Audio excerpt — Brian Archinal, Concours de Genève 2009 • 1′17"
6 very large and resonant Chimes (ALL must resonate long):
— Wood (hard, avoid bamboo) — Bamboo (medium high) e.g. KOLBERG Bamboo wind-chimes, medium “Naruko”, only the highest 28 tubes — Metal (cans, low/medium/high ranges — avoid scale-organized Wind chimes racks) — Stone (may be replaced by additional irregular chimes) — Glass (lamp bulbs, low/medium/high ranges — avoid scale-organized Wind chimes racks) — Seashell (very thin/smooth/delicate range as well as medium and lower)
— 5 Temple blocks — 8 Cymbals: Hi-hat (pedal half open) / 1 Orchestra heavy cymbal / 22" / 18" / 16" / 16" Rived / 12" Splash / 10" Splash Dimensions are suggestions — may be adapted freely. — 3 Tam-tams: very high / med. high / (med.) low — 7 Skins/Drums: 3 Bongos (very high, high, medium*) / 3 Tom-toms (high, medium, very low) / Bass drum (particularly resonant) * Medium bongo may be replaced by a Chinese drum “Low Pitch Battle Drum”.
Accessories (optional): Material to attach to the thumbnail — see Note for DRUMS Mallets: 1 Tam-tam beater / 2 Snare drum sticks / 1 metal brush
Program Note
Purple is a general term for the range of shades of colour occurring between red and blue. If we consider red as human passion and blue as a mysticism-oriented colour, then the purple position in between would be (ideally) the magic gate between them. Through a high level of excitement and virtuosity I wanted this piece to spread the huge amount of energy, vibrations and wishes raised by the performer.
Would it be (musically) possible to pass “through the door”?
Comments
Warning! Although it is not explicitly wished to break glass bulbs during the performance, so many bulbs were broken during rehearsals that it is absolutely part of the piece’s characteristics now. Ya-Hsin CHENG made it in such a spectacular and charming way during her preliminary round at the Geneva Competition 2009 that it quickly appeared an opportunity to show it rather than hide it. Aesthetically it corresponds to Alin Gherman’s experimental approach.
The specific noise produced by breaking glass can be considered as a prolongation of the simultaneously played cymbal.
(Conclusion: You may break glass bulbs — BUT ONLY if the glass chimes were NOT made by the composer! Go on!)
Versions
opus 78 · Current version: Concours de Genève v2 New version available — ask for the update made after the Geneva Competition performances!
Two standalone pieces based on parts of “Purple ritual” also exist: — Cymbals Vitamins (variation), ca. 3’30" — Dance — under impending rain —, ca. 3’
Miscellaneous
Dedicated to Simon FORSTER and his family.
Commissioned by the 64th Geneva International Music Competition — 2009, with the support of Pro Helvetia, Fondation suisse pour la Culture.
Recordings
2009 — DVD Video released by Sidéral Film SA, Genève (Switzerland) with performances of 15 candidates selected for the “Récital 1” round. Video clips of all 31 candidates also available. Recorded in High Definition. 1 DVD = 30 CHF / 30 USD / 20 € + shipping · 2 DVDs = 50 CHF / 50 USD / 33 € + shipping
Standalone variation upon the first part of “Purple ritual”. The instrumentation comprises only cymbals and a bass drum. In addition, there are some speech voice elements. (See also “Purple ritual”.)
Versions
opus 78b · Current version: v.1.2
Miscellaneous
“Lobende Anerkennung” (honorable acknowledgement) from the Universität Oldenburg (Germany) for the pieces “Metal spirits I+II”. Dedicated to Simon FORSTER.
9 € — PDF score via PayPal. 2-min process, immediate download.
4 very large and resonant Chimes (ALL must resonate long):
— Wood (hard, avoid bamboo) — Bamboo (medium high) e.g. KOLBERG Bamboo wind-chimes, medium “Naruko”, only the highest 28 tubes — Metal (cans — avoid scale-organized Wind chimes racks) — Stone (may be replaced by additional irregular chimes)
— 5 Temple blocks — 7 Cymbals: Hi-hat (pedal half open) / 22" / 18" / 16" / 16" Rived / 12" Splash / 10" Splash — 2 Tam-tams: med. high / (med.) low — 7 Skins/Drums: 3 Bongos (very high, high, medium*) / 3 Tom-toms (high, medium, very low) / Bass drum (particularly resonant) * Medium bongo may be replaced by a Chinese drum “Low Pitch Battle Drum”.
Mallets: 1 Tam-tam beater / 2 Snare drum sticks
Program Note
Standalone version of the third part of “Purple ritual”. (See also “Purple ritual”.)
