Robert Paterson
HELTER SKELTER for percussion quartet
billholabmusic.com
lS
sa
ru
Pe co re
Percussion 1
Robert Paterson
co re
HELTER SKELTER
Pe
ru
sa
lS
for percussion quartet
billholabmusic.com
for the Nichols School
Percussion 1 3 Roto Toms
HELTER SKELTER for Percussion Quartet
NOTE: all measures are in 4/4 and mf unless otherwise indicated.
q = 96-112
‰ ‰ œJ ‰ ‰ œj œJ ‰ œj ‰ 3
∑
œ j / ™™ Œ œ œ Œ ™™
3
mf
3 œ œ œ œ œ œ œ ™™ / ™™
j œ
lS
ru
3
3
Pe
>œ ™ œ œ ™™ Œ / ™Œ
/ ™™
∑
/ ™™ ∑ ™™
/ ™™
™™
Ϫ
™™
V
∑
æ œœæ
3:4
3 œ œ œ œ / ™™ œ œ œ œ œœ œ œ œ 3
V
/
∑
3 œ / 4 ™™
Copyright © 2022 Robert Paterson Music (ASCAP) International Copyright Secured. All Rights Reserved.
™™ ™™ 48
/ ™™ œ œ œ œ ™™
3 f 3 Improvise for eighteen measures or less in 4/4. This measure may not be repeated. Notes, rhythms, rests, dynamics, and articulations may be varied.
3 / 4 ™™ œ™
3
j j œ œ œj œ œ œ œ œ ™ ™ œ /
∑
/
œœœ œ 8 / 4 ™™ œœœœœœœœ œ œ œ œ œ œ œ ™™ 3
3
>œ >œ ™ œ œ œ œ œ œ œ ™™ ™ /
/ ™™ œœœœœœœœœœœœœœœ œœ œ ™™ 3
4 /4V
3
œœ / ™™ œœœ œ œ œ œ œ œ œ œ œ œ œ œ ™™
sa
/ ™™ œ œ™ œ œ œ œ œ œ œ œ ™™
6
3
œœœœœœœœ œ œ œ œ ™™ / ™™ œ œ œ œ
∑
/
∑
6
3
œœœœ œ ™ ™ œ œ œ / ™™ œ œ œ œ
œ œ ‰ >œ >œ >œ ™ ™ œ œ ‰ ™ ™ / /
>œ œ œ œ œ œ œ œ œ œ œ œ
co re
4 /4
Robert Paterson (1 984, Rev. 2022)
f
V
œ
™™ 44
3 4
œ œ œ œ ™™ 43
HELTER SKELTER - Perc. 1
>œ >œ >œ 3 ™ œ ™™ œ œ ™ / 4
2
3 / 4 ™™ œ œ œ œ œ œ
f
4 / 4 ™™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™™
co re
everybody rim
™™ 44
look at conductor
lS
œ 8 /4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ œ 6
sa
ppp sub.
Pe
ru
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
fff
U Œ
Program Notes Helter Skelter was written in 1984 for myself and three other percussionists, and it is my first piece for multiple players. At the time, I couldn’t find an appropriate percussion quartet to perform at a school recital that was easy, fun to play, and used the instruments we had at the school, so I decided to compose my own piece. It is is basically an organized improvisation, and relies on spontaneous reactions from the players. The parts are written in such a way as to give the players the choice of which phrases to play or not play, and how long to play them. If performed correctly, the piece should never sound the same twice. Helter Skelter requires the performers to listen carefully to each other in order for the piece to be played well. The title Helter Skelter is inspired by the definition of the phrase, which means disorder or confusion. The fact that there are many other pieces and books named “Helter Skelter” is, for the most part, coincidental. This composition has nothing to do with any of these works, such as the song by The Beatles, although there is a subtle allusion to the Charles Manson murders which took place in Death Valley, California in 1969.
