“He saw his mills rising in the darkness, as a black silhouette against a breathing glow. The glow was the color of burning gold, and ‘Rearden Steel’ stood written across the sky in the cool, white fire of crystal. He looked at the long silhouette, the curves of blast furnaces standing like triumphal arches, the smokestacks rising like a solemn colonnade along an avenue of honor in an imperial city, the bridges hanging like garlands, the cranes saluting like lances, the smoke waving slowly like flags. The sight broke the stillness within him and he smiled in greeting. It was a smile of happiness, of love, of dedication.”
–Ayn Rand, Atlas Shrugged (988)
This quote is from the chapter “The Concerto of Deliverance”, and it describes Hank Rearden’s long-range view of his mills as he races towards them. As he gets closer, he sees that the “burning gold” glow is actually the glow of flames set by an angry mob. This brief wistful musing is therefore removed from the harsh reality that Hank discovers upon closer inspection of the scene in front of him. I started sketching a piece for string orchestra that explores this concept of blissful distance. There are restive, mechanical sixteenth notes that hocket between various sections of the ensemble, but their impact is softened by muted natural harmonics. This texture will become more angular and complex, but I’m planning on keeping the entire ensemble muted throughout the piece – even when it gets loud!
One thing I should mention is that these Atlas Shrugged pieces all use the same 12-tone row, but each in a different transposition. The Immovable Movers is in F#, The Face without Pain or Fear or Guilt is in C, and The Concerto of Deliverance is gonna be in A. Maybe I’ll get around to all twelve transpositions eventually 
