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Christian Mason

Lahara for Percussion Sextet

Parts

Kammermusik-Bibliothek 2543

Christian Mason

Lahara for Percussion Sextet

Parts

Kammermusik-Bibliothek 2543 Printed in Germany

II Spatial Deployment • There are ﬁve spatially separated ‘stations’ from which the percussionists play, requiring seats to be blocked out of use: A. Front (on stage) B. Middle: left-side (within audience) C. Middle: right-side (within audience) D. Back: left-side (behind audience) E. Back: right-side (behind audience) • Each station has an array of instruments some of which will be used by more than one player, according to the varied musical situations that arise during the piece (see list below). • The intention of this spatialisation is to allow the audience to experience the sounds of metallic resonance up close and from a variety of spatial perspectives not possible with the traditional division of musicians and audience on- and off-stage. • According to the auditorium in which the premiere took place (Asian Arts Theatre, Gwangju) the location of the performing stations should be as follows:

Instrumentation (by player): • Player 1: Thai Gongs (low), Bass Drum, voice • Player 2: Triangles (x3), Suspended Cymbals (x2), Almglocken, Marimba, Thai Gongs (high), large Tam-tam, Conch Shell, voice • Player 3: Steel Pans, Vibraphone, Bell Plates, Spring Coils (x2), Conch Shell, Kathak Ankle Bells, voice • Player 4: Suspended Cymbals (x2), 4 Tubular Bells, Steel Pans, Bell Plates, Medium Tam-tam, Conch Shell, Kathak Ankle Bells, voice • Player 5: Triangles (x3), Chinese Opera Gongs (x2), Crotales, Steel Pans, Bell Plates, Conch Shell, Kathak Ankle Bells, voice • Player 6: Spring Coils (x2), Suspended Cymbals (x2), Chinese Opera Gongs (x2), Steel Pans, Bell Plates, Small Tam-tam, Conch Shell, Kathak Ankle Bells, voice In cases where players have multiple of the same instrument (e.g. 3 triangles) they should be varied sizes (e.g. small, medium, large) and make varied sounds (e.g. high, mid, low). All players are required to hum/sing while playing. This will ideally be at the written octave, but when that is not possible it is acceptable at whatever octave is most comfortable. All Steel Pans should be Low Tenor Pans (of which 6 are needed) and should sound at written pitch.

III Ranges of Required Pitched Instruments:

Instrumentation (at each of the stations) STATION A (on-stage) Thai Gongs [player 1], Bass Drum [player 1], 3 Triangles [player 2], 2 Suspended Cymbals [player 2], Thai Gongs [player 2], Marimba [player 2], Almglocken [player 2], Large tam-tam [player 2], Vibraphone [player 3], Bell plates (G, A, B-flat) [player 3], Bell plates (F, G-flat, A-flat) [player 5], Crotales [player 5], Steel Pans (Low Tenor) [players 3 and 4], Steel Pans (Low Tenor) [players 5 and 6], Conch Shell [Player 2] STATION B (mid-left): Bell plates (D, E) [players 5 and 6], Steel Pans (Low Tenor Pans) [players 5 and 6] STATION C (mid-right): Bell plates (D-flat, E-flat) [players 3 and 4], Steel Pans (Low Tenor Pans) [players 3 and 4] STATION D (back-left): Bell plates (G, B) [players 5 and 6], Steel Pans (Low Tenor) [players 5 and 6], Small Tam-tam [player 6], 2 Spring Coils [player 6], 2 Suspended Cymbals [player 6], 3 Triangles [player 5], 2 Chinese Opera Gongs [players 5 and 6] STATION E (back-right): Bell plates (B-flat, C) [players 3 and 4], 4 Tubular Bells (G, B-flat, B, C) [player 4], Steel Pans (Low Tenor Pans) [players 3 and 4], Medium Tam-tam [player 4] Portable Instruments: Conch shells [players 3, 4, 5, 6], Kathak Dance Ankle Bells* [players 3, 4, 5, 6] *These should be worn throughout by players 3 - 6. This will inevitably create some unwritten tinkling which is generally acceptable, but players should be sensitive to the musical context (for example making a special effort not to move in moments with no other sound to cover the subsidiary ankle bell resonance)

• The piece should be performed without a conductor, however the lahara (the low melodic line played by the Thai gongs of player 1) should serve as a reference point for ensemble synchronisation.

