Ares
ID: SM-000190942
| Compositor | Amanda McCullough |
| Editora | Amanda McCullough |
| Ano de composição |
2011 |
| Gênero |
Clássico / Instrumental |
| Instrumentação |
Órgão, Flauta, Flauta piccolo, Clarinete, Fagote, Oboé, Trombone baixo, Eufónio, Trompa francesa, Trombone, Tuba, Contrabaixo, Tarola, Timbales, Címbalos, Contrafagote, Bombo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Contrabass clarinet, Contralto Clarinet |
| Composição para | Conjunto de Sopro, Wind ensemble, Symphonic band |
| Tipo de composição | Partes |
| duração |
8'40" |
| dificuldade |
Advanced |
| descripção |
Ares is inspired by a combination of Mars from Gustav Holst’s The Planets and the video game God of War—specifically the moment when Kratos (the main character) climbs up the hill overlooking Athens to see Ares (the God of war in Greek mythology) destroying it.
Ares was the first piece I wrote using sustained tone clusters which in this piece create the creepy metal grating on metal effect in the middle of the piece.
Ares is in three parts. The first and the last section is slow and heavy while the middle section represents a battle scene. One of the motives throughout the piece is a sixteenth note/dotted eighth note rhythm with emphasis on the dotted eighth, which is contrary to how it would naturally be played. This motive is passed around various voices from the flutes to the timpani, starting in the trumpets, as if calling warriors to battle. Throughout the battle scene, the Dies Irae theme can be heard in the brass and piccolo. This is the same Dies Irae theme that Berlioz uses in his Symphonie Fantastique.
The use of the organ in Ares to reinforce the sound of the brass and low reeds, particularly during the battle scene, as they act as a pedal underneath the rest of the ensemble. The organ is recommended, but isn't required to perform the piece. |
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| data de postagem |
10.09.2013 |
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