Show-Case, op. 52

All artistic Paris knows Madame Amos, a great patron of contemporary painting, of art in general and music in particular. Her collection of paintings and objects d'art is world famous. Her interest and initiative are responsible for the creation of many works of art. Tcherepnin wanted to express in music his impressions of the figurines in Madame Amos' show-case, which was composed in 1946 and consists of five movements.The first movement is inspired by a group of miniature greyhounds in glass, which in the show-case stands next to a massive porcelain cow. the greyhounds are full of action, whilst the cow is placid. This contrast inspired the composer. How often in life is our enthusiasm thwarted by something as placid as a cow!The second movement presents the crabs. We can picture two crabs seeing one another from afar and approaching each other backwards. There are two versions: one for the children wherein the crabs devour one another (which is true to zoological law), the other for adults, which we leave to their imagination, and which is equally faithful to the laws of nature. Assuming that the second version takes place, the frog which is next to the crabs begins to gossip, thus scandalizing all the creatures in the show-case. The uproarious noise of the poultry, followed by the scurrying of the weasel provides the rhythm for the fourth movement.Tcherepnin declares that the big porcelain deer is one of the most beautiful pieces, if not the most beautiful, in Madame Amos' collection. The contemplation of the deer reminded Tcherepnin of an incident which he relates; it was in Austria in the forest of Hagengut near Mariazell where, before the war, he spent a few days' holiday on the estate of his friend, Alfred von Porada. Walking peacefully in the forest Tcherepnin suddenly found himself confronted by a deer advancing in his direction. Both stopped and stared, but only for a few seconds. Thanks to the music we shall know the thoughts of Tcherepnin, but we shall never know those of the deer, which swiftly fled.