difference between these and the two later sonatas--the "Norse" and
the "Keltic"--is even more marked. The first of these, the "Norse"
sonata (op. 57) appeared five years after the publication of the
"Eroica." In the interval he had put forth the "Woodland Sketches,"
the "Sea Pieces," and the songs of op. 56 and op. 58; and he had,
evidently, examined deeply into the resources and potentialities of
his art. He had hitherto done nothing quite like these two later
sonatas; they are based upon larger and more intricate plans than
their predecessors, are more determined and confident in their
expression of personality, riper in style and far freer in form: they
are, in fact, MacDowell at his most salient and distinguished. He has
placed these lines of his own on the first page of the score of the
"Norse" (which is dedicated to Grieg):

"Night had fallen on a day of deeds.
The great rafters in the red-ribbed hall
Flashed crimson in the fitful flame
Of smouldering logs;
And from the stealthy shadows
That crept 'round Harald's throne
Rang out a Skald's strong voice
With tales of battles won:
Of Gudrun's love
And Sigurd, Siegmund's son."

Here, evidently, is a subject after his own heart, presenting such
opportunities as he is at his happiest in improving--and he has
improved them magnificently. The spaciousness of the plan, the boldness
of the drawing, the fulness and intensity of the colour scheme, engage
one's attention at the start. He has indulged almost to its extreme