Slant Apparatus

From Wind Repertory Project
Peter Van Zandt Lane

Peter Van Zandt Lane

General Info

Year: 2010/2013
Duration: c. 11:00
Difficulty: VI (see Ratings for explanation)
Original Medium: Chamber orchestra
Publisher: Peter Van Zandt Lane
Cost: Score and Parts - $300.00   |   Score Only - $60.00


Flute I-II
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-II
B-flat Bass Clarinet
B-flat Soprano Saxophone
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
C Trumpet I-II
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone
String Bass
Percussion I-II-III, including:

  • Bass Drum
  • Concert Toms (3)
  • Hi-Hat
  • Kick Drum
  • Marimba
  • Nipple Gongs (2)
  • Slapstick
  • Suspended Cymbal
  • Tam Tam
  • Wood Blocks
  • Xylophone


None discovered thus far.

Program Notes

Slant Apparatus explores the tension between "process music" and "intuitive music." Process music is best defined as "music which results from the manipulation of rhythmic, pitch, or other formulaic cells," while intuitive music is "music freely composed, based on feelings, emotions, and free choice." The interplay between the mechanical, rhythmic, and the mathematical with the ambiguous, lyrical, and the amorphous is truly captivating to the listener -- and creates that musical narrative that Peter Van Zandt Lane is so wonderful at weaving.

In the past, tonality has created a series of expectations that the composer can choose to follow or break from. Tonality created a framework from which the composer could pull our heartstrings, test our patience, and tickle our intellectual fancies. In Lane's music, the narrative is created by the extent to which he follows the processes that have been clearly stated at the beginning of the work. In a way, the piece creates its own grammar, its own syntax, and its own set of rules and expectations.

Structured in an ABA form, Slant Apparatus was originally composed for the chamber orchestra at the Composers Conference in 2010 (Mario Davidovsky, director). Highly rhythmic ostinatos, elaborate canonic structures, and complex tonal relationships bookend a sensuous, teasing, and sexy middle section which is both alluring in its rhythmic ambiguity and meditative. Throughout the entire piece, hints of Peter's love of electro-acoustic music can be heard. Instruments are utilized in a manner that exploits their "noisy" qualities. The music is meant to sound like a machine, and a complex one at that.

The final bars of piece summarize and bring a quiet end to this rather raucous and energetic work. Rather than ending the piece with a huge climactic fanfare, Peter chooses to end in a quiet space of contemplation -- highlighting the piece's main compositional process -- namely, rhythmic augmentation and diminution. But perhaps the most remarkable quality of this music is the extent to which the highly complex music sounds human and emotional. In his own way, Peter has written a piece that succeeds in reaching the heart through the vast pathways of the mind.

-- Program Note by Evan Harger


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State Ratings

None discovered thus far.


To submit a performance please join The Wind Repertory Project

  • University of Georgia Wind Ensemble (Evan Harger, conductor) - 24 April 2014 *Winds Arrangement Premiere Performance

Works for Winds by This Composer