Unsuk Chin arr. Rebecca Lloyd-Jones | Piano Etude No. 1 in C (1999, rev.2003)
Inti Figgis-Vizueta | to give you form and breath (2019)
Annie Hui-Hsin Hsieh | Six Legs and an Amphibious State of Mind (2017)
Elizabeth Jigalin | Tempus Fugit (2024) *world premiere
Moya Henderson | Alanbiq (1977/85)
Synergy Percussion
Sophia Ang
Ian Cleworth
Joshua Hill
Rebecca Lloyd-Jones
Robert Oetomo
Alison Pratt
Electronics
Amanda Cole
At the heart of Assembly lies exploration and collaboration. By its very nature, percussion is fragmented, drawing from diverse histories both geographically and sonically - from the traditional instruments found in orchestras to everyday objects repurposed for musical expression. As percussionists, we continuously push the boundaries of what defines a musical instrument. Therefore, as practitioners, we embark on a journey of inquiry – and tonight, we celebrate this assemblage of sounds within this program, serving as a testament to the creative spirit of Synergy Percussion.
The journey through Assembly begins with an arrangement of the Korean-born, Berlin-based composer Unsuk Chin’s Piano Etude No. 1 in C. As the title suggests, this work is fundamentally built around the note C, with syncopated rhythmic structures woven alongside explorations of timbre and resonance. Arranged for percussion quintet, the work descends into complex, nested rhythmic structures, inviting listeners into a world of mystery and wonder. Following Chin’s mesmerizing soundscape, we venture into a world of found objects, utilizing flowerpots, metals, and woods in Canadian-based composer Inti FiggisVizueta’s composition, to give you form and breath. This piece, influenced by the poetry of Joy Harjo, delves into the significance of creation narratives concerning indigenous identity, particularly those centered on the collective knowledge systems that come from oral traditions.
The first half of Assembly culminates with Six Legs and an Amphibious State of Mind by Australian-Taiwanese composer Annie Hui-Hsin-Hsieh. Scored for percussion sextet and electronics, this work transports listeners into a fantastical soundscape, where percussionists combine gesture and melody with unconventional techniques such as shuffling baking paper, dropping pellets, and bowing and scratching with various implements. Hui-Hsin-Hsieh likens the soundscape of this work to the experience of memory - comparing it to a creature lying dormant within the layers of our cognitive processes. When triggered by the slightest familiarity – a light, a scent, a movement, a sound – this creature stirs to life, overwhelming our rationality. Its tendrils reach into the recesses of our minds, transporting us back to specific moments in time, to particular emotions and individuals. Within this tangled web of thoughts, the fluidity between past, present, and future leaves us in a state of adaptation, as if we are continuously navigating between different states of being – an amphibious state of mind.
Following the intermission, we transport into a realm where time, sound, and object merge in the world premiere of Tempus Fugit by Sydney-based composer Elizabeth Jigalin. This commission is a homage to Synergy Percussion’s 50th birthday, offering a unique exploration into the wonder of objects. Scored in two movements, i. time flies, ii. when you’re having fun, Tempus Fugit uses the bass drum as a ‘clock of objects’, with objects positioned around the head of the drum, each drum adorned with a fantastical array of wind-up toys, party toys, bowls, and whistles.
Assembly concludes with Moya Henderson’s work for percussion quartet, Alanbiq. Initially composed in 1977 for Percussions de Strasbourg, this captivating piece was reworked by Henderson in 1985 for performance by Synergy Percussion. At the core of Alanbiq’s sound world lies Henderson’s ingenious invention, the Alemba. Cocreated with Alan Forester, the Alemba was developed during Henderson’s time as a fellow at the CSIRO in 1983. The Bass Alemba, which we are fortunate to have on loan for this project, comprises 13 triangles and was acquired by the Powerhouse Museum in 1987.
I extend my heartfelt thanks to my colleagues, the talented musicians of Synergy Percussion, our gracious donors, The Permsew Foundation, and James Guest, who assisted in the commission of Elizabeth Jigalin’s Tempus Fugit, Create NSW and the Percussion Australia team. Special mention goes to Karen Steains, Percussion Australia’s financial director, who will leave the company after a 20-year tenure - Karen, you will be missed! Further thanks go to Dr. Amanda Cole for her collaborations on electronics, Elizabeth Jigalin and Moya Henderson for their creativity and reciprocity, and the Powerhouse Museum for loaning Synergy Percussion the Bass Alemba for this performance.
-Rebecca Lloyd-Jones,
Artistic DirectorSynergy Percussion and the Percussion Australia family dedicate this performance of Assembly to Karen Steains. Karen has been with the company for the past 20 years and has been instrumental in the management and survival of the organisation as our CFO and Administrator. Karen's support for the company, artists, and the work we create has been nothing short of phenomenal. Assembly will be the last concert before Karen retires in June. We wish her all the best in the future and thank her from the bottom of our hearts for the incredible support and work she has done over the past 20 years.
- Lee McIver, General ManagerPercussion Australia Board:
Ann Hoban - Chair
Jeremy Wright
Keren Russell
Natalie Musico
Alison Dunn
Chris Adams
Ian Cleworth - Percussion Australia AD