Brian Zator, Perccussive Notes, August, September 2009

The three movements are quite different from each other, and both parts are equally challenging and difficult to fit together. The opening movement, Introduction, establishes and develops a melodic idea set over a recurring bi-tonal chord progression. Using a basic arch form, Farr presents the chord progression in the marimba with soft rolls wile the vibes outline a different tonality in quarter notes at a moderate tempo/ the roles then reverse and the marimba moves to triplet arpeggios under the sustained sounds of the vibes. This leads to a section in 17/16. The same chords and melody are used but with syncopated sixteenths, octaves and increasing tension. The duet moves between unison and non-unison patterns while still trading off the melodic and accompaniment roles and soon fades back to the opening material to end the movement.

The second movement is labeled Kotekan, which is gamelan term for interlocking parts. This movement consists of two main ideas with this interlocking idea prevalent throughout. The first idea is a simple allegro theme using unison notes and rhythms that transform into interlocking eighth notes. The second idea uses alternating sixteenths between both players at a slower tempo. Development of these ideas occurs through an expansion and extension of these two ideas.

The third movement, ?Moto Perpetuo,? begins with an extended run of very fast eighth notes at quarter note = 232. The due is separated by a major-sixth interval for the entire first section that soon leads into an ostinato in the marimba and quasi-improvised part in the vibes. This brief interruption leads into a repeat of the opening statement played one octave higher. After another brief interruption, the opening statement is played in canon with the marimba, starting one beat after the vibe. A soft ending arrives abruptly after the loud climax of the preceding canon.

Difficulty Rating Scale V - Advanced