Instrumentation Percussion 1: 3 Roto Toms (tuned to any pitches, high, medium, and low, 6”, 8”, 10”, or 8”, 10”, 12”, played with drum sticks) Percussion 2: 3 single-headed tom toms (any pitches or tunings, high, medium, and low) Percussion 3: 2 timpani (tuned to any pitches, played with hard to very hard timpani mallets) Percussion 4: Snare drum (played with drum sticks)
co re
Performance Notes Form
• •
lS
•
sa
• •
The performers start out by playing their first line of measures together. This line should not be repeated They should then follow the direction of the arrow of their choice to the measure of their choice. Unless measures have specified time signatures, they are in 4/4. Each measure with repeats may be played one to eighteen times. After each performer feels like moving on, they may move to the next measure of their choice according to where the arrows lead. This feature lets the ensemble decide on how long or short the piece may be. Limits may be set on how many times a measure may be repeated, such as setting eight or thirteen as the limit of the maximum number of repetitions. The “improvisation” measure may be repeated, but use discretion. Performers should not decide on which path they will take or the exact number of times they will repeat any of the measures before the performance, except to decide a maximum number of times up to eighteen. What each performer hears while performing the piece should dictate which measure they will go to next, and when. When each performer reaches the “everybody” measure, they should repeat it indefinitely until all of the performers are repeating it together. At this point, they should all be looking at (and have eye contact with) the performer designated to give the final cue to play the end of the piece. When the designated performer gives the final cue, the ending (the last two 8/4 bars) should be played together by all of the players.
ru
•
Dynamics
•
Unless measures have specified dynamics, they are mezzo-forte. A given dynamic is to be carried over into the next measure you go to unless you are given a new dynamic; then that dynamic is to be carried over. and so on until the end of the piece. You may use any dynamics in the “improvisation” measure, but in the measures following the improvisation measure use the given dynamics. The dynamic markings are to be followed exactly as they are written.
Pe
• •
Additional Comments •
If something sounds good, stay with it. Decide what and how you play by what you hear. World Premiere Nichols School, Spring Recital Buffalo, NY, USA Spring, 1984 European Premiere Mostly Modern Festival | The Netherlands Percusssion Ensemble Concert Zeeuwse Concert Zaal, Middleburg, ZE, The Netherlands April 30, 2022 Duration: ca. 4’-10’
Percussion 2
Robert Paterson
co re
HELTER SKELTER
Pe
ru
sa
lS
for percussion quartet
billholabmusic.com
for the Nichols School
Percussion 2
HELTER SKELTER
3 Tom Toms (high, medium low) 2 Cymbals (high, low)
for Percussion Quartet
Robert Paterson (1984)
NOTE: all measures are in 4/4 and mf unless otherwise indicated.
q = 96-112
œœœœœœœ œ 4 /4
œœœœœœœ Œ
2 Cymbals
œ / ™™ /
3
œ
œ
3
™™
œ
™™ ‚ ‚ ‚ ‚ O ™
ff sub.
/ ™™ w
3 Tom Toms
mf
œ œ œ œ œ œ œœœœœœœœ ™ ™ ™ ™ / 3
™™
/ ™™
∑
™™
sa
∑
™™
ææ ™ ™ ˙ /
æ ™ ˙æ ™
double-stroke rolls
/ ™™ œœœ œ œ œ™ œ ™™ 3
œ
œ Œ
j œfi
f
œ
™™ ™™
3
3
3
/ ™™ œ œ œ œ œ œ œ œ ™™ 3 Tom Toms ff
f
/ ™™ w
Tom Toms
w
mf
/
/ ™™ œfij œ œfij œ œfij œ ™™
/ ™™ Œ œ œ Œ œ ™™ p
j œfi
f3
3
Pe
mf
3
œœœœœœœœœœœœ ™ ™ ™ ™ /
/ ™™ œ œ œ œ œ œ œ œ œ ™™ 3 Tom Toms
3
/ ™™ Œ
ru
/ ™™
w
lS
3
3
mf
2 Cymbals ord. mf
3
œ œ œ œ œ / ™™
™™
cymbal bells ppp
3
co re
p 3
œœœœœœœœœœœœ
3:4
™™
™™ œ œ™ œœ ™™ œ œ™ œ f
/ ™™ œ œ œ œ œ œ œ œ œ œ œ ™™ 3
/ ™™ œ œ œ œ œ œ œ œ™ œ f
™™
Copyright © 2022 Robert Paterson Music (ASCAP) International Copyright Secured. All Rights Reserved.
