pianoforte sonatas and of the _"Indian" Suite_ for orchestra. The
sonatas, although not all of equal value, comprise some of the
finest pianoforte music in existence. They are notable for their
passion, breadth of style, massive momentum, dramatic power and
eloquence of expression. Admirers think them only equalled by
such creations as Beethoven's _Sonata Appassionata_. It is
curious that MacDowell's sonatas are infrequently performed, for
they bring the resources of the modern pianoforte into full and
sonorous play, sweeping the whole of the keyboard with their
stirring expressions. It is possible that as they are not in
general demand, the average virtuoso does not consider their
technical difficulties worth conquering. Nay, it is even doubtful
whether the pianist's mind could always rise to the heights of
fervent poetry and imagination whither MacDowell was often
carried and the memories of which are embodied in his finest
music.

As a tone poet MacDowell has none of the sensuous emotionalism
that wins popularity in the drawing room and at the musical
recitals of popular pianists. He is never sentimental and his
strength and passion is always finely controlled, never feverish.
His music is singularly free from the emotionalisms of sex, the
love-impulse with him is always noble and restrained. In all his
moods there is a human spirit and some definitely suggested
content, the most notable purist exceptions being the two
pianoforte concertos. His tone colourings are never used densely
or oppressively, but only serve to heighten the suggestiveness of
the whole. He loved the pianoforte as an instrument for personal
melodic and harmonic expression, and understood the range of its
tonal resources. His biggest music for it is written with very