The two long pieces are far more distinctly original. The first of these is a set of three fanciful pieces called _Poëmes des Montagnes_. The first of these--_Le chant des bruyères_--is divided into five parts: the song of the heather, or the heath, mists, a touch of Weber, a theme which is to be found in all three movements called _La bien-aimée_, and finally the song of the heath again, this time in the distance. The second movement is again subdivided, this time into dances amid which _la bien-aimée_ makes a momentary appearance; and in the last movement--_Plein-air_--one finds a promenade, thoughts of great trees (_hêtres et pins_) on the side of the mountain, _la bien-aimée_, a bit of calm before a burst of wind, finally a pair of lovers united. At the beginning and at the end of the series there are a few broken chords, vaguely styled _Harmonies_, and at the very end again there is a reminiscence of the theme of _la bien-aimée_. One cannot but find the whole series closely akin to Schumann. The romanticism is the romanticism of Schumann, carried a step into the open air and among the mountains, of his devotion to which d’Indy has left many a proof in music. The fleeting touch of Weber, and especially that d’Indy should have written Weber’s name over the measure in which it falls, is again characteristic of the composer who introduced Paganini and Chopin into his _Carnaval_. The identification of a theme with a beloved one is another instance. But even more definite than these tokens of a certain romanticism is the treatment of the piano, and even the nature of much of the thematic material. _Le chant des bruyères_ and _La bien-aimée_ are in the mold of Schumann. The _Valse grotesque_ recalls in rhythm some of the _Davidsbündler_ and the first of these _Danses rhythmiques_ is like parts of the Pantalon and Colombine of the _Carnaval_. On the other hand, there is something original and new in the section called _Brouillard_. The general mistiness of the harmonies, the long holding of the pedals with consequent vague obscurity of sound, and the irregular line of clear points in a sort of melody that is drawn against this inarticulate accompanying murmur, these indicate new ventures in pianoforte style. The rhythmical irregularity of the first of the dances and the irregularity in the form and recurrence of sections are further signs of the advent of something rich and strange. In fact the whole work loses somewhat by the frequent suggestion of bold experiment, and is hardly to be considered equal to the traditional standard of music, as represented by Schumann, nor sufficiently successful to establish a new one. Barring the _Brouillard_, the treatment of the keyboard lacks distinction.