The title Fancies expresses two primary ideas: the first is an allusion to Janáček’s infatuation with Kamila Stösslová, as in “he fancied her.” The second element, however, has more to do with the music itself and means to describe the piece as an accumulation of fancies, i.e. inclinations, impulses and whimsies. There is additionally one other related meaning suggested by the term “Fancy,” which is a type of early English music, a freely invented instrumental piece, which was also known as a “fantasia.” Much of Janáček’s music has always seemed to me quite splintered and non-linear, and the sense of “I can and will do whatever I want,” a feeling which to me is embedded in much of his music and was perhaps a motivating factor in his imaginary love life, as well, was a strong influence in the overall shape and development of this piece. Fancies is essentially a rhapsody/fantasia built upon the opening figures, the most obvious being a motor rhythm that reappears throughout the piece. Motivic fragments are gathered and tossed about. A theme eventually appears, but even that becomes fragmented throughout the piece. Therefore, Fancies: a combination of infatuations, impulses and improvisatory inspirations.
About Bruce Broughton
B ruce Broughton is best known for his many motion picture scores, including Silverado, Tombstone, The Rescuers Down Under, The Presidio, Miracle on 34th Street, the Homeward Bound adventures and…