Activity along such lines has left Pratt little time for the smaller forms of composition; a few have been published, among them the song, "Dream Vision," in which Schumann's "Träumerei" is used for violin obbligato; and a few piano pieces, such as "Six Soliloquies," with poetic text. In these each chord shows careful effort at color, and the work is chromatic enough to convince one that he has studied his Bach thoroughly.
Among his massive compositions there are two that seem likely to win, as they surely deserve, a long life. These are the symphonic suite, "The Tempest," and the "Prodigal Son." To the latter splendid achievement, A.J. Goodrich devotes several pages of his "Musical Analysis," to which I can do no better than to refer the reader. The "Tempest" is based, of course, on Shakespeare's play, and is described as follows by the composer:
"It is intended, in the first movement, Adagio, to typify the sorrow of Prospero, and his soul's protest against the ingratitude and persecution of his enemies. His willing attendant Ariel is briefly indicated in the closing measures. The Pastoral furnishes an atmosphere or stage setting for the lovers, Miranda and Ferdinand, whose responsive love-song follows the droning of a shepherd's pipe in the distance. Prospero's interruption to their passionate assurances of devotion, and the imposition of the unpleasant task, are briefly touched upon, and the movement closes with a repeat of the pastoral, and alternate reiteration of the lover's song. The Finale, after a short introduction, in most sombre vein, indicates the flitting about of Ariel and his companion sprites as they gather for revelry. The presence of the master is soon made apparent by the recurrence, in a subdued manner, of Prospero's first theme from the Adagio, the fantastic tripping of the elves continuing, as though the controlling spirit were conjuring up the fête for the amusement of the lovers and himself.
"'Ye elves of hills, brooks, standing lakes and groves;
And ye that on the sand, with printless foot
Do chase the ebbing Neptune, and do fly him
When he comes back.'
"The dance then begins, and continues in a fantastic, at times grotesque and furious manner, the theme of the lovers being interwoven at times, in an unobtrusive way. At length, Caliban is heard approaching, singing his drunken song.
"''Ban, 'Ban, Ca-caliban
Has a new master: get a new man.'
"Ariel and his companions flit about, ridiculing, mocking, and laughing at him; eventually prodding and pinching him until, shivering, with aching joints, he staggers away. The revelry then continues, the song of the lovers becoming more and more prominent until, somewhat broadened out, it asserts itself triumphantly above all, Ariel and his companions flitting about, Prospero happy, and Caliban subjugated, all the chief themes being united to form the climax and close of the work."
Although Pratt intentionally omitted the English horn and the bass clarinet, the scoring is remarkable for its color and faery. The work is highly lyrical in effect, and the woodsiness is beautifully established. The solemnity of Prospero, the adroitness of the lovers and the contrasting natures of the volatile Ariel and the sprawling Caliban, make up a cast of characters in the development of which music is peculiarly competent. The stertorous monologue of Caliban and his hobbling dance, and the taunting and pinching torment he is submitted to, make excellent humor.