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Concert Music for Orchestra was developed from a spontaneous ideation of the opening
theme. The initial idea dawned on the composer, with the theme itself spawning out of nowhere
from the pizzicato strings and eventually devolving into the rest of the work. Concert Music is
loosely based on a sonata form. The development is not confined to a specific location, but
instead, is spread out through the work. There are 3 major themes that are utilized throughout the
work while a few others-- born into existence from the major themes-- are intertwined into the
body of the composition and juxtaposed against one another.
The initial design of the piece consisted of solo-like style of writing in the wind instruments
with a string orchestra accompaniment-- a small chamber orchestra specifically. Pure colors,
transparency, and small timbre groupings were the initial focal point. However, the demand for
more instruments later in the work created large areas of more aggressive and voluminous
orchestration, while a more chamber and individualized approach to the woodwinds still
continued to be featured in some other prominent sections. The brass instruments were treated
similarly to the winds as they remained soloistic throughout the majority of the piece.
Several techniques are used in this composition for the purpose of variety such as flutter
tounging, string tremolos, pizzicato, muted brass, drastic dynamic changes and distorted echo
effects. The tempo is never changed in the piece, although it may seem to do so due to
fluctuations of texture, energy, meter, and style. The conclusion of the piece returns to its initial
material in a retrograde fashion. This work's most attractive feature may be its mix of varying
styles and constant developing variation with the purpose of creating an atmosphere of constant
change and evolution.