Garuda is a mythical bird-god. His statue in Sanjusangendo is fierce and menacing. The figure seemed almost comical in its ferocity. The Garuda I saw was a crazed Hellboy musician stamping out a beat, playing wild licks on his flute. But it seemed he might also be capable of the most inspired lyricism. If so, his would be formidable music-making, no doubt. This movement is my reaction to that image. Here my jazz background becomes apparent. Bebop, boogie-woogie, Bill Evans lyricism…all this and more is mixed together in a swirling cartoon world of expression. The movement is loosely cast in the traditional sonata-allegro format. Though my title is rooted in Eastern tradition, this final movement is, surely, very American.
Smart, Gary and Miyake, Yukino, "Piano Sonata IV. Chez Garuda (Recording)" (2016). Music Faculty Publications. Paper 33.