Three of d'Indy's most colourful works show him not only as an impressionist in a Debussian mould but also influenced by Wagner and folk music from his own culture. La forêt enchantée (1878) is described as a “légende-symphonique” and is inspired by an epic ballad by Ludwig Uhland. D'Indy creates a mysteriously expectant opening atmosphere, then Knight Harald and his followers ride out vigorously. Feminine “elves” seduce his followers, but Harald loftily resists their enticements and gallops off to reach an enchanted spring, where the elves are waiting for him. This time he yields to their alluring invitation before slipping into a “centuries-lasting” sleep.

By the time the masterly Jour d'été à la montagne was written some 30 years later, d'Indy's style had matured. While the Wagnerian sensuality remains, here the influences from Debussy and even Ravel are very potent: there's a daybreak with an orchestral chorus of birds. The sultry central movement, “Après-midi sous les pins”, includes lively folk dancing before the clouds arrive, with thunder in the distance. Twilight transforms the mood for “Soir” - pagan dances and Gregorian Christian influences vying with each other - and the work closes in nocturnal bliss.

D'Indy wrote Souvenirs almost immediately afterwards (in 1906) in memory of his wife, (represented by a leitmotif, Bien-Aimée), recalling the couple's idyllic summers together and again evoking the countryside. This idée fixe is continually transformed before the music darkens and 12 harp harmonics set the time of Isabelle's death at midnight; the evocation ends in sad serene acceptance.

The rich orchestration in all three works is superbly realised by the excellent Iceland Symphony Orchestra under Rumon Gamba and the state-of-the-art Chandos recording; definitely a key record of d'Indy's orchestral output.