First of all, my SUITE does not belong to my so-called "Jewish works," although perhaps, in spite of myself, one may perceive here and there in a few places a certain Jewish inspiration. It is rather a vision of the Far East that inspired me: Java, Sumatra, Borneo--those wonderful countries I so often dreamed of, though never was fortunate enough to visit in any other way than through my imagination. I first intended to give more explicit--or picturesque--titles to the four movements of the work, as: (1) In the Jungle; (2) Grotesques; (3) Nocturne; (4) The Land of the Sun. But those titles seemed rather incomplete and unsatisfactory to me. Therefore, I prefer to leave the imagination of the hearer completely unfettered, rather than tie it to a definite program.
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The following, however, is what I believe that I myself saw in the music:
1) Lenta--Alegro--Moderato The first movement, the most complicated in inspiration and form, aims to give the impression of a very wild and primitive Nature. The introduction, Lento, begins with a kind of savage cry, like that of a fierce bird of prey, followed immediately by a deep silence, misterioso, and the meditation of the viola. Other motives follow, and a small embryonic theme that later assumes very great importance. All these motives will be recalled later, either in the first movement or in the following ones, with more or less transformation. The following Allegro brings a motive of joyful and perhaps exotic character which is answered by the viola. There is a new motive for the viola, and there are transformations of earlier material. The second part of the Allegro begins with a new idea--perhaps a little Jewish, in my sense. There is a climax worked out from the most important themes. Then follows a decrescendo that leads to the conclusion of the Allegro--again in the silence and in slumbering mood. Like a sun rising out of clouds, the mystery of Primitive Nature, one of the earlier viola motives arises in a broader shape, Largamente, and the movement ends, as it began, with the mediation of the viola. |
2) Allegro ironico
The second movement is rather difficult to define. It is a curious mixture of grotesque and fantastic characters, of sardonic and mysterious moods. Are these men or animals, or grinning shadows? And what kind of sorrowful and bitter parody of humanity is dancing before us--sometimes giggling, sometimes serious? I myself do not know, and cannot explain. But I find traces of this kind of humor in parts of my former works: in the Scherzo of my first Symphony (1902), in the Witches of my opera Macbeth (1904-19070, in the Scherzo of my String Quartet (1916). But here, of course, it has a different color and significance. The musical form follows closely the expression in its alternating moods. It is a sort of rondo-form...The first group of motives (Allegro) is made up of short fragments. The following section is based on quite a different motive (Grave). |
3) Lento
This very simple page expresses the mystery of tropical nights. I remembered the wonderful account of a dear friend who lived once in Java--his travels during the night...arrival at small villages in the darkness...the distant sounds of curious, soft, wooden instruments with strange rhythms...dances, too...Many years have passed since my friend told me all this; but the beauty and vividness of his impressions I could never forget--they haunted me; and almost unconsciously I had to express them in music. There is first a dreamy melody in the solo viola, above dark chords; then a second and a third motive; and, as if from far away, reminiscences of motives from the first movement. |
4) Molto vivo
The last movement is probably the most cheerful thing I ever wrote. The form is extremely sinple--an obvious A-B-A, the middle part being a more lyrical episode, built from the other movements treated in a broad and passionate mood. The first motives are constructed on a pentatonic scale. A later motive, more lyrical, seems to be a transformation of the first. The middle part (Moderato assai) uses subjects from the first and third movements. A Presto leads to a Largamente, where a subject from the first movement is triumphantly recalled. The solo viola remembers the motive of the meditation from the first movement. A short and cheerful Allegro vivace concludes the work. |