Sandman's Castle (Preview)

PROMETHEAN EDITIONS
VINCENT HO
Sandman’s Castle
Tam-tam

Vincent Ho
Sandman’s Castle
Tam-tam
PROMETHEAN EDITIONS
WELLINGTON

Sandman’s Castle (PE170), for Tam-tam by Vincent Ho (2014).
Dedicated to Evelyn Glennie.
© Promethean Editions Limited 2014
First edition © 2020 Promethean Editions Limited
Series Editor: Ross Hendy
Editor: Ben Woods
ISBN: 978-1-877564-70-3 (print)
ISBN: 978-1-77660-170-7 (ebook)
ISMN: 979-0-67452-306-6
Promethean Editions Limited
PO Box 10-143
Wellington
NEW ZEALAND
http://www.prometheaneditions.com
No part of this publication may be reproduced in any form or by
any means without permission in writing from the Publisher.

Vincent Ho (1975)
Born in Ontario, Canada, Vincent Ho began his musical training at Canada’s Royal
Conservatory of Music in Toronto, where he received an Associate Diploma in Piano
Performance in 1993. Mentored by a series of composers including Allan Bell, David Eagle,
Christos Hatzis, Walter Buczynski, and Stephen Hartke, Ho gained degrees from the University
of Calgary and the University of Toronto, and a Doctor of Musical Arts from the University
of Southern California. While still an undergraduate student, Ho was awarded a scholarship
to attend the Schola Cantorum Summer Composition Program in Paris, France, where he
received tuition from faculty of the Juilliard School of Music and the Paris Conservatoire.
Ho sprang to prominence in 1999, when he received prizes for his first string quartet and his
piano work Three Scenes of Childhood, and an audience prize for the latter in the Toronto New
Music Festival. String Quartet No.1 received further recognition nearly a decade later when
it was nominated ‘Best Classical Composition of the Year’ in the Western Canadian Music
Awards following its release on CD.
Ongoing commissions have provided opportunities for Ho to produce many notable works
for orchestra, including Nighthawks (2000), Dragon Realms (2006), Red Zen (2008) and
Fallen Angel: In Memoriam Richard D’Amore (2008). Most significant is his Arctic Symphony
(2010), a work inspired by a trip to the Arctic, which has been described as ‘a mature and
atmospheric work that firmly establishes Ho among North American composers of note’
(Winnipeg Free Press).
Ho was Composer in Residence with the Winnipeg Symphony Orchestra from 2007 through
2017, enabling him to complete three concertos in two years for renowned soloists such
as Dame Evelyn Glennie and Shauna Rolston. Glennie commissioned and premiered The
Shaman (2011) and From Darkness to Light: A Spiritual Journey (2013). City Suite (2012), for
amplified solo cello and orchestra, was premiered by Rolston. In 2017 Centrediscs released the
Juno Award-nominated album The Shaman & Arctic Symphony: Orchestral Music of Vincent Ho,
PE170 – 3

consisting of the live recordings of The Shaman and Arctic Symphony featuring the Winnipeg
Symphony Orchestra, Dame Evelyn Glennie, and the Nunavut Sivuniksavut Performers. The
Shaman went on to receive a 2018 Juno Award nomination for Classical Composition of the
Year, with Arctic Symphony landing Ho another Classical Composition of the Year nomination
in 2019.
In 2015 Canadian piano trio Gryphon Trio commissioned a new work from Ho. The resulting
work, Gryphon Realms, was premiered in December of that year, with each movement based
on the personalities of each player of the Gryphon Trio, along with gryphon mythology. Ho
has recently explored elements of Chinese music and culture as part of his compositional
development. In 2016 a co-commission from the Hong Kong Chinese Orchestra and the
National Chinese Orchestra Taiwan resulted in Ho’s work for Chinese Orchestra, Journey
of the Red Phoenix. The following year, the Toronto Symphony Orchestra commissioned
and gave the premiere performance of Ho’s Rejuvenation: A Taoist Journey for narrator,
solo pipa, and orchestra, featuring renowned Chinese pipa player Wu Man. In 2019, Ho was
the recipient of the Society of Composers, Authors and Music Publisher of Canada’s Jan V.
Matejcek New Classical Music Award.
Ho’s music is rich and energetic—a unique integration of influences. His work often
demonstrates the capacity to coherently synthesise and convey the felt inspiration incited
by a multitude of artistic mediums. This amalgamation of influences is evidenced in Four
Paintings by Leestemaker (2005), which musically construes the ‘murky,’ unsettling qualities
communicated in the paintings of Leestemaker, and Arctic Symphony, where electroacoustic
material is utilised in order to more effectively allow the listener to intuit the natural
soundscapes from which the work emerged, as well as the sense of wonder experienced by
the composer. Additionally, traditional classical music forms and the physical properties
of the instruments and ensembles for which Ho writes are all inherent influences in his
diverse and creative output. His music is sensual, sonorous and richly textured, and Ho gives
considerable attention to the audience’s experience of his intricate sound-worlds.
Latest information about the composer may be found at www.vinceho.com.
PE170 – 4

