Henry, Otto- Omnibus(2), for unspecified percussion instruments

For unspecified percussion instruments    A minimum of two percussionists, using at least four percussion instruments each, will have fun creating a sonic experience from this easy to play graphic score. Exact instrumentation is at the players' discretion. Duration: variable.

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Review from Percussive Arts Society:

Omnibus (2)        

Otto Henry

Composed in 1971, “Omnibus (2)” is the second of a pair of compositions of the same name by Otto Henry. Where “Omnibus (1)” is written for an ensemble of unspecified pitched instruments, this second installment is for an ensemble of un-specified non-pitched instruments. Its openness of instrumentation and the individualized nature of the order-of-operations will make each performance truly unique.

This work is played by an even number of performers split into pairs. Each pair shares a console of 12 instruments that they select. Once constructed, each player decides the sequence in which they will play their instruments. The ensemble is then given eight procedures to perform on their consoles, such as playing short tremolos that gradually become louder and longer. They apply their sequence to the given procedure, and then move on to the next. The piece concludes when all players have completed all eight procedures.

Pieces such as these are interesting to review, as each performance has the realistic possibility of being vastly different, yet remaining true to the composer’s intentions—at which point, we need to look at the clarity of the instructions. It is here that the piece has a couple of issues—the first being that the only symbol utilized in the score is a circle. The eight playing procedures, the 12 instruments for each player, and markings for each sequence are all denoted by this one symbol. If the composer were to use different icons for each of these three elements, the performance instructions would be easier to understand.

Another portion of the instructions also causes confusion. It says several times that each console needs 12 instruments. However, in the introductory paragraph of the instructions, it is stated that a “performance by fewer than four instruments is likely to create an insufficient amount of density and variety.” If each group is meant to have a dozen instruments, why would this need to be stated? Or, is this an error and the word “instruments” was meant to be “players,” in which case at least a quartet is required for a proper performance?

Regardless of these clerical issues, this is an interesting work that can be a good introduction to this style of contemporary music. It is important to expose young players to this level of controlled freedom, as a respite from the strictly notated works that we all spend so much time trying to perfect. —Kyle Cherwinski, 2020