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 & Härtel). _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 adapting the traditional musical form to the needs of his poetic purpose. The work requires a considerable amount of study for its finished performance, as well as a knowledge and understanding of its source of inspiration. Heard at its best it is a magnificent solo piece, only surpassed by the composer's own two later sonatas, the _Norse, Op. 57_, and the _Keltic, Op. 59_. 1. The first movement is notable for its variety of _tempo_ and expression, every page containing new indications as to these in the illuminating and characteristic English of the composer. He has told us that the movement as a whole typifies the coming of Arthur, and as such we may leave it. The traditional sonata form is freely adapted to the poetic requirements of the movement, but the result is rather ragged. The music itself, however, is deeply inspired and full of fire. The simple, yet pathetic second subject is recalled again in the slow movement.