Fanfare and March
Elegy
Scherzo
Trio
Pastorale
Centone
Scenes is based upon six passages from literature, all of which are colorful, poignant, and full of images. For the most part, they are springboards from which the music evolves, rather than programmatic models. They are evocations of the mood established in the text.
The music is uniquely suited for stringed instruments, employing many different techniques and casting the strings into varying roles and combinations. The overall unity of the piece comes from the structure of each movement on different planes of sounds which are combined and juxtaposed.
This piece, although based on a tone row, is not serial. The pitches are derived from the row in small subsets which define the various levels of the music, and consequently, a sense of tonality is achieved.
The next moment soldiers came running through the wood, at first in twos and threes, then ten or twenty together, and at last in such crowds that they seemed to fill the whole forest. Alice got behind a tree, for fear of being run over, and watched them go by.
She thought that in all her life she had never seen soldiers so uncertain on their feet: they were always tripping over something or other, and whenever one went down, several more always fell over him, so that the ground was soon covered with little heaps of men.
Then came the horses. Having four feet, these managed rather better than the foot-soldiers; but even they stumbled now and then; and it seemed to be a regular rule that, whenever a horse stumbled, the rider fell off instantly. The confusion got worse every moment, and Alice was very glad to get out of the wood into an open place, where she found the white King seated on the ground, busily writing in his memorandum-book.
from Alice Through the Looking-glass
Lewis Carroll
The Fanfare follows a splitting process: the opening tune divides into two parts, then four, eight, sixteen, and finally thirty-two. It begins with a 5-pitch subset (that corresponds to the 5 possible open strings) and other pitches are gradually added throughout in row order.
The March is really three marches, derived from separate subsets, which are constantly repeated with variations. The relation of each march to the other two is in constant flux. The ensembles are
I came, one evening before sunset, down into a valley, where I was to rest. In the course of my descent to it, by the winding track along the mountain-side, from which I saw it shining far below, I think some long-unwonted sense of beauty and tranquillity, some softening influence awakened by its peace, moved faintly in my breast. I remember pausing once, with a kind of sorrow that was not all oppressive, not quite despairing. I remember almost hoping that some better change was possible within me.
I came into the valley, as the evening sun was shining on the remote heights of snow, that closed it in, like eternal clouds. The bases of the mountains forming the gorge in which the little village lay, were richly green; and high above this gentler vegetation, grew forests of dark fir, cleaving the wintry snow-drift, wedge-like, and stemming the avalanche. Above these, were range upon range of craggy steeps, grey rock, bright ice, and smooth verdure-specks of pasture, all gradually blending with the crowning snow. Dotted here and there on the mountain's-side, each tiny dot a home, were lonely wooden cottages, so dwarfed by the towering heights that they appeared too small for toys. So did even the clustered village in the valley, with its wooden bridge across the stream, where the stream tumbled over broken rocks, and roared away among the trees. In the quiet air, there was a sound of distant singing - shepherd voices; but, as one bright evening cloud floated midway along the mountain's-side, I could almost have believed it came from there, and was not earthly music. All at once, in this serenity, great Nature spoke to me; and soothed me to lay down my weary head upon the grass, and weep as I had not wept yet, since Dora died!
from David Copperfield
Charles Dickens
The Elegy is a simple melody derived from the first hexachord of the row. Interspersed are three tropes:
It was a real bully circus. It was the splendidest sight that ever was when they all come riding in, two and two, a gentleman and lady, side by side, the men just in their drawers and undershirts, and no shoes nor stirrups, and resting their hands on their thighs easy and comfortable--there must a been twenty of them--and every lady with a lovely complexion, and perfectly beautiful, and looking just like a gang of real sure-enough queens, and dressed in clothes that cost millions of dollars, and just littered with diamonds. It was a powerful fine sight; I never see anything so lovely.
