Wagneristic allegiances. He intended ultimately to revise and publish
the score, and he allowed it to remain on the list of his works. After
his death it was concluded that it would be wise to print the music,
for several reasons. These were, first, because of the fear lest,
if it were allowed to remain in manuscript, it might at some future
time suffer from well-meant attempts at revision; and, secondly,
because of the chance that it might be put forward, after the death
of those who knew its history, in a way which would seem to make
unwarranted pretensions for it, or would give rise to doubts as to its
authenticity. In a word, it was felt that its immediate publication
would obviate any possible misconception at some future time as to its
true relation to MacDowell's artistic evolution. It was, therefore,
published in October, 1908, twenty years after its composition, with a
dedication to Mr. Henry T. Finck.

In "Die Sarazenen" and "Die Schöne Aldâ," two "fragments" for
orchestra after the "Song of Roland," numbered op. 30, a graver note
is sounded. These "fragments," originally intended to form part of a
"Roland" symphony, were published in 1891 in their present form, the
plan for a symphony having been definitely abandoned. "Die
Sarazenen" is a transcription of the scene in which Ganelon, the
traitor in Charlemagne's camp through whose perfidy Roland met his
death, swears to commit his crime. It is a forceful conception,
barbaric in colour and rhythm, and picturesquely scored. The second
fragment, "Die Schöne Aldâ," is, however, a more memorable work,
depicting the loveliness and the grieving of Aldâ, Roland's betrothed.
In spite of its strong Wagnerian leanings, the music bears the impress
of MacDowell's own style, and it has moments of rare loveliness. Both
pieces are programmatic in bent, and, with excellent wisdom, MacDowell
has quoted upon the fly-leaf of the score those portions of the "Song