1. The introductory _Largo maestoso_ opens with a figure of striking aspect, like a clenched, upraised fist. Immediately following this comes a quieter, more serious strain, but only to be succeeded by loud chords again, now punctuated by rushing ascents in scale and arpeggio figures, the whole culminating in a tremendous descent of double octaves bringing almost the whole range of the pianoforte keyboard into action. After a pause, the _Allegro risoluto_ enters _ppp_. Its bearing is strong and proud and has much that is akin to the nervous, resolute martial energy of Elgar. The second subject, _Dolce con tenerezza_, is exquisitely tender and contemplative, but it follows the first awkwardly, and the two as MacDowell left them are like detached scraps having no relation to one another. As we proceed the music becomes mysterious and restless until a more solid chord passage appears. The whole is soon interrupted by the arresting figure of the introduction, now appearing softly, with foreboding seriousness. With the resumption of the _Allegro risoluto_ the striving commences again and is even more restless than before. From now onwards the music becomes increasingly significant, graduating in tone power from a shadowy _ppp_ to solid and virile loud chords. The first and second subjects formally reappear and the end comes with a short coda, the feature of which is its powerful upward expansion, culminating in chords of great strength, the striking opening figure being again heard. 2. The scherzo-like second movement is inferior in quality to the rest of the sonata, and apart from some ejaculations suggesting the dramatic opening of the first movement, does not appear to have any connection with the work as a whole. Its themes are not distinguished, although there are touches of strength in many places, and the movement savours generally of Teutonic romantic influence and probably only exists at all as a concession to form.