Instrumentation
afl, cl(bcl), 1perc, pno, vln, vcl
Duration
7 minutes
Program Note
During the process of composing gilding cages, I was somewhat preoccupied with successive extramusical crises, which certainly influenced the ambit of the piece. More than that, however, in this work I wanted to explore the idea of rhythmic cells as the musical protagonist, rather than the more traditional model of having melodic or harmonic material control the musical direction. Thus, much of the action in this piece is either started or concluded by the percussionist.
The first section of gilding cages is a kind of representation of the exterior world: chaotic, unrelenting, and ultimately exhausting. It is at this point, when the music seems capable only of repeating itself, that a change takes place: suddenly, we catch a glimpse of an interior world—one which is initially calming, and perhaps even beguiling. However, quickly we learn that this world is insincere in its perfection: it is the gilded cage that the piece’s title alludes to, and in it nothing can be accomplished. To choose one or the other is the question that this piece poses.
gilding cages is the last work of mine to be premiered while I am a student at the Cleveland Institute of Music, and is dedicated to all my friends and colleagues. It lasts approximately seven minutes in performance.
Selected Performances
TEMPO Ensemble; Michael Powers, conductor
September 8, 2024
California State University, Northridge (Northridge, CA)
Cleveland Institute of Music New Music Ensemble; Jake Taniguchi, conductor
April 21, 2024 (World Premiere)
Cleveland Institute of Music (Cleveland, OH)
Tristan Wilson 