The Autumn Elegy (Jesenja elegija), The Eagle song (Pesma orla), Japan, The Nymph, and The Bells (Zvona). About fifteen Lieder composed in France in 1917 after the lyrics by French poets were influenced by Impressionism, the best known among them being Berceuse triste (Tužna uspavanka). From his later period, important ones include The Three songs for high voice (Tri pesme za visoki glas), the most remarkable being “A very hot day” from 1924 (“Vrlo topli dan”), composed upon German lyrics, and Haikai (Hai-kai), after the poetry of Japanese poet Matsuo Bashō, from 1942. These works merge impressionistic and expressionistic elements. A Field feast (Gozba na livadi), “a lyrical symphony for voice and orchestra” (1939) represents the first example of symphonic Lied in Serbian music. Milojević also wrote choral music. His activities in this genre encompass simple, unassuming music for children's and youth choirs to complex works. The most significant include: How green is the long field (Dugo se polje zeleni) (1909), a miniature for mixed choir, after the lyrics of Vojislav Ilić; dramatic ballad Presentiment (Slutnja) (1912), marked by Neo-romanticist chromaticism and polyphony, and considered among masterpieces of Serbian choral literature; and cycle The Feast of illusions (Pir iluzija) (1924), after poetry of Miroslav Krleža (Evening decorations (Večernje dekoracije), Triptych (Triptih), and Dark gloomy afternoon (Crno sumorno popodne)), a work of modern expression and high technical demands regarding choral texture. Milojević's most popular choral composition, The Fly and a Mosquito (Muha i komarac) (1930), is a humorous scherzando piece written upon folk text and utilizing tone painting. This effective work is often compared to The Goat-herd (Kozar) by S. Mokranjac. Milojević also wrote sacred music (two liturgies, three opelos (Orthodox Requiem), a particularly successful piece being A Short Opelo in b-flat minor (Kratko Opelo u b-mollu), for men's choir (1920). Miloje Milojević is one of the most significant Serbian composers of piano music. By their high artistic qualities, his Four piano pieces (Četiri komada za klavir) (1917), marked a shift in the history of Serbian piano music. His highly successful collections Cameos (Kameje) (1937–42) and My mother (Moja majka) (1943) are characterized by the synergy of Neo-romanticism and Impressionism. His cycles entitled Melodies and rhythms from the Balkans (Melodije i ritmovi sa Balkana), The Kosovo suite (Kosovska svita), and The Povardarie suite (Povardarska svita) (all from 1942), are all based on folklore and Milojević's own folk transcriptions. These works feature