And then one by one they got up and stood, and went a-weaving around the ring so gentle and wavy and graceful, the men looking ever so tall and airy and straight, with their heads bobbing and skimming along, away up there under the tent-roof, and every lady's rose-leafy dress flapping soft and silky around her hips, and she looking like the most loveliest parasol. And then faster and faster they went, all of them dancing, first one foot out in the air and then the other, the horses leaning more and more, and the ringmaster going round and round the center-pole, cracking his whip and shouting "Hi!--hi!" and the clown cracking jokes behind him; and by and by all hands dropped the reins, and every lady put her knuckles on her hips and every gentleman folded his arms, and then how the horses did lean over and hump themselves! And so one after the other they all skipped off into the ring, and made the sweetest bow I ever see, and then scampered out, and everybody clapped their hands and went just about wild.
from The Adventures of Huckleberry Finn
Mark Twain
The Scherzo is constructed in four complementary levels, each of which has an independent musical direction:
Gradually the words seemed to melt and fade, as in a divine music; the child raised her deep eyes, and fixed them lovingly on him, and rays of warmth and comfort seemed to go from them to his heart; and, as if wafted on the music, she seemed to rise on shining wings, from which flakes and spangles of gold fell off like stars, and she was gone.
Tom woke. Was it a dream? Let it pass for one. But who shall say that that sweet young spirit, which in life so yearned to comfort and console the distressed, was forbidden of God to assume this ministry after death?
from Uncle Tom's Cabin
Harriet Beecher Stowe
Leandra withdrawn from sight, Anselmo's eyes grew blind, or at any rate found nothing to look at that gave them any pleasure, and mine were in darkness without a ray of light to direct them to anything enjoyable while Leandra was away. Our melancholy grew greater, our patience grew less; we cursed the soldier's finery and railed at the carelessness of Leandra's father.
At last Anselmo and I agreed to leave the village and come to this valley; and, he feeding a great flock of sheep of his own, and I a large herd of goats of mine, we pass our life among the trees, giving vent to our sorrows, together singing the fair Leandra's praises, or upbraiding her, or else sighing alone, and to heaven pouring forth our complaints in solitude.
Following our example, many more of Leandra's lovers have come to these rude mountains and adopted our mode of life, and they are so numerous that one would fancy the place had been turned into the pastoral Arcadia, so full is it of shepherds and sheepÐfolds; nor is there a spot in it where the name of the fair Leandra is not heard. Here one curses her and calls her capricious, fickle, and immodest, there another condemns her as frail and frivolous; this pardons and absolves her, that spurns and reviles her; one extols her beauty, another assails her character, and in short all abuse her, and all adore her, and to such a pitch has this general infatuation gone that there are some who complain of her scorn without ever having exchanged a word with her, and even some that bewail and mourn the raging fever of jealousy, for which she never gave anyone cause, for, as I have already said, her misconduct was known before her passion.
There is no nook among the rocks, no brookside, no shade beneath the trees that is not haunted by some shepherd telling his woes to the breezes; wherever there is an echo it repeats the name of Leandra; the mountains ring with Leandra, Leandra murmurs in the brooks, and Leandra keeps us all bewildered and bewitched, hoping without hope and fearing without knowing what we fear.
from Don Quixote
Miguel de Cervantes
trans. by John Ormsby
The Pastorale is an expansion of four instrumental models:
Pitch centers are phased in and out with each other, to create a dream-like aura.
Then the animals took counsel together how they should manage to drive away the robbers, and at last they thought of a plan. The donkey was to place himself with his fore-feet upon the window-ledge, the hound was to jump on the donkey's back, the cat was to climb upon the dog, and lastly the cock was to fly up and perch upon the head of the cat.
When this was done, at a given signal, they began to perform their music together. The donkey brayed, the hound barked, the cat mewed, and the cock crowed. Then they burst through the window into the room, shattering the glass.
At this horrible din, the robbers sprang up, thinking no otherwise than that a ghost had come in, and fled in a great fright out into the forest.
The four companions now sat down at the table, well content with what was left, and ate as if they were going to fast for a month.
As soon as the four minstrels had done, they put out the light, and each sought for himself a sleeping-place according to his nature and what suited him. The donkey laid himself down upon some straw in the yard, the hound behind the door, the cat upon the hearth near the warm ashes, and the cock perched himself upon a beam of the roof. And being tired from their long walk,
from The Bremen Town Musicians
The Brothers Grimm
trans. by Margaret Hunt
The Centone is four distinct and discrete movements by four different ensembles:
The four movements are split apart and recombined, in segments, with each other. This in turn is commented upon by the remaining 16 violins.