Work
Double Resonances
for piano and percussion
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About
Double Resonances explores the idea of the resonances of two cultures (East and West) as a resource for establishing a personal sound resonant of my Pacific locale. Out of stillness half resonances from prepared and altered piano techniques merge with Korean temple gong and Samul Nori metal resonances. Bass sounds in shifting, Filipino-inspired ostinato rhythms propel the piece forward against sudden jazzy intrusions based on dissonant interval-colours. A Filipino scale borrowed from the percussive gone-chime beauty of a particular kulintang – that of world musician, Michael Atherton – underpins the percussion pitches in this stormy first section and later, during recurring still centres, it merges with the gentle sounds of the Chinese Shang-tiao mode as moments of sparky tranquility. The jazz-inspired intrusions and developed repeated note drivers return to form a massive sonic climax which includes moments of controlled improvisation for the players; the climax subsides, ebbing back to the half echoes of prepared piano and transcendence of a temple gong sound.
Double Resonances was written for the Music of the Spirit concert at the Aurora Festival in 2008.
– Bruce Crossman
Dedication note
for Ian Munro and Michael Atherton
Performance history
28 Sep 2008: Performed by Arnold Marinissen (perc) and Donald Nicolson (piano) in the Hunter Council Chamber, Wellington
Performed by Bernadette Balkus (piano) and Claire Edwardes (percussion) at University of Western Sydney in April 2008