Encounters VI

Description

Percussion, Percussion 1, Percussion 2, Percussion 3, Percussion 4 — Here I have adapted a standard musical form to a contemporary medium.xa0 The concertino is a small concerto: a one-movement work that draws upon the basic principles of the concerto form – two bodies of sound which at times compete, contrast, or act together.The piece explores the musical possibilities of Roto-toms.xa0 The sound of these drums is a cross between a tom-tom and a timpani, and their pitch is changed by rotating the drum.xa0 During the course of the work, the various effects used include pitch and fingernail glissandi; playing on the rims; and playing on the heads with fingers, brushes, timpani sticks, wood mallets or rattan.xa0 Harmonics on the octave and the fourth above the fundamental pitch are produced by the drums when weights (in this case, small pitched cymbales called “crotales”) are placed in the center of the drum heads.xa0 In return the drum itself acts a resonator for the crotales, which also have a fundamental pitch when played on the face and a partial a fifth above when played on the center dome.The opening section of the concertino introduces a motive, played by the soloist, while the ensemble sustains a bowed chord on the vibraphone.xa0 Following this cadenza-like introduction, the piece gradually moves into a bright 6/8 tempo that is characterized by constant sixteenth notes in all parts.xa0 After a brief period of interaction, the ensemble continues its sixteenth notes patterns and the soloist plays and improvised solo.xa0 Next, an interlude is presented by the ensemble which leads to a dramatic recapitulation by the soloist of the motivic material.xa0 A thematically–derived coda concludes the work.“Encounters VI”, commissioned by Remo Belli, is dedicated to Jennifer Kraft, the composer’s daughter.xa0 The premiere performance took place in 1976 at the MENC National Convention in Atlantic City, New Jersey, and was performed by the Temple University Percussion Ensemble conducted by Glenn Steele.—William Kraft