This three-movement work is a programmatic piece that, while not based on any specific paintings, is meant to evoke images of what could be classic paintings in the mind of the listener. Each movement is set in a particularly distinct regional setting, the locations of which were chosen for stylistic contrast. 

The first movement, “Highland Castle,” sets the scene of an old Scottish castle standing stoically amongst a grey landscape. The castle is no longer occupied, but observers can imagine the revelry and energetic Celtic music that might have once animated the scene. The horn begins by playing into a piano with a depressed damper pedal, thus causing sympathetic vibrations to sound like an echo that can be heard across the landscape. The melody is set in the Dorian mode, a common tonality for Celtic folk tunes. While the melody is original, it is meant to sound like it could be an old tune from centuries ago. Recollections of festivities past are conjured as the tempo picks up into a dance with a lopsided meter (6+4/8).

“Lavender Fields” evokes images of pastoral fields in France where the purple flowers stretch down puffy rows and the pace of life feels slower. Set in the style of French impressionist music, and specifically influenced by Fernande Decruck, this movement encourages the listener to bask in the wash of lovely sound and lush harmonies.

“Conneaut Rag” is influenced by a uniquely American style of music from the early 1900s – Ragtime. The movement was written while the composer was visiting her in-laws in Conneaut, Ohio. The feeling of Mid-western Americana inspired the style of this movement. Again, the melody is original, but it draws on the rich history of the tradition of ragtime in order to give the listener a sense that it could possibly be from a bygone era.