1. The first movement opens darkly and sombrely, suggesting the lines of the verse that heads the sonata as a whole, telling of the great rafters in the hall at night, flashing crimson in the flickering light of a dying log fire. The strong voice of a bard rings out, and through this medium the tales of battles, love and heroic valour is told. The movement has passages of tremendous vigour, passion and depth, all painted with the unerring skill of the composer. The final bars are of fierce and elemental power. 2. The second movement opens with a theme of tender beauty. It develops into passionate strength, involving much intricacy of writing and wide spread chordal work. 3. The third and last movement (it will be noted that MacDowell abandons the scherzo movement in this sonata, as it had proved an _aside_ in the two earlier ones) is impetuous and, as it proceeds, becomes increasingly difficult to play. The theme of the second movement is recalled in a passage of extreme pathos. The final coda is most impressive, beginning _Dirge-like_--_very heavy and somber_; five bars from the end there is a moment's silence, and then the opening theme of the first movement rings out and the sonata ends with the utmost breadth and strength. OPUS 58. THREE SONGS, FOR VOICE AND PIANOFORTE. _First Published_, 1899 (Arthur P. Schmidt). 1. _Constancy_ (_New England, A.D. 1899_). 2. _Sunrise._ 3. _Merry Maiden Spring._ The verses of these songs are MacDowell's own, and both words and music here go to make up song writing of an order that is rare in its beauty of expression, tender thought and pure lyricism. In _Constancy_ (_New England, A.D. 1899_), indicated _Simply, but with deep feeling_, we have one of MacDowell's best songs. It has a tenderness and wistfulness about it that is irresistible, and sung in the spirit of its words, which tell of an empty house and neglected garden, it is a very beautiful thing. _Sunrise_, marked _With power and authority_, is short and tells of the sorrowful spectacle of a wrecked and broken ship. The actual scene, however, seems secondary to its own significance as a symbol of human life. The music is heavy after the style of certain of the composer's pianoforte _Sea Pieces_ (_Op_. 55). The third and last song, _Merry Maiden Spring_, is charming, with a singularly bright and captivating freshness. It is indicated to be sung _Lightly, gracefully_. OPUS 59. FOURTH SONATA, KELTIC, IN E MINOR, FOR PIANOFORTE. _First Published_, 1901 (Arthur P. Schmidt). _Dedicated to Edvard Grieg_. 1. _With great power and dignity_. 2. _With naive tenderness_. 3. _Very swift and fierce_.