Review Summary: A symphonic scherzo that picks apart an 18th century poem, and utilises it's subject theme to create one of the more memorable moments in orchestral history. So what's the moral of the story? Don’t steal other people’s stuff and use it to your own ad
In 1797
Johann Wolfgang von Goethe forged the quirky little poem
Der Zauberlehrling, more commonly known by it’s English entitlement, The Sorcerer’s Apprentice. Some one-hundred years after Goethe’s showcased an eminent writing dexterity not only through his literally writings, but also scientifically writings of colour theory, French impressionist composer
Paul Dukas who is also remembered as renowned music critic at the time, took upon the task of bringing this interesting poem to life through orchestration. During its time at the turn of the century the piece was quite well known by many, but it was to be in 1940 through its inclusion in the play list of Walt Disney’s celebrated classic Fantasia that Dukas’ vision became literal.
The scenes of Mickey Mouse (the apprentice) deviously disobeying his master sorcerer’s wishes to pale water in buckets by hand, is etched into the minds of many children abroad. In many ways this clever adaptation to the filmset attributes to the success and popularity of the piece. The score itself is much like that of what is to be found during the third movement of a typical symphony; the scherzo. Literally meaning ‘joke’ in Italian, the scherzo is light-hearted in step and often made of compounded rhythms to simulate a waltz or dance form. Appropriately this is where the cusp of the piece derives much of its remembrance, but it begins much more mysterious and dark in its opening passage through vibrating backdrops of violins, and haunting trills of woodwind. This scene is where the apprentice and sorcerer part for the night, before the sudden gasp of the full orchestra is hurled into action as the sorcerer leaves the space, thus allowing his shorter company to run amuck in the wee hours of the night.
The apprentice and his stolen wand, quickly put to work magical hordes of broom sticks, complete with arms, legs and an uncanny attitude. The music is quickly moulded through a sparse uncertain introduction eventually picking up speed as each new broom take a life of its own, under command of the over enthusiastic apprentice, instructing the army to pale the water that he was meant to. As mentioned earlier, this section itself is unforgettable, due to both its rhythmical stance but also a very well adapted encirclement of a quick run of notes to form the memorable bouncing melody that returns back on itself. The strings take most of the rhythms, while the woodwind and brass accent the secondary beats almost creating a sub-melody to suit.
Through words alone, it certainly sounds quite jocular and carefree, but the darkness of the poem becomes evident when the apprentice’s spells eventually drive the broom army to rebut his wishes, as he tries fruitlessly to prevent the brooms from paling endless amounts of water. Things become devastatingly out of control quite quickly; the music matches this chaos, whilst maintaining the fast and ever-changing rhythm that evolves capriciously to make use of percussion elements such as triangles, cymbals, and the glockenspiel. Eventually everything draws to a final close (rather loudly) when the sorcerer is disturbed in his sleep by the frenzied racket below. His wisdom and understanding for the spells and their associates effects mean that his amendments to the problem at hand; a ponderous flood, millions of relentless walking broomsticks, and a naughty little apprentice; are quick and efficient, but not necessarily quiet and subdued. With a piece such as this its ending is (and needs to be) much more concrete and defined then its mysterious beginnings. Dukas does well here to adapt the appropriate level of intimacy of how the sorcerer reacts to the chaotic disruptions, and how the orchestra is to react as well.
Reaction, cause and effect is what makes this piece of music such a joyful listen, but there’s a larger moral to the complete story that’s well known as being careful to not use other individuals’ personal possessions/tools/property to your own advantage. If you look at it all musically, it’s just another scherzo, but coupled with the original poem and subject theme, it powerfully becomes part of another existence in the world of literature, fairy tales, and story telling; however not expressed through words, but through the art music itself.
