di camera (fp. Gallery of Illustration, London, 2 November 1863) 1863–64 – She Stoops to Conquer, opera (fp. Covent Garden Theatre, London, 11 February 1864) 1864 – The Soldier's Legacy, opera di camera (fp. Gallery of Illustration, London, 10 July 1864) 1864 – Helvellyn, opera (fp. Covent Garden Theatre, London, 3 November 1864) 1880 – Kenilworth, opera [unperformed] Chamber music 1834 – String Quartet No 1 in G minor 1840 – String Quartet No 2 in F major, Op. 54 (published Leipzig, 1846) 1842 – String Quartet No 3 in A major 1843-4 – Piano Quintet in G minor 1852 – String Quartet in G minor 1857 – Violin Sonata in E minor 1864 – Fantasia: Traditions of Shakespeare, variations for clarinet and piano 1878 – String Quartet in G major 1880 – Piano Trio in A minor for flute, cello and piano 1883 – Flute Sonata 18?? – Religious March in E-flat major Piano 1842 – Piano Sonata No 1 in E-flat major (revised 1887) 1845 – Piano Sonata No 2 in A ‘Ma cousine’ 1880 – Piano Sonata No 3 in G Incidental music 1882 – Ajax (fp. Cambridge University, November 1882) Reputation During his lifetime, Macfarren's music met with a mixed reception; "his views were often considered dogmatic and reactionary, but, unlike Grove, his theoretical and analytical expertise was indisputable.". One contemporary called Macfarren "essentially a musical grammarian, engaged all his life long in settling the doctrine of the enclitic de." Those who thought highly of his work praised its originality and its tastefulness. According to a contemporary commentator, Macfarren "had great originality of thought and, as a composer, would probably have had still greater success if his early composition studies had been formed on the more modern lines to which he afterwards became so devotedly attached." Salome's dance in St John the Baptist was praised for its avoidance of the salacious: "The whole of the scene is very cleverly worked out, and the composer has avoided anything inappropriate in the music descriptive of the dance, that might be considered out of place in an oratorio." Others, however, criticized the oratorio, arguing that "with all its very great and solid merit, can be said to be original in style only in virtue of the logical results of certain theories of harmony held by its composer." By the early twentieth century, Macfarren's works were no longer performed, a