Naru
ConcertoforSoloPercussionandOrchestra 2025
Commissioned by the Los Angeles Philharmonic Association Gustavo Dudamel, Music & Artistic Director
Premiered May 29, 2025, Los Angeles Philharmonic conducted by Gustavo Gimeno, Matthew Howard, percussion solo, Disney Concert Hall.
Other performances - May 30, 2025 Segerstrom Concert Hall, Orange County, May 31, and June 1, Disney Concert Hall
Naru, was written for percussionist Matthew Howard, the Los Angeles Philharmonic and Gustavo Gimeno, conductor © JosephPereiramusic 2025. All Rights Reserved josephpereiramusic.com
Instrumentation
Piccolo
2 Flutes
2 Oboes
English horn
2 Clarinets
Bass clarinet
2 Bassoons
Contrabassoon
4 Horns
3 Trumpets
2 Trombones
Bass trombone
Tuba
Timpani
3 Percussion (*)
Harp
Piano
Solo Percussion (**)
Violin 1 (16)
Violin 2 (14)
Violas (12)
Violincellos (10)
Double basses (8)
(*) Percussion 1-3
Percussion 1
Marimba, shime-daiko or high conga, med conga, 3 toms, large temple bell, medium tam tam, suspended cymbal, metal guiro, opera gong, triangle, sleigh bells, 2 wood blocks
Percussion 2
Crotales, bass drum, med high tam tam, shime-daiko or high conga, suspended cymbal, Chinese cymbal, 5 temple blocks, slapstick, 9 tuned gongs - B3, C#4, D4, F#4, Ab4, B4, C4, Db4, Eb4
Percussion 3
Glockenspiel, Almglocken, 5 medium wooden planks, large tam tam, shime-daiko or high conga, 2 bongos, snare drum, large suspended cymbal, triangle, guiro
(**) Solo Percussion
Odaiko, Vibraphone, Pearl Malletstation EM1, (two samples run from computer-Logic/Mac) bass drum, water phone, shime-daiko, 5 tom toms, 3 cymbal stacks, 6 “Geary Plates” -plywood disks amplified with reverb/delay effects
Score is in C
Traditional octave transpositions apply (piccolo, contra bassoon, glockenspiel, crotales, double bass)
Duration - 25mins
Percussion Solo Set Up
A m p l i fi e d w i t h R e v e r b, s e n d t o ho u s e
O d a i k o A m p l i fi e d Wo o d D i s k s
O rc he s t r a Vi be s + M a l l e t S t a t i o n To m s + C ym s 2 d i ff e r nt s a m p l e s f ro m c o m p ut e r ( L o g i c ) ne e d e d f o r M a l l e t S t a t i o n S e nd t o ho us e
C o n d u c t o r A u d i e n c e
B a s s D r u m + Wa t e r p ho e
Accidentals apply only to the notes they are attached to (not other octaves), and do carry through the bar.
Bisbiglando for the the winds and trumpets - if possible, find an alternate fingering that is slightly lower or darker to trill with normal tone. Does not need to be identical and should be slightly out of tune to create a rich wide tone.
All normal trills are always 1/2 step above.
Quarter tones - are not meant to be exact, but rather a slight out of tune-ness that is treated more as an expressive color than an exact quartet tone. For example the flattening of a tone is more of a darker (lower) color, while the sharpening is brighter (higher) than the normal tone.
Horns - In general, the quarter tone notation was originally intended to be natural horn overtones. They do not need to be played as natural horn, but the desired pitch as explained above, should be heard. The only exception is from rehearsal T - U, where natural horn should be used and the fingering is given in the part.
Trumpets/Trombones - Hand trill - use hand over harmon mute to flutter wha-wha sound. Change hand speed with dynamic. (slow - faster - slow)
- molto sul tasto
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Chanting-heavywithsght separationbetweennotes senzasord
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