Video by Cazerine Barry
GROUP I:1.1.1.bcl.1-2.0.picc tpt.2.1-perc(2):vib/glsp/crot(2octaves)/med tam-t/very sm susp.cym//4tom-t/SD/pedal BD/5susp.cym(1crash,1ride,1med chin.cym,1lg Peking opera cym,1sizzle.cym); GROUP II:1.1.0.Ebcl.dbcl.0.dbn-2.0.picc tpt.1.btrbn.1-perc(2):glsp/5tuned gongs(D1,E-flat1,G-flat1,B-flat1,E-flat2)/SD/pedalBD/4susp.cym(1crash,1ride,1lg chin.cym,1med Peking opera cym)/lg tam-t/rain maker//1small susp.cym/steel drums(2pans, chromatic from E2 to C#4)/crot(2octaves); GROUP III:4antiphonal tpt(placed singularly, separately and antiphonally, equidistant from the other groups); GROUP IV:timp.perc(1):glsp/4tom-t/SD/BD/pedal BD/4susp.cym(1crash,1ride,1sm chin.cym,1sm Peking Opera cym)/sm tam-t-MIDI kbd(4loudspeakers)-strings(min.14.12.10.8.6); oboists and members of the string section also play 4 plastic whirly tubes and 6 empty wine glasses of differing sizes (with thin tgl beaters)
Abbreviations (PDF)
B&B
The title, Parteitag, means Party Congress. The piece explores, through sound (Brett Dean) and image (Cazerine Barry), the phenomenon of governmental power games, in particular the trait of all governments, be they military dictatorships or freely elected democracies, to glorify themselves and their achievements through ceremony. This can range from huge, glorifying parades of military might and/or mass consent, even bizarre displays of massed synchronised swimming (examples from various communist regimes, most recently North Korea), through to self-congratulatory celebrations of the democratic process through the party congress, excessively lavish inaugurations, and other media spectacles. Most of this "partying" conveniently covers the hidden agendas of power mongering that lie at the basis of almost all political ambition. Hence the piece starts with the pure, radiant glory of trumpet fanfares in C major accompanied by images of unfurling flags in the colours of all nations. However with each scratching of this gleaming, brassy surface, much darker matter is revealed. Musically speaking this is expressed at times in an overt and aggressive manner, while at other times being more reflective and introspective, resulting in distinctly elegiac episodes between the somewhat rondo-like, returning moments of "pomp and circumstance".
© Brett Dean, 2005