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	==Movements==		==Movements==
	~~I. Devotion to the Small<Br>~~
	~~II. Stonepoem<Br>~~
	~~III. Contemplating the Letter O<br>~~
	~~IV. The Measure<Br>~~
	~~V. 'A Pair of Red Stilts'<br>~~
	<!-- Enter the title and duration of individual movements. Make sure the movements are listed by number, and use a line break <nowiki>( <br /> )</nowiki> at the end of each line. If this is a single movement work, please delete the entire category. You may delete this text once this is done. -->		<!-- Enter the title and duration of individual movements. Make sure the movements are listed by number, and use a line break <nowiki>( <br /> )</nowiki> at the end of each line. If this is a single movement work, please delete the entire category. You may delete this text once this is done. -->

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	== General Info ==		== General Info ==

	'''Year''': ~~1980~~<br /-->		'''Year''': 1996<br /-->
	'''Duration''': c. <br /-->		'''Duration''': c. 22:00<br /-->
	'''Difficulty''': (see [[Ratings]] for explanation)<br /-->		'''Difficulty''': (see [[Ratings]] for explanation)<br /-->
	'''Publisher''': [[Waiteata Press]]<br /-->		'''Publisher''': [[Waiteata Press]]<br /-->
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	== Instrumentation ==		== Instrumentation ==
	~~[[Voice]]<br>~~		Player I: <br>
	Player I: ~~Wobble Board, Metal Rods, Stones, Clay Plates, Gongs, Small Bells, Bongos, Log Drums, Bull Roarer~~<br>		Player II: <br>
	Player II: ~~Bowed Wooden Plate, Sleigh Bells, Stones, Gongs (2), Castanets, Bull Roarer, Log Drums, Guiro~~<br>		Player III: <br>
	Player III: ~~Thin Plastic Sheet, Bowed Dowel Box, Stones, Clay Chimes, Gongs (2), Vibraslap, Woodblock, Chines Blocks, Sleigh Bells~~<br>		Player IV: <br>
	Player IV: ~~Sheet of Paper, Maraca, Gongs (2), Stones, Bowed Plastic Plate, Bull Roarer, Cow Bell, Strip of Paper~~<br>		Player V: <br>
	Player V: ~~Coconut Shells, Finger Cymbals, Stones, Gongs (2), Small Bells, Wooden Tom-toms (2-3), Conga, Bull Roarer, Triangle, Claves~~<br>

	~~[[Image:Devotiontothesmall1.jpg\|Left\|Devotion to the Small Setup Diagram]]<Br>~~


	~~[[Image:Devotiontothesmall2.jpg\|Left\|600px\|Devotion to the Small Rehearsal]]~~

			[[Orchestra]]<br>

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	== Program Notes ==		== Program Notes ==
	~~"Devotion~~ to ~~the Small” contrasts deliberately~~ with ~~"The Ever~~-~~circling Light"~~. ~~There is one solo voice instead~~ of a ~~large choir~~, and ~~all the large~~ percussion ~~is avoided in favour of small instruments~~, ~~including many found and home-made instruments. These are arranged~~ on ~~two large stands, so that some~~ of ~~the gongs~~ and bells can also be played by the solo singer, while the rest of the battery is managed by five percussionists. The texts are a selection of six small poems by Michael Harlow, whose themes are also "small".		Through a student, Jürg Meili, from my first year at the Winterthur Conservatory, I was invited to work with children and teachers in Wattwil, Toggenburg. This led to a “river” tape-piece for a Toggenburg Festival plus some short canons for Flute,

			Oboe and Bassoon which Hermann Ostendarp conducted. Hermann was also conductor of a youth orchestra, il mosaico and later asked me for a work for percussion and orchestra, which he could take on a tour of France and Spain.

