Fertility Rites (1997)
Christos Hatzis
PUBLISHER: Promethean Editions Limited
RECORDINGS: Garden of Delights, Beverley Johnston (Independent)
RANGE: 5.0 octaves
DURATION: 13:40
MOVEMENTS: Three untitled movements
TYPE OF ACCOMPANIMENT: Fixed
MUSICAL OVERVIEW: The tape and the marimba take on the leading role at different points and in some moments join together as a single voice. The first and third movements are easy to follow; however, the beginning of the second movement can be difficult to synchronize. Balance between the tape and marimba must be carefully monitored to effectively convey moments that utilize the tape to mimic live effect processing. The difference between soft and loud sound levels is extreme. A performer would benefit from applying a limiter or dynamic-range compression to the tape so the high levels are not as overwhelming when the softs are set as desired. A subwoofer is recommended for the usage of low frequencies. The music covers a broad pallet of style and emotion. The composer identifies the second movement as being "French-sounding" and the third as "tango-like."
ACCOMPANIMENT OVERVIEW: Synthesized sounds and sampled sounds (marimba and Inuit throat singers) that have been electronically processed. Each movement of the work utilizes different sound choices with distinct expressive characteristics. The tonal language is tightly integrated with the marimba writing. The tape contains contemporary sounds using modern processing techniques. The work requires synchronicity throughout.
TECHNIQUE OVERVIEW: SI, SIA, DV, and DL. This is a demanding composition requiring strong technical abilities. Though the first two movements are moderately easy, the third movement far outweighs the demands called for to that point. The performer must be comfortable with intricate, single-line writing in addition to sections involving large jumps, space between hands, and independent writing. A strong grasp of various polyrhythms is also needed. The performer must have a strong kinesthetic sense of the marimba.
COMPOSER'S NOTE: The following text by Christos Hatzis was taken from his website:
The title of the work derives from the [Inuit] throat songs themselves. In one of our interviews in Iqaluit Keith and I learned that throat songs were originally a fertility ritual, a shamanistic mating call which the women performed while the men were out hunting. The katajjaq (vocal games) in this piece are used to evoke this primordial practice. . . . Sometimes what is being felt and what is being said are diametrically opposed, as in the first movement where the gentle, non-possessive music for the marimba and the dark, longing calls on the tape contradict each other. But by the end both inner and outer worlds merge into uninhibited abandon and celebration of sexuality and life.