2. The fanciful and "elf-like" _scherzo_ movement was suggested to the composer by Doré's picture of a knight in a wood, surrounded by mythological forest folk. The music is imaginative and cleverly written, but MacDowell afterwards considered the movement as a whole to be "an aside" from the general content of the sonata. The present writer thinks that this _scherzo_ may be omitted by a performer who satisfies himself that it is not an essential part of the Arthurian concept of the whole. If the sonata is played simply as programme music, however, it benefits by the inclusion of this movement. 3. This movement is headed, _Tenderly, longingly, yet with passion_, and is considered by many of the composer's admirers to be one of his most beautiful inspirations. It is, according to MacDowell himself, a musical representation of Guinevere, Arthur's lovely queen. Quite independent of the rest of the sonata, the movement is a tone poem of rare beauty, expressiveness and passion, although the melody entering at its eleventh bar connects it with the preceding movement. 4. The last movement represents the passing of Arthur. It is strikingly suggestive of the closing days of the Arthurian drama, the tragic note being often impressively struck, although not so definitely as in the _Sonata Tragica_. The import of the movement is satisfying to those who believe that the days of romance and chivalry closed with the fall of Arthur and his knights, despite the attempts in the Middle Ages to revive the past. The movement as a whole is physically exhausting, except to the very strong. The great climax arrives some way before the end of the work, the music seeming gradually to ebb away after it as though it were but recounting the last scenes of Arthur's death. The two final pages sadly recall the opening theme of the first movement, typifying the coming of Arthur. The coda is of moving tenderness, indicating the tragedy of Guinevere. A final and elevated outburst is heard and then the sonata ends with a prolonged chord. Altogether there is something very noble and beautiful about this sonata, from which the magnificence and surpassing power and beauty of the two later ones do not detract. OPUS 51. WOODLAND SKETCHES, FOR PIANOFORTE. _First Published_, 1896 (P.L. Jung. Assigned, 1899 to Arthur P. Schmidt). 1. _To a Wild Rose._ 2. _Will o' the Wisp._ 3. _At an Old Trysting-place._ 4. _In Autumn._ 5. _From an Indian Lodge._ 6. _To a Water-lily._ 7. _From Uncle Remus._ 8. _A Deserted Farm._ 9. _By a Meadow Brook._ 10. _Told at Sunset._