opens with a choral introduction ("Where
is the Maiden of Mortal Strain?"). An orchestral interlude in the form of
a tender graceful nocturne follows, leading up to the tenor solo, "The
Dawn of an autumn Day did creep," in which the Baron relates the
apparition he has seen in his dream. A short bass recitative by Lyulph
the bard introduces the Legend, which is told in an effective number for
soprano solo, bass solo, and chorus ("In Days e'en Minstrels now
forget"). The next number, a very dramatic dialogue for soprano and
tenor, gives us the conversation between Arthur and Gyneth, and leads to
an energetic full chorus with very descriptive accompaniment, picturing
the bloody tourney and its sudden interruption by the appearance of
Merlin the enchanter. The first part closes with a charming number
("'Madmen,' he cried, 'your Strife forbear'") arranged for bass solo,
quartet, and chorus, in which is described the spell which Merlin casts
upon Gyneth.

The second part, after a short allegro movement for orchestra, opens with
a contralto solo ("Of wasted Fields and plundered Flocks") which prepares
the way for a concerted number for solos and chorus ("And now the Moon
her Orb has hid"), describing the magical arts which Merlin employed to
thwart the Baron. This number alone is sufficient to stamp Mr. Corder as
a composer of extraordinary ability. A succession of bass, tenor, and
contralto recitatives ("Wroth waxed the Warrior") leads to another
powerful chorus ("Rash Adventurer, bear thee back"), the song of the
"four maids whom Afric bore," in which the composer has caught the weird,
strange color of the scene and given it vivid expression. A tenor
recitative ("While yet the distant Echoes roll") leads up to a graceful,
sensuous soprano solo and female chorus ("Gentle Knight, awhile delay").
Its counterpart is found in the tenor recitative and spirited, dignified
male chorus ("Son of Honor, Theme of Story"). The _denouement_ now
begins. A contralto solo, declamatory in style ("In lofty Hall, with
Trophies graced"), and a short soprano solo of a joyous character ("Thus
while she sang") lead to the final number ("Gently, lo! the Warrior
kneels"), beginning with full chorus, which after short solos for tenor
and soprano takes a spirited martial form ("And on the Champion's Brow
was found") and closes with a quartet and chorus worked up to an imposing
climax.

The work is largely in narrative form; but this, instead of being