1. Eintritt
2. Gnomentanz
3. Andacht
4. Reigen
5. Herbstblume (autograph extant)
6. Heimkehr

The Suite was first published in 1882. According to Steven De’ak, the Suite “was a sweeping success,” with audiences often asking for Gnomentanz (“Dance of the Gnomes”) and Reigen (“Round”) to be repeated. Soon after the publication of the Suite, Anatoly Brandukov performed it in Paris and Russia (David Popper, 218-219).

The work was published by Rahter with a subtitle “for orchestra with cello solo obligato,” bringing Richard Strauss’s Don Quixote to mind. Just as the cello portrays Don Quixote in Strauss’s tone poem, the cello similarly represents the romantic hero of Popper’s Im Walde.

The idea of the romantic hero was influenced by the writings of Jean-Jacques Rousseau, who believed “that the artist should aspire, through the spontaneity of expression, towards the dignity of ‘natural man.’”

Popper’s hero was indeed “inspired [by the] idealization of nature and the ‘folk,’” according to Grove Music Online. Other sources say that the romantic hero is rejected by society. The protagonist in the Im Walde Suite fits these descriptions of the romantic hero quite well.

The first movement, called Eintritt (“Entrance”), introduces us to the forest scenery. We hear a Wagner reference from the Magic Fire Music from Die Walküre, as well as Siegfried Idyll from Siegfried.

Once we are in the forest and the second movement, the protagonist sees a Gnomentanz, a dance of gnomes. This earthy caper has a playful yet sinister feel. It reminds us most of Grieg’s Trolltog, which came about a decade after Gnomentanz.

Our protagonist takes a break to offer up prayer in Andacht (“Devotion”), the third movement. The opening of this movement is organ-like, with clarinets, and a string accompaniment. We can even see a starry sky.

Once our hero goes on his way, he meets a group of people, or perhaps fairies, doing a round dance, Reigen, the fourth movement. This magical mazurka has a trick up its sleeve, the harmonics that seem to evaporate into thin air. Popper appears to enjoy fast harmonics, as they also make an appearance in his Cello Concerto No. 3 and arrangement of Chopin’s Nocturne.

Herbstblume (“Autumn flower”), the fifth movement, is another point of rest. This is by far the shortest and simplest movement, yet it also features the greatest tempo variation among performers. 

The final movement is called Heimkehr (“Homecoming”). We can hear the horse galloping, horn calls, and the joy of our hero at returning home. Close to the end of the movement, the music slows down, and the final two chords depict the hero dismounting. (Link to the entire article by Yuriy Leonovich)

First Edition: Rahter: vc/pf plate 2335 (separately, plates 351-356); orch. score plate 2468; orch. parts plate 2469
Other early editions: Complete: piano (Rahter, November 1883, plate 2478/separately plates 659-664, arr. Reinecke); 4 and 5. violin and piano (Rahter, plates 2757-2758, arr. Kühns)