Henry, Otto- Liberty Bell, for 10 percussionists and tape (Digital Download)

“Liberty Bell” was written for Harold Jones and the East Carolina University Percussion Ensemble in 1969. It has recently been revised and reprinted in computer-drawn format. This work combines the sound of ten percussionists with CD accompaniment to create what the composer calls “a sonic poem on the old Liberty Bell’s last sounds, tolling and then cracking, to be silent ever after.” All of the acoustic instruments used in the ensemble are metallic (pitched and non-pitched) and range from glockenspiel to almglocken. One of the most interesting features of the work is that the acoustic and electronic portions of this composition work almost independently of each other. A series of timing cues offer an approximation of how the work should flow, but overall the accompaniment mainly serves as ambient sound. The parts for pitched percussion are often challenging, setting several rhythmic subdivisions against one another. The work is in four sections, each distinguished by one of the four corresponding accompaniment sounds: Earth, Fire, Water and Air. At least four of the ensemble members should be accomplished mallet players, but the remaining parts are not overly difficult. The overall effect of this work will be a sonic kaleidoscope exploring the many sound possibilities of metallic percussion instruments. Scott Herring August 2005 Liberty Bell V Otto Henry $28.50 Media Press “Liberty Bell” was written for Harold Jones and the East Carolina University Percussion Ensemble in 1969. It has recently been revised and reprinted in computer-drawn format. This work combines the sound of ten percussionists with CD accompaniment to create what the composer calls “a sonic poem on the old Liberty Bell’s last sounds, tolling and then cracking, to be silent ever after.” All of the acoustic instruments used in the ensemble are metallic (pitched and non-pitched) and range from glockenspiel to almglocken. One of the most interesting features of the work is that the acoustic and electronic portions of this composition work almost independently of each other. A series of timing cues offer an approximation of how the work should flow, but overall the accompaniment mainly serves as ambient sound. The parts for pitched percussion are often challenging, setting several rhythmic subdivisions against one another. The work is in four sections, each distinguished by one of the four corresponding accompaniment sounds: Earth, Fire, Water and Air. At least four of the ensemble members should be accomplished mallet players, but the remaining parts are not overly difficult. The overall effect of this work will be a sonic kaleidoscope exploring the many sound possibilities of metallic percussion instruments. 

-Scott Herring