for ever
the mistaken and ignorant assertion that he was only a miniaturist
in composition. The _Norse_ sonata is separated by a wide gulf of
progress from its predecessor, the _Sonata Eroica_, being greater
in outlook, freer in form and altogether more strongly determined
and personal in character. It has a more mature strength, nobleness
and dignity, together with an inspiring and magnificent beauty and
splendour of tone power. The subject of the work was one that
MacDowell loved to dwell upon--the stirring tales of love and
mighty heroism told in the ancient Norse sagas. The barbaric, but
undoubtedly splendid spirit of those dim days seized upon his
imagination as it did upon that of the English composer, Elgar,
when he wrote his _Scenes from the Sagas of King Olaf_. The writing
in the _Norse_ sonata is of tremendous breadth and sweep of line,
only surpassed by that of the _Keltic_ sonata, (_Op. 59_), often
calling forth the utmost power of which the modern pianoforte is
capable and altogether ignoring the stretch of one pair of hands,
which have to leap the huge chordal stretches very smartly.
Notwithstanding this fullness of writing, however, the effect is
always ringing and clear. The third and fourth of MacDowell's
sonatas were dedicated by him to Grieg, but the printed copies of
the former do not bear the inscription, though those of the _Keltic_
do so.

1. The first movement opens darkly and sombrely, suggesting the
lines of the verse that heads the sonata as a whole, telling of
the great rafters in the hall at night, flashing crimson in the
flickering light of a dying log fire. The strong voice of a bard
rings out, and through this medium the tales of battles, love and
heroic valour is told. The movement has passages of tremendous
vigour, passion and depth, all painted with the unerring skill of
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