Ember II
Alyssa Weinberg
 
When writing Ember, I fell into a ritual of lighting a particular candle every time I sat down to work. It was a candle that had carnelian stones in it, which are a warm burnt orange color. The title Ember comes from looking into this flame, the appearance of the stones in the candle, and the warmth of the energy I was trying to channel in the piece. My main interest in the piece was to explore gradually shifting colors and timbres, discovering different ways of interacting with the snare drum without it ever necessarily functioning as it was originally intended. Ember II is an expansion of material from Ember I, originally a piece for percussion duo.
 
Alyssa Weinberg
 
 
Wah
Juri Seo
 
Wah is scored for up to five differently pitched “wah-wah tubes.” These are aluminum tubular bells that produce long-lasting tones rich in harmonics, with small holes that allow for manipulation of the sound. Wah comprises six sections framed by an introduction and coda, and each section has a group of independent repeated rhythmic cells, which are sometimes played independently and sometimes in unison, similar to Terry Riley’s In C. Wah is one work in a series of compositions by Seo called the Portable Percussion Project.
 
 
Mallet Quartet
Joseph Pereira
 
I have always found it fascinating to discover ways to manipulate sound-how notes are played and more importantly what happens after you play them and how they resonate or speak in different ways. My Mallet Quartet (2013), written for the Los Angeles Percussion Quartet, for two vibraphones and two marimbas, attempts to consider all elements of sound on these instruments. Each pitch is considered on its own as a scale, of many timbral particles waiting to be examined. For the most part the focus is on the resonances, the attacks, and the overtones. Whether it’s the playing technique used or simply the natural sounds of the instrument, these can all be exposed and manipulated in different ways, depending on the materials used and register they are in.
 
By constantly drawing parallels between all the particles of sound, I was able to develop multiple scales of material to structure the piece as a whole. The introduction contains all the elements of the piece. From here on, all sections are to be developed, layered and woven onto and over each other. They often appear either clearly developed or completely disguised, dependent on the varied dimensions applied to their appearance. This idea of using a three dimensional approach to sound, which on one hand goes towards unpitched sounds, and on the other hand digs deeper beyond the fundamental tones into the natural overtones, constantly creates a shifting focus of tension. Pivoting between this axis of sound appearance creates an endless spectrum for each pitch used, relating back to all the elements of creating structure though a total consideration of sound. The playing techniques, the pitch structure, and the timbres are all of equal importance, not one dominating the other.
 
Joseph Pereira
 
 
Kronos – Kryptos
George Crumb
 
George Crumb’s first work for percussion ensemble, Kronos – Kryptos: Four Tableaux for Percussion Quintet received its world premiere at the Chamber Music Society of Lincoln Center in April 2019. The composer revised the fourth movement (“Appalachian Echoes”) in May 2020.
 
George Crumb has been one of the most performed American composers in the history of American serious music. His hauntingly beautiful colors and orchestrations provide listeners and performers alike an opportunity for other-worldly musical experiences while exploring the intersection of Nature and sound. He brings his unique compositional qualities to the major work Kronos – Kryptos, a work employing 100 instruments and believed to be his last and final work. The last ghostly movement employs the American folk songs “Look Homeward Angel” and “Poor Wayfaring Stranger” played over a constant drone effect, and is written in memoriam for his daughter, Elizabeth Ann. A word from the composer:
 
“(In 2019).. it occurred to me that I had about 15 years earlier composed two movements of a work for percussion which remained unfinished. I decided to reduce the work to a percussion quintet and add two additional movements. As I got further into this new work, I experienced that certain exhilaration which never fails to strike me when I am composing for percussion instruments. The range of colors is so incredibly rich and indeed seems almost unlimited!”