Amadeus ex machina
Lawrence Dillon
About this work:
Amadeus ex machina is a whimsical re-imagining of Mozart's 40th symphony from the perspective of a sophisticated - but somewhat disoriented - machine. Themes are mixed and matched in odd combinations, key centers are skewed in unexpected directions, and the entire composition is condensed into a ten-minute soundbite. The resulting work can be experienced in a number of ways - as a study of contemporary society's relationship with its cultural heritage, as a commentary on the interaction of art and technology, or simply as an affectionate spoof of one of the greatest compositions in the Classical canon.
The title comes from the deus ex machina - literally, "god from a machine" - a theatrical device in ancient Greece whereby a god was lowered to the stage in a crane to resolve seemingly hopeless plot complications. In our own time, though we continually face fresh challenges to our sense of hope, the music of Mozart and the work of passionate advocates for the arts can present us with unexpected resolutions - or at least sources of rejuvenation that make our crises a little easier to bear.
Amadeus ex machina was commissioned by the Carolina Chamber Symphony to commemorate its tenth anniversary under founding Music Director Robert Franz. It was premiered at Wake Forest University on May 3, 2002. It was chosen as the contemporary piece for the 2002 Vakhtang Jordania International Conducting Competition, Kharkov, Ukraine. It was also awarded a special commendation by the 2003 Masterprize Jury in London.
Year composed: 2001
Duration: 10:00:00
Ensemble type: Orchestra:Chamber Orchestra
Instrumentation: 1 Piccolo, 1 Flute, 2 Oboe, 2 Clarinet, 1 Bassoon, 1 Contrabassoon, 2 Horn in F
Instrumentation notes: same number of players as Mozart's 40th Symphony