Duplicates: A Concerto for Two Pianos and Orchestra is aconcerto for twopianos andorchestra by the American composerMel Powell. The work was commissioned in 1987 by the philanthropistBetty Freeman for theLos Angeles Philharmonic.[citation needed] It was first performed at theDorothy Chandler Pavilion on January 26, 1990, by the pianistsAlan Feinberg andRobert Taub and the Los Angeles Philharmonic under the conductorDavid Alan Miller.[1][2] The composition was awarded the 1990Pulitzer Prize for Music.[3][4]
In an April 1990 interview withThe New York Times, Powell recalled of his inspiration for the composition:
The idea for the work goes back toWorld War II, when I was in Paris and met an old musician who knewDebussy and would regale us with anecdotes. I've forgotten most of the stories, but one thing he told me has come back to me frequently over the years. It was about a time he and Debussy were having a glass of wine at theChat Noir, and Debussy said: 'Do you know what the perfect music would be? A perpetualcadenza. It would be like a chain of gold coins, each like the other, but different enough to claim independence.' I've never forgotten that. And that became my goal forDuplicates.[3]
Duplicates: A Concerto has a duration of approximately 32 minutes and is composed in threemovements:
The second movement comprises three interludes respectively titled "Madrigal," "Immobile," and "Mobile."[1]
The work is scored for two solo pianos and an orchestra comprisingpiccolo, twoflutes (1st doublingalto flute), twooboes,cor anglais, twoclarinets,E-flat clarinet,bass clarinet, twobassoons,contrabassoon, fourhorns, threetrumpets, threetrombones,tuba, twoharps, three percussionists, andstrings.[1]
Reviewing the world premiere, John Henken of theLos Angeles Times gave the work modest praise, remarking, "Large in dimension and ambition, and uncompromising in the atonal complexity of its thought and deed,Duplicates impressed heavily, but only intermittently entranced, on its first hearing." He added:
Powell takes care of the major business in bookend "Onta" movements, and a lengthy, detailed business it is, working out all manner of contrasting and complementary duplicate ideas. The writing is mercurial but logical, a characteristically rational rhapsody scored in a colorfulMessiaen mode.In between lie three interludes: Madrigal, Immobile and Mobile. There Powell cossetted the exhausted, perhaps exasperated, "Onta" listener with brief, beguiling movements of clear character and purpose.[2]
