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