3
3
HELTER SKELTER - Perc. 2
2
Improvise for eighteen measures or less in 4/4. This measure may not be repeated. Notes, rhythms, rests, dynamics, and articulations may be varied.
4 /4V
V
V
3 4
3 3 / 4 ™™ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 4
co re
3 / 4 ™™ >œ œ œ œ >œ œ ™™ > mf
V
6 3 ™ œ ™ / 4 œ œ œ œ œ œ œ ™™
lS
mf
4 / 4 ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
sa
everybody
3 3 4 ™ ™ jœ œ œ ™ ™ fi / 4 4 œœœœ
pp
f
look at conductor
Pe
ppp sub.
ru
6 8 /4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œ
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
fff
U Œ
Program Notes Helter Skelter was written in 1984 for myself and three other percussionists, and it is my first piece for multiple players. At the time, I couldn’t find an appropriate percussion quartet to perform at a school recital that was easy, fun to play, and used the instruments we had at the school, so I decided to compose my own piece. It is is basically an organized improvisation, and relies on spontaneous reactions from the players. The parts are written in such a way as to give the players the choice of which phrases to play or not play, and how long to play them. If performed correctly, the piece should never sound the same twice. Helter Skelter requires the performers to listen carefully to each other in order for the piece to be played well. The title Helter Skelter is inspired by the definition of the phrase, which means disorder or confusion. The fact that there are many other pieces and books named “Helter Skelter” is, for the most part, coincidental. This composition has nothing to do with any of these works, such as the song by The Beatles, although there is a subtle allusion to the Charles Manson murders which took place in Death Valley, California in 1969.
Instrumentation Percussion 1: 3 Roto Toms (tuned to any pitches, high, medium, and low, 6”, 8”, 10”, or 8”, 10”, 12”, played with drum sticks) Percussion 2: 3 single-headed tom toms (any pitches or tunings, high, medium, and low) Percussion 3: 2 timpani (tuned to any pitches, played with hard to very hard timpani mallets) Percussion 4: Snare drum (played with drum sticks)
co re
Performance Notes Form
• •
lS
•
sa
• •
The performers start out by playing their first line of measures together. This line should not be repeated They should then follow the direction of the arrow of their choice to the measure of their choice. Unless measures have specified time signatures, they are in 4/4. Each measure with repeats may be played one to eighteen times. After each performer feels like moving on, they may move to the next measure of their choice according to where the arrows lead. This feature lets the ensemble decide on how long or short the piece may be. Limits may be set on how many times a measure may be repeated, such as setting eight or thirteen as the limit of the maximum number of repetitions. The “improvisation” measure may be repeated, but use discretion. Performers should not decide on which path they will take or the exact number of times they will repeat any of the measures before the performance, except to decide a maximum number of times up to eighteen. What each performer hears while performing the piece should dictate which measure they will go to next, and when. When each performer reaches the “everybody” measure, they should repeat it indefinitely until all of the performers are repeating it together. At this point, they should all be looking at (and have eye contact with) the performer designated to give the final cue to play the end of the piece. When the designated performer gives the final cue, the ending (the last two 8/4 bars) should be played together by all of the players.
ru
•
Dynamics
•
Unless measures have specified dynamics, they are mezzo-forte. A given dynamic is to be carried over into the next measure you go to unless you are given a new dynamic; then that dynamic is to be carried over. and so on until the end of the piece. You may use any dynamics in the “improvisation” measure, but in the measures following the improvisation measure use the given dynamics. The dynamic markings are to be followed exactly as they are written.
