Nataraja performance notes.
Forest Collective acknowledges the Traditional Custodians of the land on which we live, meet, create, and perform - Wurundjeri land of the Kulin Nation.
We pay our respects to their Elders, past and present, and extend our respects to all Australian Aboriginal and Torres Strait Islander Elders, past and present. We recognise and respect their cultural heritage, beliefs, and relationship with the land. We recognise Australian Aboriginal and Torres Strait Islander peoples as the first inhabitants of this nation.
Sunday, May 28, 6:30pm
St Stephen’s Anglican Church, Richmond
Agonia (2019) - Sungji Hong
Demons (2004) - Brett Dean
Cendres (1998) - Kaija Saariaho
Nataraja (1983) - Jonathan Harvey
Kim Tan, flutes
Danaë Killian, piano
Roseanne Hunt, cello
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Shiva Nataraja, the divine cosmic dancer, is portrayed in a circle of flames that signify the endless cycle of the universe. Nataraja’s dynamic image brings together the works of composers Sungji Hong, Brett Dean, Kaija Saariaho, and Jonathan Harvey. The four arms of this program intertwine themes of creation, destruction, suffering, and renewal through the scintillating sounds of flutes, cello and piano.
Commissioned in 2019 by Sounds Modern and written for dance group Grounded Orbit, Agonia by Sungji Hong opens the program. The piano sounds D, signifying the recurring theme which anchors Agonia. Agony finds expression in various extended techniques throughout the work; the choked prepared piano strings, the wailing of textural trills and roaring tremoli, distorted air sounds, the sobs of pitch bends and molto vibrato. In Sungji Hong’s notes to the score she says; “unfolding over an eight-bar repeated pattern in the pianist’s left hand, the piece takes its inspiration from Christ in the Garden, painted by Nikolaus Obilman in 1466; in projecting this prayer into physical movement, the choreographer writes that she ‘creates a meditative landscape exploring moments of women’s resistance, folding and unfolding brokenness, invisibility, and reawakening’.”
From the opening D of Agonia, to the recurring D of Brett Dean’s Demons, repetitive themes are coupled with compulsive and obsessive motifs. Brett Dean’s notes; “the recurring D’s found in the opening of Demons should be executed with as many differing sound colourings as possible, be it different fingerings, use of vocalising, harshness of attack, some use of pitch bend, angle of instruments, etc., and always in a manic, highly agitated manner.” The work awakes in panic, syncopation and quintuplets – sextuplets displacing pulse, varying timbres adding to the feeling of unrest. A short moment of calm is immediately subverted by relentless activity that, at times, is deceptively playful. The work returns to calm encouraged by the smoothness of quavers and the sonority of tone uncorrupted by textural effects. This is momentary, the inner demon gets the last say.
Kaija Saariaho finds inspiration for Cendres in the music material from her double concerto … à la fumée for alto flute, cello and orchestra. The title of the piece also emerges from this; from smoke to ashes. Many of the music’s characteristics emulate the title; phrases that wisp away, rhythmic passages that disintegrate into tremoli, pitch materials that change state - crystallising and dissipating, smokey alto flute timbres, and sizzling embers of sul ponticello. Saariaho shapes the unique aspects of the alto flute, cello, and piano allowing each its voice yet at the same time the work obscures and blurs distinctions by blending the three instruments, bringing them close together in timbre, pitch, and articulation. Camilla Hoitenga, friend and flute-muse of Kaija Saariaho, writes of Cendres; “the composer herself has spoken of arctic lights, water-lilies, crystals, spirals: forms and materials which in themselves are perfect and beautiful and create aesthetic experiences, but which offer endless grounds for even scientific study. Observation of how the inner relations of organisms are built, how they change and multiply; how forms that seem simple and natural are of endless variety when examined closely: chaos and order can be closer to each other than we first suspect.”
Portrayed with four arms, Nataraja is haloed by a circle of flames representing the endless cycle of time. The god’s upper right hand holds the fire that destroys, the lower right hand forms the abhayamudra sign warding off fear. Nataraja’s right foot tramples the demon figure of illusion and fear and the left hand points to the raised left foot signifying salvation for the troubled soul. In Jonathan Harvey’s notes to the score it states; “Nataraja’s image was the starting point of this piece, which was composed in 1983. The outer sections are characterised by dancing rhythms; they frame a middle section in which a more tranquil melody winds through static harmonies, though there is a suggestion of the flames which incircle the god in one more energetic moment.” Together, the piano and flute dance their cycles of creation and destruction, warding off fear, and celebrating the effervescence and fragility of existence. The final D in the last flute phrase gestures a kiss-off to demons.
Special thanks to St Stephen’s Anglican Church. To the incredible Forest fam, the musicians and friends that performed with me today - your generosity of time, musicality, and spirit made this happen. To the friends, blood and found family, and kind ears in attendance - thank you for your love and support.
Program notes by Kim Tan.
