I am currently working to adapt Perpetuum Mobile for banjo.
I was listening to classical radio recently and heard this wonderful new piece by Simon Jeffes. While I enjoyed it for its simplicity and beauty, the name struck me for its relevance to Moto Perpetuo, a viola piece by Paganini which was adapted for banjo a few years ago by Bela Fleck on his classical album. The title of this album was Perpetual Motion, which in Italian is moto perpetuo, and in Latin is perpetuum mobile.
The theme of motion, perpetual or cyclical motion in particular, really fits with 3-finger, Scruggs- or melodic-style banjo in an important way, I think, and each piece, when played on the banjo, approaches that theme in a different way. Moto Perpetuo introduces a motif in rapidly jumping and diving sixteenth notes, then takes that motif through lightning quick changes and modulations. Very classical. As a stark counterpoint, Perpetuum Mobile is almost totally minimalist, with the lead instrument, originally piano, playing one bar of fifteen eighth-notes and repeating it, only transposing the line near the end of the piece. The change or motion that occurs is eventually in the orchestra, with long, deep, open-voiced diatonic chords changing once per bar. This happens infrequently as most of the piece stays on a C major chord.
In comparison, I am reminded of the old joke about how many soloists it takes to screw in a lightbulb. It only takes one; she holds the lightbulb in place while the world revolves around her. Similarly, Perpetuum Mobile uses a cyclical theme against a moving backdrop, while Moto Perpetuo actually screws in the lightbulb, moving a motif through different chords and keys.
I’m looking forward to performing Perpetuum Mobile. I’ll need a small orchestra though. Might be time to call an accomplished keyboard player.
Bluegrass / roots musician, vocalist, composer, and conductor