Pe
• •
Additional Comments •
If something sounds good, stay with it. Decide what and how you play by what you hear. World Premiere Nichols School, Spring Recital Buffalo, NY, USA Spring, 1984 European Premiere Mostly Modern Festival | The Netherlands Percusssion Ensemble Concert Zeeuwse Concert Zaal, Middleburg, ZE, The Netherlands April 30, 2022 Duration: ca. 4’-10’
Percussion 3
Robert Paterson
co re
HELTER SKELTER
Pe
ru
sa
lS
for percussion quartet
billholabmusic.com
for the Nichols School
Percussion 3
HELTER SKELTER
2 Timpani (high, low, any pitches)
for Percussion Quartet
Robert Paterson (1984)
NOTE: all measures are in 4/4 and mf unless otherwise indicated.
q = 96-112
4 /4
/ ™™
f
pp
∑
∑
™™
™™
œ
mf
œ
œ
Pe
8 / 4 ™™ œ œ œ œ œ œ ™ 4 / 4 ™™
∑
™™
œ
œ
/ ™™ œœœ œ œ œ œ œ œ œ œ œ œ ™™ œ œ Œ
œ
œ‰
/ ™™ œ œ œ œ œ œ œ œ œ œ œ ™™ 3
œ
™™
ææ ™ / ™˙
3
mf
™™
œ
fff
3
œ
œ œ œ œ œ œ ææ ˙
™™ 44
6
/ ™™ œ œ œ œ œœ
™™
/ ™™ œ œ œ œ œ œ ™™
3
œœ
œ‰
f
/ ™™ œœ œ œ œ œ ™™
6
/ ™™ Œ
œ
/ ™™ œ œ œ œ œ œ ™™
lS œ
œ‰
/ ™™ œ œ œ œ œ œ œ œ œ œ ™™
sa
™™ œ
œ
mf
ru
/ ™™ œ
mf
/ ™™ œ œ ≈ œj™ œ œ œ ™™
f
∑
œœ‰
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
damp
/ ™™ œ œ œ œ ™™ / ™™
œ ™ œ œ
œ
co re
/ ™™ œ œ ˙ææ
∑
™ œ œœœ ™ 3
Copyright © 2022 Robert Paterson Music (ASCAP) International Copyright Secured. All Rights Reserved.
/ ™™ œ ˙ææ™
™™
(optional: to 9/4 bar after improv. bar)
HELTER SKELTER - Perc. 3
2
Improvise for eighteen measures or less in 4/4. This measure may not be repeated. Notes, rhythms, rests, dynamics, and articulations may be varied.
™™ œ
3
œ
œ
œ
™™
œ
3
œ œ œ
œ
4 / 4 ™™
∑
> > > > > > > > 4 / 4 ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™
sa
everybody
3
3
œ œ œ œ œ œ
™™
lS
3 / 4 ™™ œ œ œ œ
œ
co re
9 / 4
9 4
∑
/
™™ 43
œ
3 / 4 ™™ œ œ œ œ œ
look at conductor
™™ 44
8 4
∑
/
8 /4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœ œ
Pe
ppp sub.
6
ru
3
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
fff
U Œ
Program Notes Helter Skelter was written in 1984 for myself and three other percussionists, and it is my first piece for multiple players. At the time, I couldn’t find an appropriate percussion quartet to perform at a school recital that was easy, fun to play, and used the instruments we had at the school, so I decided to compose my own piece. It is is basically an organized improvisation, and relies on spontaneous reactions from the players. The parts are written in such a way as to give the players the choice of which phrases to play or not play, and how long to play them. If performed correctly, the piece should never sound the same twice. Helter Skelter requires the performers to listen carefully to each other in order for the piece to be played well. The title Helter Skelter is inspired by the definition of the phrase, which means disorder or confusion. The fact that there are many other pieces and books named “Helter Skelter” is, for the most part, coincidental. This composition has nothing to do with any of these works, such as the song by The Beatles, although there is a subtle allusion to the Charles Manson murders which took place in Death Valley, California in 1969.
