UWS Information for Program

18th of October 1pm

Program

Coil By Gerard Brophy

The title describes the character of little motives and the way that they twist and turn around
each other as the piece pushes remorsely to its conclusion.

Moto Perpetuo by Elliot Carter

This is the second of Eight Pieces composed for four timpani by Elliot Carter between 1949 and
1966. Composed in 1952, Elliot Carter has written this work in mind to open or close any type of
concert. Only taking 3 minutes to play, Moto Perpetuo is made up of a rapid pattern of notes all of
equal length. Using all the techniques that make these works for timpani unique, striking the
centre of the timpani and small amounts of metric modulation are present throughout. The ever
changing accentuation creates small melodic motifs inside a pounding
consistent pulse almost thunder like.

Rebellion by Stephen Rush (feat Colin Prichard and David Fitzgerald)

Rebellion is about an urge, not a cause. It is a small portrait of energy, a capsule of the feeling that
an urgent need for change is felt or foreseen, and the beginnings of that change are even
portrayed in the final bombast of this piece. The chaotic nature of the work invokes the ideas of a
rebellion, people storming around in a mad rush trying to achieve or destroy a part of society.
All in all, Stephen Rush's Rebellion is a feast of sound that provides a four-course meal of ideas
and themes. The first course is an appetizer of things to come, the second course is a smooth
course that cleanses the palate for the next course, and the final course has a little bit of the
preceding courses with a little bit of its own flavour. After all the courses have been served, you
are left with a satisfying feeling despite the piece's perceived unstable content.

Saeta and March by Elliot Carter

These works are part of Elliot Carters work for timpani, which he wrote between 1954 and 1962.
Both feature complex rhythms and concepts of music pioneered by Elliot such as metric
modulation.

Trace Ripples Gerard Brophy

This short work for marimba was written for Evelyn Glennie in 2002 after Gerards
return after a long absence from the Australian composing scene. This work embodies all the
rhythmic and cell like writing the Gerard is so well known for. Like his work Coil, TranceRipples
explores the idea of a rock hitting a pond and how the water ripples out. With a consistent three
pulse, the work enters a trance like state when it dances around three octaves of the marimba
and lets the audience relax with an easy to listen concept. A small, challenging but beautiful work,
TranceRipples is almost therapeutic and just a pleasure to listen to.

Saraband and Minuets from the Second Cello Suite in Dminor By J.S. Bach

The Six Suites for Unaccompanied Cello by Bach is some of the most performed and
recognizable solo compositions ever written. The suites contain a great variety of technical
devices, a wide emotional range, and some of Bach's most compelling voice interactions and
conversations. It is their intimacy, however, that has made the suites amongst Bach's most
popular works today, resulting in their different recorded interpretations being fiercely defended
by their respective advocates.
Sarabands are known for being the chorale part of a suite, especially in Bach's case. This
Saraband explores the emotions and feelings of the dminor key. This movement features
adaptation of Cello techniques onto the marimba, with broken chords and long bows, this
movement is all about the melody, and the power of drawing out the sound of the instrument.
Bach is known for several of his Minuets, but none approach the step dancing known as pas
menus as well as the two minuets from his second cello suite. Both have distinctive
characteristics, as well as intense harmonic structures, such as the Neapolitan 6th. These two
movements are all about the dance; they bounce around with a step like feel making the
harmonic progression talk with melodic motifs.

Happy Tachyons
By John Psathas

Composed at the request of Evelyn Glennie, the technical demands of Happy Tachyons
are deliberately pitched at the edge of what is humanly possible, particularly the passages where
the percussionist is required to play both vibes and marimba simultaneously. The exuberant high
spirits, which pervade the piece, reflect the fact that during its composition Carla and I were
expecting our first child, Emanuel, who was busy preparing his entrance into this world.

Happy Tachyons relies on high levels of rhythmic energy and drive, thrilling in result.
Based on the hypothetical Tachyon particle that could move faster than light, as well as hold the
mystery to time travel. The piece is intense and on edge for 227 bars and defiantly a battery
drainer on any performer. Happy Tachyons had its Australian premiere on 2012 by David
Lockeridge at the Newcastle Conservatorium of Music.

Bio

David Lockeridge
David Lockeridge is a Newcastle and Sydney based freelance Percussionist.

Originally from Griffith in regional New South Wales, David completed his Higher School
Certificate in 2004 at Wade High School. Moving to Newcastle in 2006, David began his studies in Music
Technology at the Hunter Institute of Technology. On completion of his diploma, David commenced his
Bachelor of Music in Percussion Performance at the University of Newcastle Conservatorium of Music
studying under Percussionist Steve Morton. In 2008 David was awarded the Frank Hutchens Memorial Prize
for the most outstanding recital of a student in the second year of the Bmus program.

David concluded his Bachelor of Music with first class honours in 2010 at the conservatorium. Since 2009
David has been under the mentorship of one of Australias most prolific percussionists, Timothy Constable.
David is currently researching his Masters degree in the techniques percussionists use in preparing
virtuosic music with Dr Ian Cook and Timothy Constable as his supervisors.

Over the last five years David has performed extensively throughout NSW and overseas as both a soloist and
an ensemble musician.. In 2011 David started collaborating with internationally acclaimed New Zealand
composer John Psathas. David has premiered Johns One Study One Summary and his marimba concerto
Djinn. This year David will also perform the Australian Premiere of Johns Happy Tachyons for marimba,
vibraphone and piano. This year David was awarded a grant from the Australia Council of the Arts to
commission composers to write music for a new touring concert as well as help direct and mentor David in
his career as a soloist. He is one of the youngest performers to be awarded this honour from the most
prestigious funding body of the arts in Australia

Since 2011 David has been touring his Metal Wood and Skin concert that features works that David has
premiered. These concerts help expose regional areas to the percussion world and the unique music and
instruments that make it. Spending his time performing, touring and teaching, David keeps a busy schedule
entertaining audiences with his energetic approach to virtuosic percussion repertoire
David devotes his time between his studies and performance while also teaching extensively across NSW
developing young percussionists through NSW Department of Education Instrumental Music Programs.
After beginning his musical journey at the Riverina Music Camp in Wagga Wagga while still at school, David
feels a great sense of pride and accomplishment in being able to continue his relationship with the camp and
nurturing young musicians. Since 2004, David has been a key member of staff at music camps in the
Riverina, North Coast, Western and New England Education Regions of NSW, as well as tutoring regularly at
instrumental workshops throughout Australia.