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Bruce Crossman  

Double Resonances

 Year: 2008
for piano and percussion

  • Programme Note

    Double Resonances explores the idea of the resonances of two cultures (East and West) as a resource for establishing a personal sound resonant of my Pacific locale. Out of stillness half resonances from prepared and altered piano techniques merge with Korean temple gong and Samul Nori metal resonances. Bass sounds in shifting, Filipino-inspired ostinato rhythms propel the piece forward against sudden jazzy intrusions based on dissonant interval-colours. A Filipino scale borrowed from the percussive gone-chime beauty of a particular kulintang – that of world musician, Michael Atherton – underpins the percussion pitches in this stormy first section and later, during recurring still centres, it merges with the gentle sounds of the Chinese Shang-tiao mode as moments of sparky tranquility. They jazz-inspired intrusions and developed repeated note drivers return to form a massive sonic climax which includes moments of controlled improvisation for the players; the climax subsides, ebbing back to the half echoes of prepared piano and transcendence of a temple gong sound.


    Double Resonances was written for the Music of the Spirit concert at the Aurora Festival in 2008.


    Bruce Crossman

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John Psathas  

Fragment

Duration: 03' 00" Year: 2001
for vibraphone and piano

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John Psathas  

One Study One Summary

Duration: 12' 00" Year: 2005
for marimba, junk percussion and tape

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Ross Harris  

Silence Greets the Dawn

Duration: 06' 00" Year: 2006
for vocalising percussionist

Score Sample
  • Programme Note

    “Today, New Zealand Forests are quiet but in 1770 Joseph Banks wrote thus about Queen Charlotte Sound: ‘This morn I was awkd by the singing of the birds ashore……the numbers of them were certainly very great……’ He would be shocked at the silence that greets the dawn there now.” The Lost world of the Moa – Worthy and Holdaway. "Aotearoa’s multitude of birds performed that symphony each dawn for over sixty million years. It was a glorious riot of sound with its own special meaning for it was in confirmation of the health of a wondrous and unique ecosystem. To my regret, I arrived in New Zealand in the late twentieth century to find most of the orchestra seats empty. Walking through the ancient forest…….I heard nothing but the whisper of leaves blowing in the wind. It was like the rustle of the last curtain fall on an orchestra that will be no more.’ Tim Flannery – Future Eaters

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Gareth Farr  

Tangaroa

Duration: 10' 00" Year: 2001
for solo marimba with 5-octave range

Score Sample
  • Programme Note

    Throughout Polynesia, Tangaroa is the god of the sea. The sustaining life force of the cultures of this region (and the mythical origin of humanity), the mighty Pacific Ocean, is the inspiration for this work. In its surging ebb and flow, the music evokes the ocean in its many moods – from the gentle rippling of calm, sparkling waters to the turmoil of a chaotic storm.

    Composed at the request of the American marimba player and Andy Harnsberger, Tangaroa is a virtuosic work in which a number of contemporary performances techniques are intentionally exploited.


    from Tangaroa – Trust Records

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