Terpsichore

Terpsichore (1981) is based upon dances from the Court of Henry IV of France by Michael Praetorius in 1612. Margolis details the piece:

Terpsichore is the Greek Muse of dancing. She is one of the nine Muses who are the daughters of Mnemosyne (the goddess of memory) and Zeus.

The beginning of this band work is a quiet invocation to the spirit of ancient dance, and is followed by a street scene depicting wild and savage goings-on. The energy level and tunes are explosive, the moods constantly and unpredictably changing. Speed, flexibility, and energy dominate. Towards the middle of the movement, a brass quintet plays the original Renaissance music upon which the movement is based. The invocation reappears, and the music ends in a florid swirl of notes.

The second movement begins with a quintet of gently chirping flutes, followed by a slow Spanish dance for solo harp and then band. Next comes a brazen ballet, Amazones; and finally a loud chime introduces a scintillating and vibrant jumping dance, or “volte,” coming to a breathless and abrupt close.

The third movement begins with a bright xylophone solo, followed by a series of “bourrées.” Sounds are bright and transparent. The end of the movement reproduces, as nearly as is possible in the modern symphonic band, the sound of an actual Renaissance wind band.

The final movement – the longest, most complex, and most exciting one – begins with a sprightly “gaillarde” for solo organ. This is followed by a series of warmly peaceful variations called “reprinses,” next comes a unique series of tunes that feature the individual instrumental choirs of the band. Finally, an exhilarating and strongly rhythmic “volte” first shows off the euphonium soloist, and builds energy to a resplendent close.

The work is filled with symbolism and emotion, but two particular musical elements evoke aspects of the metaphysical in unexpected ways: the pervasive use of percussive metals and the choice of a lullaby at the end. The bright, glittering shimmer of the metal percussion recalls the imagery found in Ecclesiastes 12:7, “Then shall the dust return to the earth as it was: and the spirit shall return unto God who gave it.” Although the physical body no longer endures, the soul, represented by the tuba, remains and sings a sweet, restful melody above the accompanying notes of the piano. By harmonizing with the other brass instruments, the soul initially lingers with the family, then, as indicated when the piano rises from the lowest D to the highest, it ascends to heaven. Dust…spirit…soul. As Shakespeare’s Prospero said, “We are such stuff as dreams are made on,” and what better way to end this piece than with a lullaby, rocking us to sleep and continuing the dream.

Program Note from University of North Texas Symphonic Band concert program, 28 April 2016