Duration: Processions c.13 minutes Score in C of with octave transpositions • The route the usual processions between stations are(crotales) indicated by arrows on the hall diagram above. If the physical distance is not equal to the musical time of the procession, the musical material should continue to be performed at the arrival point until the process is completed.

Programme Note

• For future performances in different venues the same general principle of spatial distribution should be applied to the given hall or performance space. Lahara - which literally means ‘wave’ - is a term used in Indian music to describe a repeating melodic Processions phrase accompanies tabla and pakhawaj In such the lahara wouldfrom be • In casesthat where the given performance space does not solo. allow this modelatotraditional be accuratelycontext replicated creative solutions the performers are welcomed taking into account the above note on theonintentions of • The route processions between stations indicated by arrows the hall above. If the physical distance is played by ofa the melodic instrument such asarethe sarangi, functioning as diagram a spatialisation. background against which the not equal to the musical time of the procession, the musical material should continue to be performed at the arrival point ﬂourishing virtuosity of the soloist could evolve. In my piece this function is also present in the form of a • until In thethe case of performance in warehouse type spaces it would also be possible (indeed desirable) for the audience to walk process isthree completed. long line stated times fully in the Thai gongs, however there is no virtuosic soloist. Instead, the mufreely between/around the performance stations. sical evolution (if it is that) takes the form of a resonant ceremony enacted on bell plates and steel pans, • For future performances in different venues the same general principle of spatial distribution should be applied to the given situated not only on-stage but in four locations around the audience. If you want to look for it, the idea hall or performance space. of waves can also be seen in other aspects of the piece: the slow wave of the gradual progression of Other Performance Notes players from the back the hall tospace the front, which thetoform of the piece; thecreative wavessolutions of tam-tam • In cases where the givenof performance does not allowdeﬁnes this model be accurately replicated from • The four movements are just divisions ofof a single wholenote and should be performed continuously a break. the performers areend welcomed taking into account the lahara; above on theeven intentions spatialisation. crescendi at the ofreally each statement the maybe in theofway that the without foreground melod-

ic ﬁgurations progressively increase in densityhowever over the course of themelodic piece line untilplayed theybycompletely domi•• The piece be performed without a conductor, lahara (the low(indeed the Thai gongs of In the caseshould of performance in warehouse type spaces it wouldthe also be possible desirable) for the audience to walk nate our perception, before suddenly disappearing… And on a more concrete note every sound is, after player 1) should serve asthe a reference point for ensemble synchronisation. freely between/around performance stations. all, a wave. Other Performance Notes

Duration: c.13 minutes • The four movements are really just divisions of a single whole and should be performed continuously without a break.

Score in C with usual octave transpositions (crotales) Lahara was commissioned for the opening season of Asian Cultural Complex - Asian Arts Theatre, • The piece should be performed without a conductor, however the lahara (the low melodic line played by the Thai gongs of Gwangju, South Korea, and is affectionately dedicated to Unsuk Chin, Sngkn Kim and Eunsi Cho. player 1) should serve as a reference point for ensemble synchronisation. Programme Note Lahara - which literally means ‘wave’ - is a term used in Indian music to describe a repeating melodic Duration: c.13 minutes phrase that accompanies tabla and pakhawaj solo. In such a traditional context the lahara would be Score C with usual octave transpositions (crotales) playedinby a melodic instrument such as the sarangi, functioning as a background against which the flourishing virtuosity of the soloist could evolve. In my piece this function is also present in the form of a long line stated three times fully in the Thai gongs, however there is no virtuosic soloist. Instead, the muProgramme Note sical evolution (if it is that) takes the form of a resonant ceremony enacted on bell plates and steel pans, situated not only on-stage but in four locations around the audience. If you want to look for it, the idea Lahara - which literally means ‘wave’aspects - is a term in Indian music to of describe a repeating melodic of waves can also be seen in other of theused piece: the slow wave the gradual progression of phrase that accompanies tabla pakhawaj solo.defines In suchthe a traditional thewaves laharaofwould be players from the back of the hall and to the front, which form of thecontext piece; the tam-tam played byata the melodic such as sarangi,maybe functioning background against which the crescendi end ofinstrument each statement of the lahara; even inas thea way that the foreground melodflourishing virtuosity of the increase soloist could evolve.over In my thisoffunction is also in the formdomiof a ic figurations progressively in density thepiece course the piece untilpresent they completely long line stated threebefore times fully in thedisappearing… Thai gongs, however is no virtuosicnote soloist. Instead, munate our perception, suddenly And onthere a more concrete every sound the is, after sicala evolution (if it is that) takes the form of a resonant ceremony enacted on bell plates and steel pans, all, wave. situated not only on-stage but in four locations around the audience. If you want to look for it, the idea of waves can also be seen in other aspects of the piece: the slow wave of the gradual progression of players from the back of the hall to the front, which defines the form of the piece; the waves of tam-tam crescendi at the end of each statement of the lahara; maybe even in the way that the foreground melodLahara was commissioned for the in opening of course Asian of Cultural Complex - Asian Arts Theatre, ic figurations progressively increase densityseason over the the piece until they completely domiGwangju, South Korea, and is affectionately dedicated to Unsuk Chin, Sngkn Kim and Eunsi Cho. nate our perception, before suddenly disappearing… And on a more concrete note every sound is, after all, a wave.

