Martha Uncaged

Instrumentation: Solo trumpet + piccolo, flute, english horn, clarinet in A, alto sax, tenor sax, contrabassoon, trombone, 2 percussion, harp, piano, contrabass

“Caged Lion” – the 1st movement – describes how Martha Graham, as a young dancer in NY, was first inspired by watching a caged lion as it walked back and forth in its captivity. As she described it: “Imagine (the lion) as it paced, 1-2-3-4 turn, 1-2-3-4, turn, etc.” The mixed meter 9/8 (but scored 3/4 + 3/8) allows an extra eighth note on the final beat for the lion to turn. The 4-note “Martha motif” is introduced in the low flute, and is examined throughout the work. It grows and evolves in proportion to Martha’s life experiences.

“Denishawn – breakaway” – the 2nd movement – describes how Martha broke away from her first dance company to join a new and more exciting/forward-thinking troupe in LA. It is a tarantella, having a “breaking-free” spirit to it. A driving 18/8 section – heavy in the lowest instruments – represents Martha’s tenacity and inner fortitude.

“Interlude: Louis Horst” – the 3rd mvmt is the pas de deux of sorts, reflecting Martha’s love-affair with her music-accompanist/composer/pianist over the years. They never married. Musically it is meant to reflect the romantic improvasitory manner in which a rehearsal accompanist might play.

“Interlude: Erick Hawkins” – the 4th movement describes her brief marriage to the young dancer in her company. It is a modern setting of an older musical style (bourrée), and is short-lived, just like their relationship.

“Finale – Gravity” – the 5th movement sums up her new language of dance, which had the characteristics of gravity, barefoot dancing, and being distinctly American. Therefore, the weight of the almost-tribal music lands constantly on the main beat, reinforced by downward momentum and bass drum strokes. The “Martha motif” is eventually resolved with finality, giving the work a celebratory nature, as it reflects on the genius of a one-of-a-kind American icon of dance, Martha Graham.

Jim Stephenson

“Martha Uncaged” can work in a musical concert performance setting, or danced as a ballet. An interesting program would be to pair this with Copland’s “Appalachian Spring”, which was commissioned by Martha Graham.