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Gareth Farr  

Acid Euphoria

Duration: 06' 00" Year: 1999
for gamelan and three percussionists

Neville Hall  

and the sound went up like smoke

Duration: 09' 00" Year: 2000, r. 2001
for two amplified vibraphones with four players

Juliet Palmer  

Blood Shower

Duration: 10' 00" Year: 1998, r. 1999
music theatre for percussion duo

Maria Grenfell  

Blue Green Red Black

Duration: 14' 00" Year: 1996
for percussion ensemble of four players

Mike Nock  

Choices

Duration: 06' 00"
jazz piece for piano and drums

Eve de Castro-Robinson  

Conundrums

Duration: 15' 00" Year: 1987
for solo percussionist

Mike Nock  

Danny Boy


jazz arrangement for piano and drums

Chris Gendall  

dita

Duration: 08' 00" Year: 2002
for solo percussion

John Psathas  

Drum Dances

Duration: 12' 00" Year: 1993
for drum kit and piano

Anthony Ritchie  

Echoes

Duration: 05' 00" Year: 2009
for Javanese gamelan ensemble

  • Instrumentation
    Gender (1 part)), Saron (3 parts), Gambang, Bongang, Panerus, Bongang, Kenong, Kempul, Kandang, Kecer
  • Programme Note

    Echoes was written for the Puspawarna Gamelan Group at the University of Otago. I have long enjoyed the sounds of the gamelan, and welcomed the invitation by Dr Shelley Brunt to compose something for Puspawarna. Although I knew some rudimentary things about the instruments, composing this piece gave me the opportunity to learn a great deal more. Being able to play a little in the ensemble was invaluable, as was advice provided by leader Joko Susilo, Shelley, Chris Watson (Mozart Fellow at Otago University) and one of my students, Ali Churcher, who coincidentally was writing a piece for gamelan at the same time.

    Echoes is the first piece I have written without using a piano at all to compose. Having been to a gamelan rehearsal I found a tune popping into my head during a walk to the dairy. I developed this tune on the computer (using vibraphone sounds to represent the gamelan), layering it into a canon, or round. Two further tunes appear, based on different home notes, but all the tunes use the same pelog scale. They are decorated and varied, before the opening tune returns like an echo at the end. The idea of echoes is also evoked by the canons, and the ringing sounds of the gamelan itself. Echoes have a spiritual significance, I think; sound waves return to a listener in the same way memories flood the brain when triggered by something special happens. They induce a reflective state.

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