The title, “Mask“ (2007, revised 2015) for orchestra, refers to the orchestration of this piece in which the instrumental identities are constantly disguised by other instruments of similar timbre.  The goal was to never allow any one instrument to be perceived as “solo”.  The orchestration focuses on the representation of the different sections of the orchestra, used as an ornamentation to others.  Also the sections of the piece are worked out so that there is an alternation between “orchestral” sounding music and “chamber” music.  Each short chamber section is veiled by larger orchestral sections.  There is also the influence of Bartok’s Miraculous Mandarin, which at the time of starting this piece, I had performed many times with the New York Philharmonic. The original version was selected by the American Composer’s Orchestra for the sixteenth annual Underwood New Music Readings, one of this country’s most coveted opportunities for emerging composers, in 2007.

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