STRESS & FLOW
quartet for percussion & electronics
2018
BUY score & parts
I. Bright & Dark 5' 20" (play)

II. The Sound Behind 7' 40" (play)

III. Luz y sombra en Lindaraja 7' (play)
Percussion area
total duration approximately 20 minutes.

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Stress & Flow was commissioned by The Percussion Collective, Robert van Sice, artistic director and a consortium of the following percussionists:
Blake Wilkins, University of Houston
Dave Hall, University of Nebraska
Desvio (Leonardo Gorosito & Rafael Alberto)
Galen Lemmon
Great Plains Percussion Group
Ian Hale
Jacob Gall
John Kilkenny, Artistic Director, The Sewanee Summer Music Festival
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
Noel Q. Holloway
Orphic Percussion
Peabody Institute of the Johns Hopkins University
Sandbox Percussion
Shiqi Zhong
Tennessee Tech University, Dr. Colin Hill
Thomas Faulkner
University of Illinois Percussion Studio
University of Massachusetts Amherst Percussion Studio
University of Minnesota School of Music - Fernando Meza, Chair
Percussion Studies
University of North Alabama Percussion Group, Tracy Wiggins, Director
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