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He presents himself here as one who has yielded his imagination to an intimate contemplation of the natural world, and who already has, in some degree, the faculty of uttering whatever revelation of its loveliness or majesty has been vouchsafed. At once, in studying these pieces, one observes a wide departure in method and accomplishment from the style of the "Wald-Idyllen."
We have observed the operation of this impulse in such comparatively immature productions as the "Wald-Idyllen" and the "Idyls" after Goethe, in the "Four Little Poems" of op. 32, and in the first orchestral suite; but it is in the much later "Woodland Sketches" and "Sea Pieces," for piano, that the tendency comes to its finest issue.
In these earlier works one feels that the romantic view has been assumed somewhat vicariously one can imagine the favourite pupil of Raff producing a group of "Wald-Idyllen" quite as a matter of course, and without interior conviction. Nor is the style marked by individuality, except in occasional passages.
The Goethe paraphrases, although they have only a tithe of the graphic nearness and felicity of the later pieces, are yet fairly successful in their attempt to find a musical correspondence for certain definitely stated concepts and ideas a partial fulfilment of the method implied in the earlier "Wald-Idyllen."
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