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The "Idyl" of the Second Symphony, for instance, is dangerously close to the "Waldweben" in "Siegfried," although, to be sure, Scriabine's forest is rather more the perfumed and rose-lit woodland, Wagner's the fresh primeval wilderness.
A song of Moussorgsky's or Ravel's, a few measures of "Pelléas" or "Le Sacre du printemps," a single fine moment in a sonata of Scriabine's, or a quartet or suite of Bloch's, give us a joy, an illumination, a satisfaction that little of the older music can equal. For our own moment of action is finally at hand.
And yet, the compositions of the middle period, the one that follows immediately the early, immature, Chopinesque period, are scarcely less rich and refined, scarcely less important. No doubt the influence of Scriabine's masters, though considerably on the wane, is still evident. The "Poème satanique" refines on Liszt.
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