|kfremar304 Fantasy Op. 67:
The Fantasy was inspired in part as a musical personification of the struggle of mankind vs. technology, and the increasing controls technology places on our lives. The composition is a concert work comprising three distinct sections; an eerie waltz, an expressive and imitative middle section, and a rhythmic toccata. The work features bitonality and is at times chromatic in nature, but revolves around a tonal center.
The Fantasy was composed while imagining a daring adventure by humans to somewhere deep within the center of the earth, where an enormous life-like techno-machine lives, furiously humming away as it powers all digital and electronic intelligence. As the machine becomes quiet and seems fall into an exhausted sleep with one last very low sigh, the humans—represented by a somewhat dissonant lyrical love theme—become attracted to each other; but with the ultimate sad realization that love is not possible in this sterile digital environment. Then, as the machine gradually awakens, it spies the humans.
A wild chase ensues with a back and forth struggle—the machine ultimately spouting the human love theme in massive and increasingly dissonant chordal fashion (with a final flourish added for good measure); thus proclaiming its triumph over mankind.