Modes of Deception
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Willoughby SO conducted by Nicolas Milton |
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Programme Note
Modes of Deception draws on the concept of aurally deceiving the audience as its main emphasis and was completed in June 2008. 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 truncating or breaking up this motif, which results in a syncopated effect.
The second section uses more obvious aural deception by using extreme contrasts in tone colour and texture that keep the audience guessing from where the sound is emerging with different timbres constantly emerging and fading. The strings are divided in this section, with soloists emerging from the first and second violins, violas and cellos. This section also possesses a calmer and slower contrast to the first and predominantly uses thinner textures and short melodic fragments, particularly by the 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.
Modes of Deception was awarded the 2008 2MBS FM WSOC Young Composers Award and first performed by the Willoughby Symphony Orchestra in 2008.
Orchestration: 2 Fl, 2 Ob, 2 Cl, 2 Bsn, 4 Hn, 2 Tpt, 2 Tbn, Timp, 1 Perc, Strings
Performances of this work:
25 May 2013: at 25th Anniversary Jubilaeum, Joan Sutherland Performing Arts Centre. Featuring Penrith Symphony Orchestra, Paul Terracini.
24 Aug 2008: Bohemian Brilliance Concert, UTS Ku-ring-gai campus, Sydney. Featuring Willoughby Symphony Orchestra, Nicholas Milton.
Programme Note
Modes of Deception draws on the concept of aurally deceiving the audience as its main emphasis and was completed in June 2008. 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 truncating or breaking up this motif, which results in a syncopated effect.
The second section uses more obvious aural deception by using extreme contrasts in tone colour and texture that keep the audience guessing from where the sound is emerging with different timbres constantly emerging and fading. The strings are divided in this section, with soloists emerging from the first and second violins, violas and cellos. This section also possesses a calmer and slower contrast to the first and predominantly uses thinner textures and short melodic fragments, particularly by the 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.
Modes of Deception was awarded the 2008 2MBS FM WSOC Young Composers Award and first performed by the Willoughby Symphony Orchestra in 2008.
Orchestration: 2 Fl, 2 Ob, 2 Cl, 2 Bsn, 4 Hn, 2 Tpt, 2 Tbn, Timp, 1 Perc, Strings
Performances of this work:
25 May 2013: at 25th Anniversary Jubilaeum, Joan Sutherland Performing Arts Centre. Featuring Penrith Symphony Orchestra, Paul Terracini.
24 Aug 2008: Bohemian Brilliance Concert, UTS Ku-ring-gai campus, Sydney. Featuring Willoughby Symphony Orchestra, Nicholas Milton.