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Leseprobe

Sample page

Christian Mason · Lahara Player 22 Player

209

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Player 1: Thai Gongs

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Leseprobe 3

THAI GONGS Œ ‰ œ#œ j Œ ‰ œ#œ Œ Œ Œ ≈œ#œ#œ Œ Œ ‰ œ#œ ‰ ? & œ œ JJ THAI GONGS 3

221

MARIMBA

THAI GONGS

ALMGLOCKEN Player 5: 3

215

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MARIMBA

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ALMGLOCKEN Player 5:

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228

≈ œbœ ≈ Œ Œ ‰ bœnœ ALMGLOCKEN

MARIMBA

Sample page THAI GONGS

œ ≈ ‰ Œ ‰ ≈ œ œ ≈bœnœ Œ ?Œ œ & R R

233

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∑

Player 1: Thai Gongs

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238

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KM 2543

Leseprobe

Sample page

Christian Mason · Lahara Player 22 Player

6 246

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> > #>œ œ #œ œœœœœ >œ œ œ œ œ œ œ œ #>œ œ >œ œ œ œ œ œ œ œ >œœœœœ#>œ œœ œ œ #>œ ≈ ‰ f p

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250

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Leseprobe

253

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Player 6: Steel Pans 3

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Leseprobe

Sample page

Christian Mason · Lahara Player 22 Player

° & ALMGLOCK.

PROCESSION 3: Players 4 and 6 move forward...

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bœ 4 œ bœ 4 œ ≈ KM 2543

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Sample page

280

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P. 1, 2, 3, 5: wait for the arrival of the procession

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Leseprobe

Sample page

Christian Mason · Lahara Player 22 Player

8 Extremely slow, like distant waves q = c.40 Players 4 and 6 stop still on arrival CONCH SHELL: start with fingers in shell, pull them out to bend pitch up and put them back in to bend down

° Œ ™ & ùff˙ û 285

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Player 1: Bass Drum

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- IV -

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U ∑

Lahara – which literally means ‘wave’ – is a term used in Indian music to describe a repeating melodic phrase that accompanies tabla and pakhawaj solo. In such a traditional context the lahara would be played by a melodic instrument such as the sarangi, functioning as a background against which the flourishing virtuosity of the soloist could evolve. In my piece this function is also present in the form of a long line stated three times fully in the Thai gongs, however there is no virtuosic soloist. Instead, the musical evolution (if it is that) takes the form of a resonant ceremony enacted on bell plates and steel pans, situated not only on-stage but in four locations around the audience. If you want to look for it, the idea of waves can also be seen in other aspects of the piece: the slow wave of the gradual progression of players from the back of the hall to the front, which defines the form of the piece; the waves of tam-tam crescendi at the end of each statement of the lahara; maybe even in the way that the foreground melodic figurations progressively increase in density over the course of the piece until they completely dominate our perception, before suddenly disappearing… And on a more concrete note every sound is, after all, a wave. (Christian Mason)

9 790004 504567

ISMN 979-0-004-50456-7

9 790004 504567

B21

KM 2543