Percussion quartet and fixed media [stereo for diffusion] ~ 13 min.
Composed in a deliberately instinctive and hesitant approach, and taking as its model a persistent refusal of any previously defined structure or system, this piece is the result of a laborious creative process, guided by a rigorous use of intuition and internal listening. The finished work is nevertheless articulated in three large contrasting sections, arranged to form an asymmetrical arch broken in its middle. The cohesion between the three parts is ensured by the continuous transformation of the harmonic material: a small number of chords is transformed throughout the piece by processes such as frequency transposition, distortion and ring modulation. These treatments are then used as a means of altering or moulding the material, resulting in curves of tension and relaxation. The electronic sounds play a structurally complementary role to those played by the musicians. These electronic sounds, derived from samples of different origins — percussive instruments, natural sounds, or sounds created by digital synthesis — are carefully worked and assembled. They provide unusual textures and sound masses that act as a counterpoint to the musicians.
This piece was conceived as a posthumous tribute to the memory of the Italian-American sculptor and designer Harry Bertoia. Bertoia is known, among other things, for the many sounding sculptures he created throughout his life. In these unique pieces, the artist often combined different metal alloys to achieve specific resonances.
• March 26, 2026 – McGill Percussion Ensemble (MGPE). Tanna Hall, Schulich School of Music, McGill University.
