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