The Caves in the Mountains
Barry E. Kopetz
The Caves in the Mountains is an exciting journey through underground
terrain and the sensation that one might feel when traveling through such
a mysterious place. The form of the piece has been designed essentially
as a set of explorations of the various chambers found within a series
of caves. As such, each new section represents a different cave and should
provide a slightly varied emotional content.
Entering a cave can be ominous; one can always wonder what lies in store
as one walks deeper and deeper into the unknown space underground. Hence,
the beginning of the piece should be played slowly and carefully, just
as one would be cautious in entering a cave for the first time. Allow time
for shaping of the melodic motive during the opening measures of music.
The tempo change at measure 11 should occur suddenly, as if surprised
to discover that one is being followed, then chased, within a cave. There
should be a nervous energy that is only present when one senses that they
are not alone in such a confined environment. The intensity of the music
should grow until measure 29, where there is an inherently lighter style.
It should be played with intensity, but softly. By contrast, the rhythmic
outburst should be sudden and forceful at measure 34. The return to an
aggressive style at measure 39 should be performed with even greater intensity
than previously. The ritardando at measure 47 should feel as if one has
been running away from someone or something and you suddenly realize that
you have become lost within the subterranean world beneath the mountain.
The adagio is the most subtle portion of the piece and should be performed
as if one has stumbled into a large, beautiful cavernous portion of the
cave. The rhythmic ostinati in the various voices should be plaintive,
providing a simple background for the slow, solemn melodic line. Take care
to see that the melody grows by small fractions during its upward trajectory.
Balance of the percussion colors with the rhythmic ostinati is the key
to a successful performance of this dark music. It is musically appropriate
to allow the music to flow a little faster at measure 67, but only by a
small amount. For a more transparent texture, the conductor may choose
to have the section at 76 played only by soloists with a return to tutti
at measure 80. This section concludes in a state of question with the appearance
of the wind chimes leaving a sense of “where does this cave lead?”
The next cave, played “with evil intensity,” represents a
darker, narrower space. The new ostinato should start relatively softly,
but the accents must be played accurately. In the absence of either the
large or small timpani, the octave ‘G’ may be played on a single
timpani or even on a bass drom. The unison melody should be dark and brooding,
and the tam-tam part may be performed either on a gong, a large suspended
cymbal, or some combination of the three … use your imagination in
creating a dark sinister sustained tone! As the music builds in intensity,
allow the rhythm to take on a chant like quality until it abruptly comes
to a halt at the fermata. Here, you have arrived at a cave with a dead-end
and have no recourse but to return on the path by which you came.
The allegro feroce is the revelation that one is not only being followed,
you are just about to be ensnared. Fear takes over and you are now bent
on getting out of the cave as quickly as possible. A slightly higher tempo
may be taken, but do not allow the tempo to move so wuickly that the music
spins out of control. The music at measure 124 should be played as if you
have seen this cave once before at a leisurely pace, but danger behind
you disallows you from tarrying; the underlying rhythmic intensity must
remain the important undercurrent.
Measure 132 is the melodic line from the plaintive section rushing by
at great speed. The descending scale lines being passed from instrument
to instrument should be played in a legato, flowing style. Importantly,
the musicians must realize when to back off so as to not over-balance the
sonorous melodic line presented in the upper woodwinds. Discourage the
tom-tom player from rushing the sixteenth notes on beat four as this will
damage the flowing character of this section of the piece.
Measure 140 is the most ferocious part of the piece. Your journey has
brought you at great speed back to the mouth of the cave and though you
are able to just see the exit, you are not quite out into the fresh air.
The drop in volume at measure 148 represents a moment to catch your breath,
a moment in which you realize that danger is still lurking immediately
behind you. The upwardly moving bell-tones should be played as if you are
in a hurry to quit the cave as quickly as possible. Measures 151 and 152
are the loudest chords of the piece and while they should be played with
good balance that emphasizes their inherent dissonance, they should be
very strong and marked. They represent a final obstacle prior to one emerging
from this dark, underground world within the confines of the caves in the
mountains!
