Larry Sitsky: Kundalini: The Serpent Fire. Concerto for trombone with keyboards and percussion (1982) - I Pranayama; II Pratyahara; III Dharana: IV Dhyana; V Samadhi; VI Kundalini

Abstract

"Larry Sitsky has written numerous concertos for various instruments and instrumental combinations, and in all these works the virtuoso aspect is greatly stressed. Kundalini was commissioned by the Flederman ensemble, and Sitsky wrote the trombone part for Simone de Haan, the leader of the group. The accompaniment was to be provided by only two players, but used a variety of instruments. The concerto is in six sections, each of which is scored for a different set of accompanying instruments. Apart from the third section, after which there is a break, all the sections flow into one another so that the work is really in two movements. The titles of the sections have been taken from Yoga disciplines and are not meant to be programmatic or descriptive, but rather a suggestion of the poetic impulse that gave the work its genesis. Kundalini refers to man's latent psychic energies often depicted symbolically as a sleeping serpent. The other names are steps in the discipline of unleashing the source of this tremendous energy. The six sections and accompanying instruments are as follows: I Pranayama: Small and medium tam-tams, vibraphone, wind machine. II Pratyaluira: Suspended cymbals, guro, harpsichord. III Dluirana: Xylophone, electric organ. IV Dhyana: Side drums, tom-toms, timpani, piano. V Samadhi: Glockenspiel, celeste, piano. VI Kundalini: Woodblocks, large tam-tam, piano. Although a large part of the Concerto is a fairly traditional exploitation of the virtuoso capabilities of the trombone, Sitsky has borrowed much from his The Fourteen Days of Bardo Thodol: Sonata No. 2 for solo flute. In this work, written in 1979 he exploited the microtonal possibilitie of the flute, using Tibetan Buddhist chant as a basis. Since the trombone is an ideal instrument for varying pitch, he decided to use the chants again in this concerto. Tibetan chants move very slowly. Two striking features of the chant, namely its constant portamento and the humming sound, are incorporated here. The chant is based on the five; small cells which appear in Figure 87. Some of the other material of the concerto comes from a lengthy chordal row which contains numerous clusters. The chant, which is a transposed version of the original Tibetan Buddhist chant, is heard in its purest form at the beginning and at the end of the concerto. In Pranayama, the tarn-tarn sound marked ppp is established before the trombone, using a cup mute, enters non-vibrato. A portion of the chant is now presented in a slow, hypnotic manner with slow glissandi after each note. Ends and beginnings of glissandi are preferably microtonal, and much rubato is to be employed. The trombone alternates non-vibrato technique with vibrato technique, and the player is required at times to sing with the note, thereby creating beats. While the chant is being presented in this pure form, the tarn-tarns provide a continuous accompaniment, using very soft sticks, with a few interjections from the wind machine off stage. Upon the entry of the vibraphone, the rhythmi freedom disappears and the trombone presents the five cells of the row complete ( see Figure 88). For the remainder of this section, the trombone continues the chant in the same manner as at the opening, but now with smooth and elegant embellish- · ments. During this, the vibraphone closely follows the trombone. The second section, Pratyahara, is introduced by the harpsichord with full registration, using chromatic palm clusters in both hands, followed by elbow clusters. With the entry of the trombone leggiero (using a Harmon mute), the harpsichord provides a fast semi-staccato semiquaver accompaniment derived from the chordal row, which moves from one hand to the other. Throughout this second section the writing for the trombone is quite varied and the harpsichord displays several textural changes which are enhanced by the numerous rhythmic and tempo changes. A right hand glissando across the keyboard concludes this section. A great amount of tension, which has been gradually building up-throughout the-previous section, culminates in Dharana. At the commencement, marked dramatico, unmuted trombone and xylophone engage in a lengthy dialogue. Much material is shared between the two instruments: at times they play similar figurations and at one point the linear row passes back and forth from one instrument to the other (see Figure 89). With the entry, marked lento, of the electric organ, the trombone plays quasi recitativo and continues in this manner to the end. Manual II of the organ uses a basic registration for a series of chords derived from the chordal row, while Manual I has a chord silently pressed down with wedges. The xylophone eventually joins in with material from the linear row. Additional colours are later introduced by using very high mixtures in Manual II and when Manual I is switched on (Manual II i now no longer in use), the trombone plays with constantly increasing vibrato and portamento to the end. Richer and higher mix ure are gradually added to the prepared chord on Manual I and all three instrument3 play crescendo to fff. The resulting tension is resolved in the second movement of the concerto. The second movement commences with section a called Dhyana which uses timpani and the upper register of the piano. Like section two, this section is characterised by numerous changes of rhythm and tempo. The piano writing exhibits several changes of figuration and light, dry textures are contrasted with thick chordal clusters (see Figure 90). Ostinato figures are prominent in both the timpani and piano parts, while the unmuted trombone has virtuoso triplet passages. The fifth section, Samadhi, is marked tranquillo and features the silvery sounds of the celeste as well as the glockenspiel and piano. Here the writing for the trombone, using a straight metal mute, becomes slow and remote, but with vibrato and much portamento preparing the way for a return to the pure form of the chant which is restated at the end of the movement. In Kundalini, the concluding section, the trombone presents the original row accompanied by an ostinato-Iike pattern in the lower register of the piano. The piano accompaniment becomes chordal and eventually the texture becomes thin and sparse. When the chant enters, it is to be played as it was at the opening of the concerto, but now ff, in a free, majestic way. The accompanying percussion instruments are woodblocks and a large tam-tarn. It is interesting to note the use of woodblocks as they are sometimes used to accompany Tibetan Buddhist chant. The sustaining pedal on the piano remains depressed from here to the end, and the trombone plays into the piano to ease sympathetic vibrations As soon as this effect is lost, the player is directed in the score to turn the bell of the instrument towards the audience once more." -- Wendy Penny Show more