The piece opens with an impressive theme uttered ppp. The whole atmosphere soon becomes one of vast and solemn content, rising to an intense short outburst. Soon a new and rather bleak theme is heard with mournful, clashing harmonies; the whole effect is vividly recalled in From a Log Cabin, No. 9 of these idyls, the only piece in the set to equal this one in force. After some commentary, a series of three rushing, ascending scale passages are introduced, beginning pppp, then gradually becoming louder until they culminate on high and powerful chords. The opening theme reappears at the height of the climax and is expressed with passionate intensity. Gradually the music dies solemnly away again. The whole of this piece appears very different to anything of MacDowell's earlier work; its deep and almost fateful significance, together with its problematical character, is a bid for something even greater than the Sea Pieces (Op. 55).
4. With Sweet Lavender (Molto tenero e delicato). This piece opens with a tender and expressive theme, which is one of the most beautiful of the composer's inspirations. The passage marked la melodia con molto introduces that new and deeper note which is a feature in MacDowell's last two pianoforte albums. It breaks out presently into passionate longing, but the return of the sweet opening theme, ppp motto delicato, brings the feeling of quiet wistful contemplation back again. The verses at the head of the piece attribute its mood to the reading of a packet of old love letters.
5. In Deep Woods (Largo impressivo). This opens with loud and resounding chords, expressive of the majesty and beauty of American forests. At the eleventh bar a lovely theme enters, and the music from now onwards is written on four staves, 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 dignità). 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: