Modes of deception : for orchestra
by Peter McNamara (2008)
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Library shelf no. Q 784.2/MCN 3 [Not for loan]
Modes of Deception draws on the concept of aurally deceiving the audience as its main emphasis. This deception manifests itself in several different ways. The first section uses rhythmic deception as its primary feature. A very simple rhythmic motive is established in this section, but as the work progresses, the expectation of this motif is distorted by shifting the rhythmic placement and/or breaking up this motif, which results in syncopated effects.
The second section uses more obvious aural deception by using extreme contrasts in tone colour and texture that continually deceive the audience from where the sound is emerging with different timbres constantly emerging and fading. This section also possesses a calmer and slower contrast to the first and predominantly uses thinner textures and short melodic fragments, particularly by string soloists, but also the woodwinds and some brass instruments.
After a short climax at the end of the second section, there is then a return to the opening intensely rigid rhythmic material, only with further developments. The opening motifs and textures are re-worked and re-coloured and to follow-on from the short melodic fragments of the middle section, longer melodic textures are also added above the rhythmic motifs.
Instrumentation: 2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 4 horns in F, 2 trumpets in C, 2 trombones, timpani, percussion (1 player), strings.
Duration: 8 min.
Difficulty: Medium — Difficult rhythmic sections, but suitable for amateur/youth orchestras.
Winner of: 2008 WSOC 2 MBS-FM Young Composer Award
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