|
|
||||||||||||
|
|
||||||||||||
| BUY score & parts | ||||||||||||
| Percussion area | ||||||||||||
|
total duration approximately 20 minutes.
|
||||||||||||
|
|
||||||||||||
|
Stress & Flow was commissioned by The Percussion Collective, Robert van Sice, artistic director and a consortium of the following percussionists:
|
||||||||||||
|
3G Percussion (Jacob Gutierrez, Sarek Gutierrez & Zach Gutierrez)
Blake Wilkins, University of Houston Dave Hall, University of Nebraska Desvio (Leonardo Gorosito & Rafael Alberto) Epoch Percussion Fabian Ziegler - Marimba Recital Concerts Galen Lemmon Great Plains Percussion Group Hyejin Kim/Karos Percussion Ensemble Ian Hale Jacob Gall Jeremy Brunk, Millikin University John Kilkenny, Artistic Director, The Sewanee Summer Music Festival Julian Schübel Lagan Percussion Left Edge Percussion, Terry Longshore, Artistic Director, Oregon Center for the Arts at Southern Oregon University Matthew Duvall Michael Burritt - Eastman School of Music |
Michigan State University
Miyoune Kim / Seoul Philharmonic Orchestra Moose Davis Noel Q. Holloway Orphic Percussion Peabody Institute of the Johns Hopkins University Percussion Duo Moitié Sandbox Percussion Shiqi Zhong Tennessee Tech University, Dr. Colin Hill Thomas Faulkner University of Illinois Percussion Studio University of Massachusetts Amherst Percussion Studio, Ayano Kataoka University of Minnesota School of Music - Fernando Meza, Chair of Percussion Studies University of North Alabama Percussion Group, Tracy Wiggins, Director The Up: Strike Project - Artistic Directors: Matthew Lau & Karen Yu Vanderbilt University Percussion Group - Ji Hye Jung Yale School of Music |
|||||||||||
|
|
||||||||||||
|
PROGRAMME NOTES Stress and flow, bright and dark and light and shadow are all description of the juxtapositions and contrasts that characterize this work and are arrived at through various rhythmic processes and the use of electronic means to produce new sound worlds. These sound worlds are not meaningful in themselves but work as an extension of the sound of the mallet instruments featured in the piece. 1_ Bright & Dark The first movement begins by unfolding dark and heavy rhythms and colours that are gradually transformed into brighter ones and eventually juxtaposed to each other in contrasting ways. 2_ The Sound Behind Working with electronics makes it possible to develop ‘the sound behind’ the notes or chord played by the four percussionists. Here, what happens to the sound after each note or chord is played is as important as the themes, harmonies and rhythms which these notes create. I kept the tempo of the music quite slow so that the listener may have time to focus on the colour, texture, and complexity of the sound world that emerges from behind the percussion instruments. 3_ Luz y Sombra en Lindaraja (Light and Shadow in Lindaraja) A simple rhythmic ‘groove’ runs throughout this movement. As it progresses in time, it multiplies itself into more complex patterns and layers of ‘light’, ‘shadow’ and ‘water’, the three central theme of the Garden of Lindaraja at the palace of Alhambra in Spain. The idea of this movement came to me while listening to Debussy’s ‘Lindaraja’ for 2 pianos. As with most of my other percussion works, I wanted the rhythms and tunes in this composition, however complex at times, to have a physical dimension so that the listener may imagine himself/herself moving or singing with the music. AV. September 2018 |
||||||||||||
|
|
||||||||||||