Sandman’s Castle (2014)
Sandman’s Castle sees Ho draw a multitude of sounds from a single tam-tam, most notably
by having the player use an array of objects to strike or rub against the instrument. The dark
timbre of the tam-tam disguises the playfulness at the heart of this enjoyable work, as the
entire surface of the tam-tam is explored in an intriguing seven-minute journey. Ho allows
time for the rich resonance of the tam-tam to be savoured in Sandman’s Castle, through his
often spacious and gestural writing. Elsewhere, animal-like scratchings intensify to produce
dense rolls that display the deep power of the instrument.
The composer writes:
Sandman’s Castle was written for Dame Evelyn Glennie as part of the “50 for 50” project
to celebrate her 50th birthday. Fifty composers wrote 50 measures of music for a solo
percussion instrument. For this project, the tam-tam was my instrument of choice. For
years I had been quite drawn to its sonic beauty and its many expressive possibilities.
In addition to this, writing for such an instrument would allow me to explore uncharted
territories and open up new directions in my creative thinking.
To ensure that the work would be tailored to Ms. Glennie’s talents—something I always
think about when composing for a performer of her caliber—I asked her to film herself
improvising on the tam-tam, using as many different mallets, sticks, and other items,
as she could think of. This helped to open my eyes and ears to the variety of sounds
she was able to draw out of the tam-tam. Watching her interact with the tam-tam was
truly mesmerizing, like witnessing a shaman drawing up otherworldly sounds from
a primordial realm. I was inspired by the many techniques Ms. Glennie used in her
improvisation, as well as the sound colours she created. It did not take long for me to
draft up a musical narrative based on her natural gestures and imaginative soundscapes.
Personally, I view this work as a magical journey into the world of dreams, ruled by the
mystic Sandman, with Ms. Glennie as our guide.
PE170 – 5

Sandman’s Castle received its premiere performance from Dame Evelyn Glennie, at the
Museum of Old and New Arts (MONA) Festival of Music and Art, in Hobart, Australia, on
17 January 2016. This edition includes revisions, made by the composer after the premiere,
which shortened the work to less than 50 measures.
Instrumentation
• 1 large tam-tam
• 2 metal knitting needles
• 1 large superball mallet
• 1 medium superball mallet (alternatively 3 medium or small superball mallets with their
sticks tied together)
• 1 small superball mallet
• 2 triangle beaters
• 1 shell wrist shaker
• 2 Korean metal chopsticks
• 2 snare drum sticks
• 1 tam-tam beater
• 1 or more music boxes. Pull-string versions are the most convenient so that they
automatically stop. The music boxes can all be the same music or entirely different from
one another. Choose themes that are simple and suitable for young children (e.g. Brahms’
Lullaby, Happy Birthday, J.S. Bach’s May the Sheep Safely Graze, etc.; definitely no pop
songs).
• Thimble (optional)
PE170 – 6

Performance notes
Refer to the diagrams below for the areas of the tam-tam to be played as detailed in the score.
Both hands may be used unless specified otherwise.
When two voices or staves are present the upper is the right-hand and the lower is the lefthand.
When only one voice is present the right-hand positioning notation is used.
R.H.
㠜
㠜
㠜
㠜
L.H.
œ
œ
œ
œ
outer edge
[12:00]
㠜 [3:00]
œ
æ æ
Ͼ
ã œæ
æ œ
æ
Diverging lines = hands
moving in contrary motion
ã
ã
∑
∑
[12:00]
㠜 [3:00]
œ
æ æ
[12:00] Ͼ
ã œæ
æ œ
æ
ã
Playing position
as a clock face
∑
[9:00]
ã
∑
[3:00]
[6:00]
PE170 – 7

Sandman’s SANDMAN’S Castle CASTLE TO EVELYN GLENNIE
Vincent Ho 
ã
Knitting Needles
scrape
surface
R.H.
œa > œ œa >
œ
œ œ œa >
œ
J
f f ß ƒ
⇤
ß
2
ã
œ> œ œ œ œ> .
J
œ œ > ˙a œ
œ
ƒ f ƒ p ƒ
œ œ œ .
œ
J
rit.
œa œa
œa
F p F
scrape edge, like
a quick breath
œa
J
4
ã
Finger Tapping
(retain needles with thumb)
œa > >
⌅ ⌅ ⌅ ⌅ œ . ⌅ ⌅ ⌅ œa >
œ
J
P P F p
Knitting Needles
Π= 120
rit.
5
œ>
œ œ œ œ œ œ . œ œ .
ã
3
ƒ
œ
J
œa
p
(put down
needles)
Hands
œa
knock
P
scratch surface
with fingernails
œ
J
ß
fist or palm
(warm sound)
œa
?
F
7
ã
Π= c.60
accel.
Œ Œ Œ
Medium Superball
˙ .
⇤
like wailing sounds
⌅ Œ
Œ
˙ .
⌅
œ œ œ œ œ
Π= 108
œa Œ Œ
ß
˙ .
ã
⇤
Large Superball
⌅ Œ
Œ
˙ .
⌅ Œ
Œ
œ œ œ œ œ œ
œa Œ
ß
Œ
10
ã
ã
Π= 60
w
⇥
∑
ad lib.
like a murmur
or distant drone
œ
,
œ œ
tap outer edge with superball stick
œ œa
⇤ f p F p f
p f p
p - P
f
Sandman’s Castle © 2014 2015 Promethean Vincent Ho Editions Limited
This edition © 2020 Promethean Editions Limited
PE170 – 8
ISMN: 979-0-67452-xxx-x
979-0-67452-306-6

