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
about this sonata, from which the magnificence and surpassing
power and beauty of the two later ones do not detract.

OPUS 51. WOODLAND SKETCHES, FOR PIANOFORTE.

_First Published_, 1896 (P.L. Jung. Assigned, 1899 to Arthur P.
Schmidt).

1. _To a Wild Rose._

2. _Will o' the Wisp._

3. _At an Old Trysting-place._

4. _In Autumn._

5. _From an Indian Lodge._

6. _To a Water-lily._

7. _From Uncle Remus._

8. _A Deserted Farm._

9. _By a Meadow Brook._

10. _Told at Sunset._

These widely known pieces were composed during the last part of
MacDowell's residence at Boston, just before he left for New York
to take up his duties as professor of music at Columbia
University. In these _Woodland Sketches_ we come for the first
time to the point at which his pianoforte poems are absolutely
responsive to elemental moods, unaffected in style and yet
distinguished, free from commonplace, speaking with a personal
note that is inimitable. They are, as a whole, mature Nature
poems of an exquisite and charming order, beautiful not only for
their outward manifestations, but for the deeper significance
they give to their sources of inspiration.

1. _To a Wild Rose_ (_with simple tenderness_). This is one of
the most charming and well known of MacDowell's small pieces. It
is founded on a simple melody of the Brotherton Indians, and has
a poise of the most refined and beautiful order. The composer was
always afraid of the less intelligent music lovers "tearing it up
by the roots." A vocal arrangement has been made by Herman
Hagedorn, but the words are sickly and commonplace in sentiment,
and so unnaturally cramped, that the song is artistically
worthless.

2. _Will o' the Wisp_ (_Swift and light; fancifully_). This is a
very imaginative piece, full of mysterious and shadowy lightness,
and swift of movement. It seems to just float o