s sword in his hand and his terrifying helmet flashing in the
sun. In O'Grady's words:--"So stood Cuculain, even in death-pangs,
a terror to his enemies, for a deep spring of stern valour was
opened in his soul, and the might of his unfathomable spirit
sustained him. Thus perished Cuculain." ... Superb as these lines
are, they are equalled in expression by the music of MacDowell's
_Keltic_ sonata.

OPUS 60. THREE SONGS, FOR VOICE AND PIANOFORTE.

_First Published_, 1902 (Arthur P. Schmidt).

1. _Tyrant Love._

2. _Fair Springtide._

3. _To the Golden-rod._

This is the last song group that MacDowell published. It contains
music of great charm and poetic beauty, with a grave tenderness
that was ever his own. The verses are all from his pen and show
his unusual literary gifts.

_Tyrant Love_ (_Lightly, yet with tenderness_). This is the least
fine of the three, and yet in itself it is a song of rare quality
and far above the commonplace. The music is beautiful, although
not free from distortion of the words.

_Fair Springtide_ (_Very slow, with pathos_). This is one of the
best and most mature of MacDowell's songs. It makes a lovely
solo, full of sweet and tender sadness, seldom failing to move
its hearers. Both as regards words and music, it comes straight
from the soul of its composer.

_To the Golden-rod_ (_With tender grace_). This is a pure and
delectable piece of lyrical work, in MacDowell's most delightful
style. The verse tells of a lissom maid whose wayward grace
neither sturdy Autumn nor the frown of Winter can ever efface.
The words are obviously fanciful, but the song has a graceful
charm and fragrance.

OPUS 61. FIRESIDE TALES, FOR PIANOFORTE.

_First Published_, 1902 (Arthur P. Schmidt).

_Dedicated to Mrs. Seth Low_.

1. _An Old Love Story._

2. _Of Br'er Rabbit._

3. _Of Salamanders._

4. _A Haunted House._

5. _By Smouldering Embers._

These pieces show a significant change in the voice of MacDowell.
A certain strange, farawayness of thought is apparent, and a
grave tenderness that is not quite like anything he had
previously written. The fine beauty of the previous short pieces
here gives way to a new kind of serious and even sombre aspect,
and indeed the composer seems to have entered on a new period.
Unfortunately the next work after these _Fireside Tales_ is the
last music he published, and so the certainty of the commencement
of a new period cannot