SY 4041 | Liza Lim - Pearl, Ochre, Hair String (2010)

Pearl, Ochre, Hair String

Liza Lim

Sy. 4041/01

RICORDI

Liza Lim Pearl, Ochre, Hair String (2010) for orchestra

Commissioned by the Symphonieorchester des Bayerischen Rundfunks and West Australian Symphony Orchestra with the generous support of the Ian Potter Cultural Trust.

First performance: 9 July 2010, Herkulessaal der Residenz, Musica Viva Munich Symphonieorchester des Bayerischen Rundfunks conducted by Lothar Zagrosek Further performances: 25, 26, 27 November 2010, Perth Concert Hall West Australian Symphony Orchestra conducted by Paul Daniel Duration: 18 minutes

Score in C

Instrumentation: 2 Flutes Piccolo 2 Oboes Cor Anglais Clarinet in A Bass Clarinet Contrabass Clarinet 2 Bassoons Contrabassoon 4 Horns 3 Trumpets (in Bb) 2 Trombones Bass Trombone Bass Tuba Timpani

4 timpani (32”, 29”, 26”, 20”) plus drum sticks, 2 drum practice mutes rasp stick, frog-shaped guiro (medium) metal (barbecue) grill, medium cymbal

Percussion 1

2 triangles (heavy, preferably with complex sound) 1 temple block (medium) frog-shaped guiro (high) 2 guiros (medium & low) reco-reco (2-spring metal ʻguiroʼ used in Brazilian samba) ocean drum (large) log drum

Percussion 2

1 triangle (heavy, preferably with complex sound) 2 temple blocks (medium & low) 2 guiros (medium & low) reco-reco vibraslap binzasara (Japanese string of wooden clappers)

Violin 1 Violin 2 Viola Violoncello (including amplified solo violoncello with ʻguiroʼ bow*) All ʻcelli are retuned with the 4th string lowered by a semitone:

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Notes for performance: Quartertones:

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Programme note:

Pearl, Ochre, Hair String (2009) is part of series of works in which I explore aspects of Aboriginal culture and aesthetics. As part of my Ian Potter Composer Fellowship (2008-09), I undertook research and travel in the Kimberley area of Northern Australia where Aboriginal artists continue traditions of carving pearl shells for ceremonial purposes in the initiation of boys. One of the key artists in this field is Aubrey Tigan whose works are collected as art objects as much as cultural artefacts. Shells are incised with navigation and other designs, rubbed with ochre (coloured earth) and fixed with string made of human hair. The iridescent shimmer of the pearl with its tasto pont. shifting surfaces is associated with water, an emblem for the basis of life.

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Pearl shells are highly prized items in the Australian Aboriginal economy and are traded across the continent where they take on different meanings in different locations. For instance, whilst in the coastal areas they are openly handled by men and women, in the interior desert communities they are regarded as 'secret men's business' and the designs given other layers of meaning. One intriguing theory is that the meander zig-zag designs might have originated from the classic 'cloud patterns' on Chinese porcelain used by Macassan people of the nearby Indonesian islands who were trading with Aboriginal people a thousand years ago (well before Europeans 'discovered' Australia). For me, the subject is very rich in ideas about the migration of ideas and images and the way meanings accrete and disperse as things travel into different contexts thus having a wider conceptual resonance beyond the specifically Aboriginal sources. tasto

pont.

In these pieces, I explore aspects of the Aboriginal aesthetic category of shimmer – an effect associated with the presence of numinous power and which can be used to both highlight or veil something. In the music, I think of the moving lines and planes of sound as maps showing the ʻturbulence patternsʼ created by the passage of unseen forces.

85)))))))))

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Aubrey Tigan, Riji Jakoli (2007), carved pearl shell with ochred incisions

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%

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