Figuration in Search of Identity

Figuration in Search of Identity

2011: 27 mins. approx.

for assorted percussion as follows:

Glockenspiel, Xylophone,
Drum ‘A’  = 2 Congas, 2 Djembes, 2 Bongos,
Drum ‘B’ = Bass Drum, 6 Tom-toms, Snare drum,
6 Gongs, 6 Temple Blocks, 6 Wood Blocks,
5 Ceramic Bowls, 5 Glass Bottles, 5 Saw Blades, 5 Steel Bowls,
2 Temple Bowls, 2 Triangles,
Ceramic Wind Chimes, Glass Wind Chimes.

Figuration in Search of Identity takes its title from a 2005 work by the late Australian pre-eminent surrealist painter James Gleeson (1915-2008).

Figuration in Search of Identity is dedicated to Brenton Broadstock and Riccardo Formosa – my composition teachers in the 1980s – both significant influences in the early years of my personal musical explorations. Completed in 2011, it comprises nine movements and is about 27 minutes long.

Movements I,V,IX were premiered  by James Townsend (I), Madi Chwasta (V), and Mathew Levy (IX) at The Ian Potter Centre: NGV Australia, Federation Square,  Melbourne during ANAM AT NGV: AUSTRALIAN ART AND MUSIC on the 20/5/2017.

N.B. Figuration in Search of Identity has several performance options:

1. one soloist performing all 9 movements

When option 1 is employed, the instruments should be distributed in 2 main positions as follows:

Subset A. Xylophone, Drum ‘A’, 6 Gongs, 6 Temple Blocks, 5 Ceramic Bowls, 2 Temple Bowls, 2 Triangles, Glass Wind Chimes, Ceramic Wind Chimes.

Subset B. Glockenspiel, Drum ‘B’, 6 Wood Blocks, 5 Glass Bottles, 5 Steel Bowls, 5 Saw Blades.

with both positions requiring access to the Bass Drum.

2. 2 soloists sharing workload, with performer 1 playing those movements built around Drum A / Xylophone set up (i.e. movts I, III, IV, VII, & VIII) and performer 2 playing those built around the Drum B / Glockenspiel set up (movts II, V, VI, & IX). In this option, it is appropriate that movement I be further shared, with performer 2 playing Bass Drum only.

3. 4 soloists sharing workload, performer 1 (I, IV, & VII), performer 2 (Bass Drum in I, V, & IX), performer 3 (II & VI), and performer 4 (III & VIII).

N.B. If either option 2 or 3 is used the set up should naturally be varied to suit, and may necessitate additional instrumental resources for convenience. Consideration should also be given to making full use of the available performance space by setting convenient subsets in positions other than directly in front of the audience.

4. It is permissible to extract any movement – or sequence of movements – for performance in isolation as long as the movement(s) so treated are clearly identified as such.