.S.A., by Listemann and the Boston Philharmonic
Orchestra. First Published_, 1891 (Breitkopf & Haertel).

These two orchestral pieces have their poetic basis in _The Song
of Roland_, and were at first intended by the composer to form
movements, or at least important parts, of a symphony on the same
subject. The description, _Fragments_, under which MacDowell
published them, after his plan for a symphony had been abandoned,
is a ve