	~~To a large extent~~ the texts determine the shape of each movement, e.g. the short lines of "Andacht zum Kleinen' are emphasized by breaks in the singer's line. In the second movement "Stone Poem", the text even determines the Instruments: each of the ~~five percussionists has two large stones~~, which are gradually replaced by the softer sounding clay chimes. In "Contemplating the letter O" ' the singer does just this through a range of emotional Os from sadness, shock, surprise, interest and ecstasy, while the percussionists supply both accompaniment and ~~text. The fourth movement, like the other even-numbered movements, has~~ a ~~strong "tonic", which is superimposed onto the graphic notation. In this movement the singer tries~~ to ~~break away from this tonic, making small jumps at first, but only really succeeding on~~ the ~~very last note~~. This, ~~note is one of the few big sounds in the whole piece. It is sung fortissimo and supported by two bullroarers~~, ~~two bowed (Chladne~~) ~~plates and a vibraslap~~. This "different" note is an example of the contrast principle on a micro-level which I discussed during the planning period of the piece with poet Michael Harlow: "The lateral leap which throws the whole structure into relief". The fifth movement is an example of the same principle on a macro-level. It stands apart from the other movements by the use of conventional notation and of repetition of various parameters: words, ~~rhythms, even melodic fragments~~. The ~~number of repetitions of the~~ percussion ~~ostinati and durations of rests were determined by chance, but the number of instruments playing~~ was ~~determined by me. The "lateral leap"~~ in the ~~last movement is given by the percussionists~~ in ~~the form~~ of ~~a brief cadenza. "Devotion~~ to ~~the Small" was recorded in 1980 by Radio New Zealand~~, ~~with Jillian Bartram singing the solo part~~. The recording, directed by Dorothy Hitch, was awarded the Mobil prize for the best recorded New Zealand Musical Work in 1981.<reF>https://kitpowell.net/publications/compositions-of-the-early-80s/</ref>		On the same program would be the Händel Dettinger Te Deum, and it would therefore be interesting if my work had a thematic connection to the Te Deum. This idea attracted me and in fact all three movements (traditional fast, slow, fast) have such connections. In particular rhythmic similarities, because pitch relationships were distorted. The percussion group was centred in Chur (the teacher, Eckart Fritz-Schocher, also taught in Wattwil) and I made a couple of trips there to hear their rehearsals —very lively events, since all five were very enthusiastic.

	~~===Short Program Notes===~~		I heard the work on two occasions in Switzerland (March, 1998, in Chur and in Jona) and they did it very well. In the summer of that year, the projected tour took place. A curious coincidence led to our friends, Gennie and Rick Donald, hearing a performance in Barcelona, an account of which is given in Rick’s book: French Leave.<ref>https://kitpowell.net/works/concerto-for-5-percussionists-and-orchestra/</ref>
	~~An experimental setting of six small poems by Michael Harlow for solo soprano and five percussionists. The soprano part uses graphic notation for all but one movement. The percussion parts avoid all~~ the ~~large instruments and also use a number of home-made instruments, e.g. a dowel box~~ (~~resonating box with dowels of different lengths glued into it~~, ~~which is played with a violin bow)~~, ~~bowed plate (a wooden version of the Chladni plate~~) and ~~numerous found gongs~~. ~~Devotion to~~ the ~~Small was recorded by Radio New Zealand~~, the ~~recording winning~~ a ~~Mobil Award for best produced New Zealand Musical Work 1981~~.<ref>https://kitpowell.net/works/~~devotion~~-to-~~the~~-~~small~~/</ref>


	=== Review ===		=== Review ===
	~~The following article was written for CANZONA in the late 1980s (Kit)~~

	Devotion to the Small contrasts deliberately with The Ever-Circling Light. There is one solo voice instead of a large choir, and all the large percussion is avoided in favour of small instruments, including many found and home-made instruments. These are arranged on two large stands, so that some of the gongs and bells can also be played by the solo singer, while the rest of the battery is managed by five percussionists. The texts are a selection of six small poems by Michael Harlow, whose themes are also “small”.
	To a large extent the texts determine the shape of each movement, e.g. the short lines of Andacht zum Kleinen are emphasized by breaks in the singer's line. In the second movement “Stone Poem”, the text even determines the Instruments: each of the five percussionists has two large stones, which are gradually replaced by the softer sounding clay chimes. In Contemplating the letter O the singer does just this through a range of emotional Os from sadness, shock, surprise, interest and ecstasy, while the percussionists supply both accompaniment and text. The fourth movement, like the other even-numbered movements, has a strong “tonic”, which is superimposed onto the graphic notation. In this movement the singer tries to break away from this tonic, making small jumps at first, but only really succeeding on the very last note. This, note is one of the few big sounds in the whole piece. It is sung fortissimo and supported by two bull roarers, two bowed Chladni plates and a vibraslap. This “different” note is an example of the contrast principle on a micro-level which I discussed during the planning period of the piece with poet Michael Harlow: ‘The lateral leap which throws the whole structure into relief.' The fifth movement is an example of the same principle on a macro-level. It stands apart from the other movements by the use of conventional notation and of repetition of various parameters: words, rhythms, even melodic fragments. The number of repetitions of the percussion ostinati and durations of rests were determined by chance, but the number of instruments playing was determined by me. The “lateral leap” in the last movement is given by the percussionists in the form of a brief cadenza.<ref>https://kitpowell.net/works/devotion-to-the-small/</ref>

	== Errata ==		== Errata ==

Admin: Created page with "Kit Powell

Concerto for 5 Percussionists and Orchestra - Revision history

Admin at 21:41, 16 June 2023

Admin at 21:41, 16 June 2023

Admin: Created page with "Kit Powell