Instrumentation Percussion 1: 3 Roto Toms (tuned to any pitches, high, medium, and low, 6”, 8”, 10”, or 8”, 10”, 12”, played with drum sticks) Percussion 2: 3 single-headed tom toms (any pitches or tunings, high, medium, and low) Percussion 3: 2 timpani (tuned to any pitches, played with hard to very hard timpani mallets) Percussion 4: Snare drum (played with drum sticks)
co re
Performance Notes Form
• •
lS
•
sa
• •
The performers start out by playing their first line of measures together. This line should not be repeated They should then follow the direction of the arrow of their choice to the measure of their choice. Unless measures have specified time signatures, they are in 4/4. Each measure with repeats may be played one to eighteen times. After each performer feels like moving on, they may move to the next measure of their choice according to where the arrows lead. This feature lets the ensemble decide on how long or short the piece may be. Limits may be set on how many times a measure may be repeated, such as setting eight or thirteen as the limit of the maximum number of repetitions. The “improvisation” measure may be repeated, but use discretion. Performers should not decide on which path they will take or the exact number of times they will repeat any of the measures before the performance, except to decide a maximum number of times up to eighteen. What each performer hears while performing the piece should dictate which measure they will go to next, and when. When each performer reaches the “everybody” measure, they should repeat it indefinitely until all of the performers are repeating it together. At this point, they should all be looking at (and have eye contact with) the performer designated to give the final cue to play the end of the piece. When the designated performer gives the final cue, the ending (the last two 8/4 bars) should be played together by all of the players.
ru
•
Dynamics
•
Unless measures have specified dynamics, they are mezzo-forte. A given dynamic is to be carried over into the next measure you go to unless you are given a new dynamic; then that dynamic is to be carried over. and so on until the end of the piece. You may use any dynamics in the “improvisation” measure, but in the measures following the improvisation measure use the given dynamics. The dynamic markings are to be followed exactly as they are written.
Pe
• •
Additional Comments •
If something sounds good, stay with it. Decide what and how you play by what you hear. World Premiere Nichols School, Spring Recital Buffalo, NY, USA Spring, 1984 European Premiere Mostly Modern Festival | The Netherlands Percusssion Ensemble Concert Zeeuwse Concert Zaal, Middleburg, ZE, The Netherlands April 30, 2022 Duration: ca. 4’-10’
Percussion 4
Robert Paterson
co re
HELTER SKELTER
Pe
ru
sa
lS
for percussion quartet
billholabmusic.com
for the Nichols School
Percussion 4
HELTER SKELTER for Percussion Quartet
NOTE: all measures are in 4/4 and mf unless otherwise indicated. Tie rolls from one measure to another when appropriate.
q = 96-112
4 /4 / ™™ wæ æ
∑
∑
™™
/
∑
/ ™™ œ œ œ œ œ œ œ æœ æ p 3 mf
œ
f
/ ™™ œ œ ‰
œ œ ‰
œ œ ‰
œ œ ‰
ru
sa
/ ™™ œ œ œ œ œ œ œ œ ™™ œ
œ
Œ
Pe
8 / 4 ™™ œ
/ ™™
œ œ œ œ œ œ™ ™™
mf
4 / 4 ™™ œ
/ ™™ œ œ œ œ œ œ œ œ œ æ˙ 3 6
lS
/ ™™ œ
œ œ œ œ œ œ œ œœœœœœœ ˙ æ æ 6 f
∑
™™
3
j œfi
œ
Robert Paterson (1984)
>œ
™™
™™
/ ™™ wæ æ
j ™ œfi œ œ œ œ œ ™™ ™ / æ
™™ ™™ ™™
fij 4 / ™™ œ œ ‰ œJ ‰ œ œ œ œ œ œ ™™ 4
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4 / 4 ™™ æœ æœ æœ æœ ™™ æ æ
∑
co re
Snare Drum
œ œ œ œ 3
™™ 44
j ™ œfi œ œ œ œœœœœœœœ ™™ 8 ™ / 4
8 4 / 4 ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 4 4 / 4 ™™ Œ
6
œ
œ
Œ
œ
™™
Copyright © 2022 Robert Paterson Music (ASCAP) International Copyright Secured. All Rights Reserved.
