en more restless than before.
From now onwards the music becomes increasingly significant,
graduating in tone power from a shadowy _ppp_ to solid and virile
loud chords. The first and second subjects formally reappear and
the end comes with a short coda, the feature of which is its
powerful upward expansion, culminating in chords of great
strength, the striking opening figure being again heard.

2. The scherzo-like second movement is inferior in quality to the
rest of the sonata, and apart from some ejaculations suggesting
the dramatic opening of the first movement, does not appear to
have any connection with the work as a whole. Its themes are not
distinguished, although there are touches of strength in many
places, and the movement savours generally of Teutonic romantic
influence and probably only exists at all as a concession to
form.

3. The _Largo con maesta_ is the outstanding movement of the
sonata, remaining to this day one of MacDowell's most impressive
creations. It is full of deep feeling and gravity, contrasted
with passages of tender contemplation and the impassioned poetry
of despair. The whole aspect of the movement is lofty in thought,
vast in tonality and altogether indicative of power and of
genius. MacDowell was harassed by drudgery and care when he wrote
it and the tragic note is sounded from its first bars. After
exhausting itself in intense expression, the opening theme makes
way for a mood of quiet, although still despairing, contemplation.
This wanders on, until the music becomes impassioned and more
intricate. Rushing ascending scale passages add to the restless
movement of the whole, culminating in a tumultuous and despairing
utterance of the contemplative theme. This gradually dies down
and soon the impressive strains of the first theme are heard, now
softly breathed and portraying a deep and broken sadness in place
of the clenched fist attitude of their first appearance. The
music becomes more and more subdued, finally becoming extinct in
_pppp_ chords. The whole of this last page is one of the most
impressive and soul-stirring things in contemporary pianoforte
music.

4. The final movement, _Allegro eroico_, opens with a bold,
heroic theme in spread chords, followed by a quieter subject. The
music goes triumphantly on with increasing brilliance, complexity
and heroic ardour. At length a great final version of the heroic
theme is heard, _Maestoso_, and soon we come to the dramatic
mome