amok
(as a syndrome)
Bekah Simms
Ensemble: Wind Ensemble
Grade: 6
Duration: 10:30
Year of Composition: 2016
Commissioned by: University of Toronto Wind Ensemble (Gillian MacKay, director)
Premiered by: University of Toronto Wind Ensemble (Gillian MacKay, director)
Date of Premiere: March, 2016
Publisher: Canadian Music Centre
Year of Publication: 2016
Publisher Catalog Number: MI 1800 S5925am
Available: Yes
How to Acquire: Publisher, Rental
Links:
Piccolo 1
Flute 1 (Piccolo 2)
Flutes 2,3,4
Oboes 1,2
Bassoons 1,2
B♭ Clarinets 1,2,3
B♭ Bass Clarinet
B♭ Contrabass Clarinet
B♭ Soprano Sax
E♭ Baritone Sax
B♭ Bass Sax
B♭ Trumpets 1,2,3
F Horns 1,2,3,4
Trombones 1,2,3
Euphonium
Tuba
Double Basses 1,2
Piano
Harp
Percussion (5 players):
1. Crotales, Glockenspiel, Bass Drum, Water Gong (shared)
2. Vibraphone, Tam-tam
3. Timpani
4. Bass Drum, Triangle, Tubular Bells, Tam-tam
5. Tam-tam, Water Gong (shared), Bongos, Suspended Cymbal
Program Notes:
Amok: …often described as a culture-bound (or culture-specific) syndrome, which is a psychological condition whose manifestation is strongly shaped by cultural factors…
amok (as a syndrome) came from a simple prompt: “write something you like.” After a number of compositional endeavours exploring a myriad of styles and influences, amok returns to stylistic tendencies that are near and dear to me, and takes an obvious cue from my favourite composer, the late great Fausto Romitelli. I come from a listening background rich in heavy, messy, and distorted music, so it only makes sense that Romitelli’s music would have such a hold on me. Influenced by acid rock and heavily psychedelic music, his music combines the best of two disparate but surprisingly compatible genres: stoner rock and post-spectralism. amok as a syndrome is very tangibly related to Romitelli’s 1991 piece amok koma – its opening is almost identical. However, seeing as the original piece is scored for a small chamber ensemble with electronics, this piece exists in a very different sonic landscape, sharing signs (symptoms) with the original that correlate to a shared musical influence (condition). Romitelli’s piece shared a name with a 1980s punk album, so it only makes sense that my title would also integrate the name of the original. Interestingly, “to run amok” is a common expression that actually refers to behaviour that has been classified as a “culture-specific explosive behavioral disorder” related to psychopathic violence. Musically, the piece alternates between grungy, chaotic sections and more subdued, lyrical moments. The opening figure produces the majority of the material, especially the intervallic content, with minor thirds and seconds playing a major role. Ultimately, amok as a syndrome is an homage, but not one of the sentimental variety – it’s a grateful thank you to the current musical landscape and composers like Romitelli, where dozens of wild influences coalesce into a singular output…a condition whose manifestation is strongly shaped by cultural factors…
(Bekah Simms)
