Abstract
Evocation for Chamber Orchestra was written to be performed in New Music Brandeis Concert Series 2013-2014 Finale. Most of the melodic gestures in this piece are based on the motif at the beginning played by Clarinet in Bb. In the mysterioso sections, melodies based on the motif emerge again and again in different forms to build up harmonic tension. Single note repetitions by woodwinds and brass are important musical materials in this section. The patterns of repetition control the musical direction, making the music go forward or hold back. The string quartet section in the latter half of the piece is a loose form of recapitulation, following the melodic shape of the opening counterpoint played by clarinet and French horn in augmentation. Therefore, the overall form can be analyzed as unrestricted sonata form.\r The two grandioso sections in the middle and at last are climaxes of the piece. Two to six part counterpoints with dynamic timpani rhythm create remarkable contrast with mysterioso sections. The melodic shape is also a developed form of the opening clarinet’s motif. The last short accented chord of the piece that is played by all pitched instruments except piano is the vertical superposition of pitch material from the opening motif. Piano plays all other pitches, which are not included in the opening the motif, and they remains solely to create acoustic effect with the reverb of the last short accented chord.