(Joachim Raff: born in Lachen, on the Lake of Zurich, May 27, 1822; died in Frankfort-on-the-Main, June 25, 1882)
1.In the Daytime
IMPRESSIONS AND SENSATIONS
(Allegro)
2.At Twilight
(a)REVERY
(Largo)
(b)DANCE OF DRYADS
(Allegro assai)(Poco meno mosso)
3.At Night
SILENT RUSTLING OF THE WOODS AT NIGHT. ENTRANCE AND EXIT OF THE WILD HUNT WITH FRAU HOLLE (HULDA) AND WOTAN. DAYBREAK
(Allegro)
Raff, an astonishingly prolific composer, wrote twelve symphonies,[115]of which "In the Woods" (Im Walde) is one of the two that have most conspicuously survived the winnowing processes of time.
Im Waldewas composed at Wiesbaden in 1869. The programmatic bases of its different movements may be indicated as follows:
I.In the DaytimeIMPRESSIONS AND SENSATIONS(Allegro)
"The first movement represents in a general manner the feelings of a lover of nature in the forest on a summer day." The Introduction evokes the spirit of the woods "with the nameless charm of rustling branches and the glintings of sunlight." The mood is developed at length in its musical expression; the close "brings to its end this charming picture of the quiet surprises of the woodland in an autumn day."
II.At Twilight(a)REVERY(Largo)
"After a short introduction [clarinet and horn]," comments Mr. George P. Upton, "theLargobegins with a beautiful and suggestive melody [strings]—the revery of the dreamer." Later, "the theme returns twice—the first time with heightened pastoral effect, the second time in much the same manner as when originally given out."
(b)DANCE OF DRYADS(Scherzo: Poco meno mosso)
Flutes announce the principal theme. This "is in reality a dance movement—the dance of theDryads—but before its close the Revery motive of theLargoappears, and thus unifies the movement and completes the picture of the dreamer and his revery intruded upon by the dancing wood-nymphs."
III.At NightSILENT RUSTLING OF THE WOODS AT NIGHT. ENTRANCE AND EXIT OF THE WILD HUNT WITH FRAU HOLLE AND WOTAN. DAYBREAK(Allegro)
A mysteriouspianissimotheme for 'cellos and double-basses paints the darkness and solemnity of the forest night. The spectral approach of the Wild Hunt,[116]Dame Hulda[117]("Frau Holle") and Wotan following in the train of the unholy crew, is announced by a strongly rhythmed theme in the strings, clarinets, and bassoons. The hunt draws near and passes in a tumultuous increasing and diminishing uproar of the orchestra; the fury of the chase dies away, and there is a sharply contrasted tone-picture of the dawn; a suggestion of the sunrise brings the end.