Composed for the 2010 Wellesley Composers Conference.
Live recording by the composers conference ensemble, conducted by Jim Baker.
Arranged for the UGA Wind Ensemble for the 2014 Festival of Contemporary Music.
Live recording by the UGA Wind Ensemble, conducted by Evan Harger.
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 creates 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 Wellesley Composers Conference. 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