4) in his later period, and these are published in America by
Arthur P. Schmidt.

1. _Forest Stillness_ is an _Adagio_, opening with softly
breathed chords _misterioso_. The effect is one of deep
stillness, but soon becomes dull and burdensome, seeming to lack
that touch of genius found in the composer's later works, which
are able to preserve their interest throughout.

2. _Play of the Nymphs_ is technically clever and brilliant, but
lacks interest and is too spun out.

3. _Reverie_ is a short and tuneful little piece with little or
nothing MacDowell-like in it and much of nineteenth century
German romanticism and harmonies. It has been arranged for
orchestra, and for pianoforte and strings.

4. _Dance of the Dryads_ would doubtless attract lovers of the
Sydney Smith type of salon music, if there are any of them left.
It opens in quite a bewitching dance manner and then goes on
tinkling away on top notes, with chromatic runs, half floating
arpeggios and all the rest of the stock-in-trade of pretty salon
music. There are, however, some rather characteristic touches in
it, which distinguish it from its companions. The key transitions
from A flat major through distant D major and then F sharp major
in bars 22, 23 and 24 (Teichmüller 1912 Edition) respectively are
quite personal.