Versions
opus 78c · Current version: temporary v.1
Miscellaneous
“Lobende Anerkennung” (honorable acknowledgement) from the Universität Oldenburg (Germany) for the pieces “Metal spirits I+II”. Dedicated to Samuel FORSTER.
— Glass chimes (all ranges, scale-organized Wind chimes rack) — Metal chimes (all ranges, very large, scale-organized Wind chimes rack) — 3 Chinese Cymbals: 1 (lowest) / 2 (medium low) / 3 (medium) — 1 Chinese Gong: α (downward glissando, untuned) — 1 Tam-tam: very high
This set-up is for Metal spirits I only. Additional instruments required for Metal spirits II.
Program Note
These two pieces (together with Metal spirits II) are conceived on the ideas of impact and resonance. Metallic timbres are in the foreground, expanded by special chimes in a “guest” role. (For Metal spirits I: Glass chimes; for Metal spirits II: Stone chimes)
Versions
opus 79a · Current version: v.1
Miscellaneous
Dedicated to Simon FORSTER.
Recordings
2009 — Audio & Video recorded by Samuel FORSTER & Simon FORSTER, July 7th, H.K.B. Studio, Bern. Sound engineer: Beat MÜLLER. Video: Voltafilm Luzern (Stephan HEINIGER). Light & production: Christophe KUHN. Produced by Alin GHERMAN with the support of Fonds Culturel Suisse, HKB Bern and Voltafilm Luzern. Video clip pre-released on YouTube.
Audio Excerpt
MP3, 320kbps — 1’30" of 2’45" (beginning) Samuel FORSTER & Simon FORSTER — July 7th, 2009, H.K.B. Studio, Bern.
— 3 Rainsticks (2× medium, 1× low) — Stone chimes (may be replaced by additional irregular chimes — avoid scale-organized Wind chimes racks) — 3 Domed Gongs: A2# or E3 / C3 / D3 — 1 Tam-tam: medium high
This set-up is for Metal spirits II only. Additional instruments required for Metal spirits I.
Program Note
These two pieces (together with Metal spirits I) are conceived on the ideas of impact and resonance. Metallic timbres are in the foreground, expanded by special chimes in a “guest” role. (For Metal spirits I: Glass chimes; for Metal spirits II: Stone chimes)
Versions
opus 79b · Current version: v.1
Miscellaneous
Dedicated to Samuel FORSTER. Video clip to be released winter/spring 2010.
Recordings
2009 — Audio & Video recorded by Samuel FORSTER & Simon FORSTER, July 7th, H.K.B. Studio, Bern. Sound engineer: Beat MÜLLER. Video: Voltafilm Luzern (Stephan HEINIGER). Light & production: Christophe KUHN. Produced by Alin GHERMAN with the support of Fonds Culturel Suisse, HKB Bern and Voltafilm Luzern.
Audio Excerpt
MP3, 320kbps — 1’30" of 3’12" (beginning) Samuel FORSTER & Simon FORSTER — July 7th, 2009, H.K.B. Studio, Bern.
— 3 Rainsticks (2× medium, 1× low) / Stone chimes / 3 Domed Gongs: A2#/E3, C3, D3 / 1 Tam-tam: medium high
Program Note
Metal spirits III is a special superposition of Metal spirits I and Metal spirits II — one piece is like the negative of the other. The idea of superposing both pieces came after the related video clips were produced.
Although in the first video clip only two musicians play the piece, for a live concert performance four players are necessary.
The material is conceived on the ideas of impact and resonance. Metallic timbres are in the foreground, expanded by special chimes in a “guest” role (Glass chimes, Stone chimes).
Comments
Never performed LIVE with 4 performers.
Versions
opus 79d · Current version: v.1
About Acquiring the Score
The score has not been assembled yet. If you are interested in performing this piece as a World Premiere, please contact Alin GHERMAN.
Recordings
2009 — Audio & Video recorded by Samuel FORSTER & Simon FORSTER, July 7th, H.K.B. Studio, Bern. Sound engineers: Beat MÜLLER & Benoît PICCAND. Video: Voltafilm Luzern (Stephan HEINIGER). Produced by Alin GHERMAN with the support of Fonds Culturel Suisse, HKB Bern and Voltafilm Luzern. Video clip pre-released on YouTube.
Audio Excerpt
MP3, 320kbps — 1’22" of 4’ (beginning) Samuel FORSTER & Simon FORSTER — July 7th, 2009. Sound engineer: Beat MÜLLER, remixed by Benoît PICCAND.