12
ã
ã
scrape outer edge
with superball stick
œ
J
ß
‰}
p - P
Free improvisation
but reserve climactic moments for later
œ
ß
put down superball
13
ã
ã
Œ Œ œ
p
œ
Œ
ƒ
Hands
finger tapping
put down superball
œ
æ
ƒ
knocking
œ
æ
P
finger tapping
˙æ .
æ
p sub.
scratching (frenetic)
[3:00] [12:00]
wæ
w
æ
[9:00]
ƒ
j
œ@ ‰ Œ
˙æ
p
[12:00]
16
ã
ã
Œ
j
œ
ß
‰
Triangle Beater
œ
glide on surface
π
scratch surface
like a quick breath
p - P
move in circular motion
Triangle Beater
œ
π
p - P
Improvisation
but only gliding triangle beaters on the surface exploring
as many sounds, dynamics, and expressive possibilities.
18
ã
ã
tap on surface
P
J
>
œ
f
3
œa
œ
J
ß
‰
Strike and rub surface;
like scrubbing.
19
> .
ã
Shell Wrist Shaker
˙
æ
ß
p
Œ}
tap edge with shells
œ > .
˙>
.
œ>
⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥
æ
æ
œ
æ
ƒ
P ƒ
p f p
PE170 – 9

21
ã
ã
Swipe surface with shells, then shake shells
in the air while slowly putting it down.
œ
J
ß
Metal Chopstick
œ œ œ œ œ œ œ œ œ œ œ
f
Π= 108
Metal Chopsticks
œ œ œ œa > ? Œ
œ œ œ œ > œ>
.
3
ß f ƒ
23
œa
ã
> ,
,
, like little critters or insects. >
œ œ œ œ œ œ œ œ œ œ
ß
Irregular tremolo;
like fast Morse code.
π - p
Move around the surface;
ƒ
ƒ
ã œ} œ > 3 œ œ œ œ > 3 >
a œ œ œ œ œ j
ß
>
œa >
j
(interruption)
ß
œa
œ œ}
Irregular rubbing on the outer
edge, use side of chopstick; like
nervous shaking or shivering.
smoothing out
accel. Π= 120+
25
œ œ œ œ œ œ œ œ œ
ã
œb
J
F
L.H. take Drum Stick
f
26
j
ã
Π= 104
œ >
‰ œa ‰ œ a œ œ
J œ œ
ß
Drum Sticks
ƒ
L.H.
P
27
.
ã
˙
æ
f
œ
œ
œ
œ
P
f
29
ã
Œ = 112–148
> > > >
p sub.
4×–6×
Explore full surface area; become more
ornamented with each repeat.
œ
R
f
œ œ œ œ œ œ œa.
Œ}
3
31
ã
6×–8×
> > > > sim.
> > > > >
P
ƒ
œ œ œ œ œ œ œ œ œ œa.
Œ}
PE170 PE170 – 10 10

ƒ
ß
> 3
33
> > > > > œa œ œ œ œ > œa
ã
P
>
ã œ > œ > œ > œ > œ > œ > œ > œ > œ > œ > œ > œ > œ > œ > œ
34
œ> œ œ > œ œ > œ œ œ > œ œ
ã
ƒ
Free improvisation
5–10”
36 3
œ> > œ > œ
>
ã
. . . .
œ . . . .
3
ƒ
> 3
rit.
> œa
œb
>
Ï
Tam-tam Beater
œa
ƒ
40 Music Boxes
ã
If using more than one, start each music box one at a time separated
by a phrase (approximately); like subject entrances of a fugue.
41
ã
ã
Improvisation
– Distant wailing sounds and ad lib.; play as an eerie counterpoint to the music boxes
– With the other hand, incorporate other various techniques (e.g. tapping, flicking, knocking, etc). You may use thimbles.
– Optional: You may also incorporate vocal sounds (e.g. whistling, whispering, hissing, clucking, singing, etc).
Small Superball
ã
ã
– Fade out as music boxes begin slowing down to a stop.
– Die away before the last music box stops.
} Π?
} Π?
– If music boxes are not pull-string driven, slowly close or stop each one.
– Wait a little longer after each one before stopping the following ones (e.g. wait 5 seconds
after stopping the first one before stopping the second one, then wait 6–7 seconds before
stopping the next one, then wait 8–9 seconds, and so on).
PE170 11
PE170 – 11

PROMETHEAN EDITIONS