Peloton

The term “peloton” refers to the main group (or pack) of cyclists in road bike racing. The composition begins in the middle of the race where the breakaway leader is in front of the peloton. As more cyclists close in on the leader, the music uses imitation and transpositions of motives – derived from the word, peloton – to give the illusion of attacks and counter attacks. The peloton starts to close in and, eventually, catches the breakaway group. But more attacks and counter attacks give way to another breakaway group of riders as the course starts a long, grueling climb. The peloton tries to close the gap but, once again, a clear leader has emerged with the intent to capture the King of the Mountain points. During the ascent, ominous music conjures up der Teufel – the Devil, running alongside the leader in an attempt to psychologically discourage his efforts to reach the top of the hill. As the ascending peloton struggles to climb, the peloton motive, now in a slower, augmented rhythm, is heard simultaneously with the taunting der Teufel music. The summit of the climb is in view and the lead riders attack and counter attack to achieve the crest. The exhausted riders, having left der Teufel behind, try to regain their momentum before the much-anticipated descent begins. The energy of the music picks up as the cyclists rapidly descend in a large serpentine formation towards the finish line. Abrupt successions of transposed whole tone and diminished fragments – derived from the peloton motif, musically narrate the breakneck descent. With the downhill segment of the race behind them, each cycling team commences to set up their respective sprinters for the chase to the finish line. While the sprinters grind and charge their way toward victory, the peloton, not far behind them, crosses the finish line to bring the race to its conclusion. Peloton was commissioned by Ray E. Cramer and the Musashino Academia Musicae Wind Ensemble of Tokyo Japan.