3
3
HELTER SKELTER - Perc. 4
Improvise for eighteen measures or less in 4/4. This measure may not be repeated. Notes, rhythms, rests, dynamics, and articulations may be varied.
V
6 / 4 ™™ œ œ œ œ œ mf sub.
V
œ
p sub.
3 / 4 ™™ œ œ œ œ œ œ ™™
œ
œ
f
V
œ œ œ œ
64
œ œ
3
3 / 4 ™™ œ œ œ œ œ œ œ œ œ ™™ 3
3
lS
3
>œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ ™ 4 ™ ™ ™ / 4
™™ 43
3 4 / 4 ™™ œ Œ œ œ ™™ 4
look at conductor
ru
sa
everybody
œ œ œfij œ
co re
4 /4V
2
Pe
8 /4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ppp sub.
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
fff
U Œ
Program Notes Helter Skelter was written in 1984 for myself and three other percussionists, and it is my first piece for multiple players. At the time, I couldn’t find an appropriate percussion quartet to perform at a school recital that was easy, fun to play, and used the instruments we had at the school, so I decided to compose my own piece. It is is basically an organized improvisation, and relies on spontaneous reactions from the players. The parts are written in such a way as to give the players the choice of which phrases to play or not play, and how long to play them. If performed correctly, the piece should never sound the same twice. Helter Skelter requires the performers to listen carefully to each other in order for the piece to be played well. The title Helter Skelter is inspired by the definition of the phrase, which means disorder or confusion. The fact that there are many other pieces and books named “Helter Skelter” is, for the most part, coincidental. This composition has nothing to do with any of these works, such as the song by The Beatles, although there is a subtle allusion to the Charles Manson murders which took place in Death Valley, California in 1969.
Instrumentation Percussion 1: 3 Roto Toms (tuned to any pitches, high, medium, and low, 6”, 8”, 10”, or 8”, 10”, 12”, played with drum sticks) Percussion 2: 3 single-headed tom toms (any pitches or tunings, high, medium, and low) Percussion 3: 2 timpani (tuned to any pitches, played with hard to very hard timpani mallets) Percussion 4: Snare drum (played with drum sticks)
co re
Performance Notes Form
• •
lS
•
sa
• •
The performers start out by playing their first line of measures together. This line should not be repeated They should then follow the direction of the arrow of their choice to the measure of their choice. Unless measures have specified time signatures, they are in 4/4. Each measure with repeats may be played one to eighteen times. After each performer feels like moving on, they may move to the next measure of their choice according to where the arrows lead. This feature lets the ensemble decide on how long or short the piece may be. Limits may be set on how many times a measure may be repeated, such as setting eight or thirteen as the limit of the maximum number of repetitions. The “improvisation” measure may be repeated, but use discretion. Performers should not decide on which path they will take or the exact number of times they will repeat any of the measures before the performance, except to decide a maximum number of times up to eighteen. What each performer hears while performing the piece should dictate which measure they will go to next, and when. When each performer reaches the “everybody” measure, they should repeat it indefinitely until all of the performers are repeating it together. At this point, they should all be looking at (and have eye contact with) the performer designated to give the final cue to play the end of the piece. When the designated performer gives the final cue, the ending (the last two 8/4 bars) should be played together by all of the players.
ru
•
Dynamics
•
Unless measures have specified dynamics, they are mezzo-forte. A given dynamic is to be carried over into the next measure you go to unless you are given a new dynamic; then that dynamic is to be carried over. and so on until the end of the piece. You may use any dynamics in the “improvisation” measure, but in the measures following the improvisation measure use the given dynamics. The dynamic markings are to be followed exactly as they are written.
Pe
• •
Additional Comments •
If something sounds good, stay with it. Decide what and how you play by what you hear. World Premiere Nichols School, Spring Recital Buffalo, NY, USA Spring, 1984 European Premiere Mostly Modern Festival | The Netherlands Percusssion Ensemble Concert Zeeuwse Concert Zaal, Middleburg, ZE, The Netherlands April 30, 2022 Duration: ca. 4’-10’