In an April 1990 interview with The New York Times, Powell recalled of his inspiration for the composition:
The idea for the work goes back to World War II, when I was in Paris and met an old musician who knew Debussy 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 the Chat Noir, and Debussy said: 'Do you know what the perfect music would be? A perpetual cadenza. 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 for Duplicates.[3]
Structure
Duplicates: A Concerto has a duration of approximately 32 minutes and is composed in three movements:
Onta
Three Interludes
"Onta" Variants
The second movement comprises three interludes respectively titled "Madrigal," "Immobile," and "Mobile."[1]
Reviewing the world premiere, John Henken of the Los 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 colorful Messiaen 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]
