, but is
always clear and fresh. As the full grandeur of the woods is
felt, the theme takes on a splendid exultation, gradually sinking
away as:--

... _The mystery of immortal things
Broods o'er the woods at eve_.

The piece was one of the composer's favourites; he inscribed its
opening bar on a portrait of himself which he gave to Mr. W.W.A.
Elkin, his London publisher and friend.

6. _Indian Idyl_ (_Leggiero, ingenuo_). This is a lovely tone
poem, opening with a characteristic little figure reminiscent of
the opening of the _Love-Song_ in the _Indian Suite for
Orchestra_ (_Op_. 48). The theme is punctuated by little
flute-like embellishments. The middle section, _poco piu lento_,
is idyllic, with a perfectly balanced, swaying rhythm. In playing
this portion, the left hand should describe an equal series of
semicircles as it alights first on the low chord, and then on the
single note two octaves higher. The opening theme returns with
the flute-like embellishments prominent, but all heard softly, as
from

... _afar through the summer night
Sigh the wooing flutes' soft strains_.

7. _To an Old White Pine_ (_Gravemente con dignita_). The
characteristic feature of this piece is its sense of alternate
mounting and declining strength. At about the middle of the
movement a deeper solemnity is noticed, in a passage suggesting
the _swaying, gentle forest trees_ that whisper at the feet of
the huge old pines of an American forest. Some expressive and
ingenious little woodland touches are included in the quiet
concluding bars.

8. _From Puritan Days_. "_In Nomine Domini_" (_Con enfasi
smisurata_). A stern theme opens this piece, while a passage
marked _implorando_ seems to suggest the pious attitude of the
immortal founders of the New England States. Soon the music
becomes hurried and more impassioned, the pious, despairing
motive being prominent. The opening theme is now thundered out
_fortissimo_ and the piece ends with a sense of stern and
rock-like strength of character.

9. _From a Log Cabin_ (_Con profondo espressione_). This piece,
which should be played with great expression, stands on a level
with _Mid-Winter_, No. 3 in this album. It strikes the new and
sombre note already referred to and carries with it a sense of
deep and vast import. The composer's unerring feeling for
atmosphere is given full play. The piece as a whole is deep and
problematic. The lines at its head:

_A house of dreams