This concert was conceived to present exciting new works for percussion composed by members of this ensemble. Among these are two premieres, Pile Driver (for four players) by Richard McCandless and a new work by Joseph McIntyre written especially for this event. Also on the program are Voyager (for solo percussion and electro- acoustic playback) by McCandless and Rain Dance (for percussion trio) by McIntyre. Four works by Rich O’Meara will be performed; Puzzle Piece (for three marimbas), looking at “r” (for two marimbas), Island Spinning (for mallet ensemble), and 301 (for marimba and handbells), written for and performed by Leon Khoja-Eynatyan and his daughter Tatevik.

                                              NOTES ON PROGRAM

Pile Driver

“During one period of my life, I walked each day past a construction site at which a large pile driver was in use. I found the rhythmic patterns and ground-shaking power of the pile driver to be captivating. The rhythmic theme of the pile driver was a simple two-note pattern. This theme was heard predominantly at a moderate tempo, but with unpredictable interjections of it at a faster tempo. The other sights and sounds of the construction site joined with those of the pile driver to create an amazing sonic and visual experience. Although the variety of sound and rhythm was limited, the intensity and power were nearly overwhelming. The pile driver at that construction site was loud, and this piece is loud. In both cases, it's all right to cover your ears.” …Richard McCandless

Voyager

“The title of this work takes its name from the two spacecraft (Voyager 1 and Voyager 2) launched by NASA in the mid-1970s. Voyager 1's mission has included travel past Jupiter and Saturn. As it flew past Saturn, it used that planet's gravitational field to propel itself into deep space, making Voyager the first human-made object to leave our solar system. As well as recognizing its strong scientific purpose, this endeavor elicits in me a somewhat romantic response. I think of several things: Voyager's frictionless motion through our solar system, with occasional bursts from navigational guidance thrusters; the way Voyager used gravitational force to pass a planet and gain tremendous speed; and the idea of being flung into an endless, silent journey through the vastness of deep space. I also see this flight as a representation of the individual's journey through the paths of the mind and spirit. Voyager's journey is immense. Traveling about 1,000,000 miles a day, it will take 20,000 years for it to reach the Oort Cloud, where it will leave the gravitational field of our Sun, enter deep space and travel for millions of years. At some point during this journey, human beings will no longer exist on Earth, and our Sun's evolution will have reduced it to a charred cinder. But Voyager will be traveling on.” … Richard McCandless

looking at “r”

“Sometimes when studying a painting or drawing, a musical idea or concept will come to mind. Wilfred Brunner’s digital print “r” had this effect. Although all of Wil’s work is captivating, there was something special about this piece that attracted me. It is a simple, elegant drawing of a woman’s face that was augmented in the digital realm. A kind of dissonance was created with the added elements. It is somewhat unsettling yet beautiful at the same time. I tried to recreate this effect with two marimbas. There are a few simple melodies in this work that are sounded against harmonies and rhythms that provide tension and character. Even at the very end the tension is not completely released, much like the feeling I get when looking away from Wil’s powerful drawing.” ….Rich O’Meara

Puzzle Piece

“As the title suggests, this piece relies on interlocking rhythms to create a wall of marimba sound. At the time of its completion in 1984 I was very influenced by the drumming of Stewart Copeland. The patterns are very drum oriented and fall into many different grooves. The three parts work together to create a resonant and driving effect.” ….Rich O’Meara

Island Spinning

“This piece is based on a cue from a score I composed with Carlos Garza for a live performance accompanying an avant-garde French silent film from the 1920’s. The scene was very surrealistic with spinning images and split screens. I tried to create an ethereal, floating quality.” ….Rich O’Meara