Continuing his explanation of the work, Taylor writes:
“The music is built upon four themes. The first of these, which is Jurgen’s own, is announced at the outset, in its broadest and vaguest form, by the bass
clarinet. The second follows immediately, a simple series of major and minor triads given out in turn by muted strings and muted brass. Its first appearance
is also the first appearance of the third theme, which is really only a motto of four notes in length, which rises a major second and falls back a minor second.
Neither of these themes can be assigned a very specific significance. Theme number two might be taken as symbolic of Koshchei, the Deathless, who made things as they are, just as theme number three is a reminder of Mother Sereda, who bleaches the color out of all things and renders life generally futile. The fourth theme, broadly lyric, is first heard in the cellos, at the beginning of the love scene that follows the first development of Jurgen’s theme. This might
be called—again not too literally—Dorothy la Désirée, or Helen of Troy, or the vision of beauty; or what you will.”