9 € — PDF score + separate parts via PayPal. 2-min process.
For the Pianist (Prepared Piano):
— A flexible plastic comb — Post-it stickers to label the strings — Textile wire to mark harmonic positions on 2 low strings — Optional: Plastic (composite) nails + special glue kit (cosmetic shops) for stronger string plucking
For the Percussionist:
— Vibraphone (with bow) — Marimba (5 octaves) — Glockenspiel (with pedal) — Crotales: E4, F#4, A#4, B4, A5 — played with Glock. plastic mallets + triangle beater — 4 Domed Gongs: F#2, C#3, A#3, G#4 — 4 Cymbals: high suspended / medium rived / low suspended / hi-hat — 3 Tam-tams: medium small (with rim) / medium wind (without rim) / largest possible (with rim) — Bass drum: α (large and resonating long) — Whip: α (low, very resonant) — Wood chimes: α (few sets, large range low to high) — Music stand: α (big and heavy) — may be replaced by an alternative sound (e.g. steel brake drum)
Program Note
“Haute tension” (= High tension) was composed during a tensional period. I wanted to transpose this potential energy onto musical percussive instruments and search for a certain beauty and interest in the “danger”. The situation of discomfort gives a special “alert” power and the outburst remains uncertain. The visual aspect of the musicians being under pressure is very important and adds a second dramatic layer. The music is made by visible tensions and sounds.
Comments
As shown in the Voltafilm video clip, the musicians play with a CLICK (headphones) and therefore have no visual contact. For this piece in particular, this technical parameter makes the musicians even more alert and thus interesting for the audience to watch.
Versions
opus 75 · Current version: v.1
Miscellaneous
Piece selected by the Beijing Modern Music Festival 2011 for the “Young Composers Project”.
Recordings
2008 — November 25th, H.K.B. Studio, Bern. Natalia KOZIARZ (prepared piano) & Simon FORSTER (percussion). Sound engineer: Cyrill LIM. Video: Voltafilm Luzern (Stephan HEINIGER). Produced by Alin GHERMAN with the support of HKB Bern and Voltafilm Luzern.
Audio Excerpt
MP3, 192kbps — 1’41" of 6’30" (beginning) Natalia KOZIARZ (prepared piano) & Simon FORSTER (percussion) — November 2008, H.K.B. Studio, Bern. Sound engineer: Cyrill LIM.
Violin, electric guitar, percussion, accordion, coffee maker + conductor, amplification
11 € — PDF score + separate parts via PayPal. 2-min process.
Percussion: Many plastic cups (7 per performance) Electric Guitar: + amplifier + effects Also: Violin, Accordion, Coffee Maker on stage — see Score for details
Program Note
An audio moment for good mood. Choreographic elements included. A coffee maker is placed on stage. Composed during a dark Polish winter — integrating coffee smell, machine noise and the sound of cups.
Versions
opus 62 · v.1.1 — 2006
Miscellaneous
Composed for the 2006 Composers Forum of the Akademia Muzyczna w Krakowie.
Recordings
2006 — January 20th, Sala Kameralna, Kraków. Karolina DURBACZ / Piotr DRODECKI / Andrzej WŁODARCZYK / Michał PAWEŁEK. Coffee Maker: Salton FC-3T. Conducted by Marcin PĄCZKOWSKI.
Oboe, Guitar, Percussion, Violin, Contrabass & live electronics/amplification
Program Note
Baignée dans un climat instable, la pièce exhibe une sentimentalité excentrique et bariolée. Il est question de jeux, de surprises et d’extases dans un décor sonore entraînant mêlé à des parfums sucrés. La contemplation de la Rose est également teintée d’angoisses voire d’agressivité.
Versions
opus 81 · v1 (under development)
Performances
Première — 2010, February 24th, Ensemble Vortex (Genève): Béatrice ZAWODNIK (oboe), Rada HADJIKOSTOVA-SCHLEUTER (violin), Jocelyne RUDASIGWA (contrabass), Mauricio CARRASCO (guitar), Florian FEYER (percussion) & Daniel ZEA (electronics). HKB Bern.
Conceived rather as a soundtrack for a movie or video clip, or as a material tank for other large pieces — not intended as a standalone concert piece.
Versions
opus 79c · v.1 — 2009
Recordings
2009 — July, H.K.B. Studio Bern. Ana Ioana Oltean (flute), Titus BELLWALD, Cathrin CURIGER, Samuel FORSTER & Simon FORSTER (marimbas), conducted by Cédric BELLINI. Engineer: Beat MÜLLER. Video: Voltafilm Luzern. Pre-released on YouTube.