In 1895 MacDowell published his “Sonata Eroica” (op. 50), and those who had wondered how he could better his performance in the “Tragica” received a fresh demonstration of the extent of his gifts.  For these sonatas of his constitute an ascending series, steadily progressive in excellence of substance and workmanship.  They are, on the whole, I think it will be determined, his most significant and important contribution to musical art.  The “Eroica” bears the motto, “Flos regum Arthuris,” and as a further index to its content MacDowell has given this explanation:  “While not exactly programme music,"[14] he says, “I had in mind the Arthurian legend when writing this work.  The first movement typifies the coming of Arthur.  The scherzo was suggested by a picture of Dore showing a knight in the woods surrounded by elves.  The third movement was suggested by my idea of Guinevere.  That following represents the passing of Arthur.”  MacDowell had intended to inscribe the scherzo:  “After Dore”; but he finally thought better of this because, as he told Mr. N.J.  Corey, “the superscription seemed to single it out too much from the other movements.”  Concerning this movement Mr. Corey writes:  “The passage which it [the Dore picture] illustrates, may be found in [Tennyson’s] Guinevere, in the story of the little novice, following a few lines after the well known ‘Late, late, so late!’ poem.  I always had a little feeling,” continues Mr. Corey, “that the sonata would have been stronger, from a programme standpoint, with this movement omitted—­that it had perhaps been included largely as a concession to the traditions of sonata form.  The fact that no scherzos were included in the two sonatas that followed, strengthened my opinion in regard to this.  I questioned him in regard to it later when I saw him in New York, and he replied that it was a matter over which he had pondered considerably, and one which had influenced him in the composition of the last two sonatas, as the insertion of a scherzo in such a scheme did seem something like an interruption, or ‘aside.’”

[14] It must be confessed that this qualification is a little difficult to grasp.  Is not the sonata dependent for its complete understanding upon a knowledge of its literary basis?  MacDowell exhibits here the half-heartedness which I have elsewhere remarked in his attitude toward representative music.

In this sonata MacDowell has been not only faithful to his text, he has illuminated it.  Indeed, I think it would not be extravagant to say that he has given us here the noblest musical incarnation of the Arthurian legend which we have.  It is singular, by the way, how frequently one is impelled to use the epithet “noble” in praising MacDowell’s work; in reference to the “Sonata Eroica” it has an emphatic aptness, for nobility is the keynote of this music.  If the work, as a whole, has not the dynamic power of the “Tragica,” the weight and gravity of substance, it is both a lovelier and a more lovable work, and it is everywhere more significantly accented.  He has written few things more luxuriantly beautiful than the “Guinevere” movement, nothing more elevated and ecstatic than the apotheosis which ends the work.  The diction throughout is richer and more variously contrasted than in the earlier work, and his manipulation of the form is more elastic.