1 Gamelan terrains (2008)

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08 Gamelan intertwin over 20 m surface id The title c as a mus terrain, w observer surface is overgrow The surfa overall so different control, t Rossini q different shapes o The time forms in t particula gongs, to rhythmica passages The Thai various le time with Miniature trombone contains
Gamelan terrains (2008) is built over an intertwined network of slow rhythms expanded over 20 minutes. The idea was to gather many surface ideas in labyrinthine strata. The title comes from my interest for topography as a musical metaphor. The shapes of the terrain, wild or polished, changing with the observer's position. And the way in which its surface is perceived abrupt, smooth or overgrown. The surface is covered with various material, as overall sounds or in chamber music activity, in different duets, trios, sugar plum fairies out of control, twisted fanfares and a well hidden Rossini quotation. Constantly shifting as different ecosystems are made possible by shapes of the terrain. The time structures find inspiration from macro forms in the gamelan music, without quoting any particular material. A hierarchy from the largest gongs, to the middle strata and the virtuosic, rhythmically complex and non-tempered passages of the highest percussion instruments. The Thai gongs break in with signal pulses of various lengths spread through the piece. Last time with 12 pulses concluding the piece. Miniatures II (1999) is a slowly moving piece for trombone surrounded by metallic percussion. It contains abrupt gestures and the simultaneity of 09 Gamelan terrains (2008) er bygd over et sammenfiltret nett av langsomme rytmer som strekker seg over 20 minutter. Ideen var å samle de mange overflateideene flersjiktig og labyrintisk. Tittelen kommer av min interesse for topografi som en musikalsk metafor. Terrengets konturer, ville eller avslepne, sammen med varierende betrakterposisjoner. Og hvor abrupt, kornete, glatt eller overgrodd overflaten oppleves. Overflaten er kledt av varierende materiale, klanglig eller kammermusikalsk aktivt, i ulike duetter, trioer, løpske sukkertøyfeer, forvridde fanfarer og et godt gjemt Rossini-sitat. Stadig skiftende etter de varierende økosystemene terrengets konturer gir grobunn til. Tidsstrukturene henter inspirasjon fra gamelanmusikkens makroformer, uten å sitere noe konkret materiale. Et hierarki fra de langsomme største gongene, til middelsjiktene og de virtuose, rytmisk komplekse og ikke-tempererte passasjene fra de lyseste slagverkinstrumentene. Thai-gongene bryter inn i signalpulser av ulike lengder spredt rundt i stykket. Siste gang 12 slag som avslutter stykket. Miniatures II (1999) er et langsomt stykke for trombone omgitt av metallisk slagverk. Det inneholder abrupte gester og samtidighet av store dynamiske kontraster. Delvis inspirert av de
Page 2 and 3: RUBEN SVRE GJTSEN 1 Gamelan terrain
Page 4 and 5: CONSTRUCTION AND SENSUALITY by Mort
Page 6 and 7: KONSTRUKSJON OG SANSELIGT av Morten
Page 10 and 11: large dynamic contrasts. Partly ins
Page 12 and 13: Not in order to take the shortest p
Page 14 and 15: Grains (2003) for harp, percussion
Page 16 and 17: Ruben Sverre Gjertsen (b. 1977, Nor
Page 18 and 19: BIT20 Ensemble was founded in Berge
Page 20 and 21: Pierre-André Valade was born in Br
Page 22 and 23: Producer Balance e Gamelan were rec
Page 24: GAMELAN TRAS RUBEN SVRE GJTSEN ACD5

1 Gamelan terrains (2008)

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