_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 & Härtel). 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 very modest one for two such fine pieces of orchestral tone poetry. _The Saracens_ is a piece of great power, dramatic and wild in spirit and vivid in harmonic and instrumental colouring. It represents the scene in which the traitor, Ganelon, determines on the deed that results in the death of Roland. The whole passage is vividly suggested by the music. _The Lovely Alda_ is a very beautiful and human piece. Aldâ was Roland's bethrothed and the music aims at suggesting her loveliness and her mourning for her lover. There are passages of intensely impressive melancholy in the _Fragment_ and its human feeling is typical of MacDowell. Altogether the two pieces are music on a high plane and worth attention for their own intrinsic value, quite apart from their connection with the symphony that never materialised. They bear a stamp of seriousness of effort and a conscious responsibility that only the really great composer is able to indicate. OPUS 31. SIX POEMS AFTER HEINE, FOR PIANOFORTE.