Wood, Metal, Skin
(2004) A concerto for percussion & orchestra
Duration: 15'
Solo perc: 3.3.3.3/4.3.3.1/Timp/perc (4 players), strings
Commissioned by the National Youth Orchestra of Scotland

First Performance: Usher Hall, Edinburgh, January 4, 2005: National Youth Orchestra of Scotland, Colin Currie percussion solo, Garry Walker, conductor

Publisher:  Novello & Co Ltd

Critical Acclaim:

…….There was also inspiration to be drawn from the Scots-born Thea Musgrave, whose short new percussion concerto, Wood, Metal and Skin, was commissioned by NYOS and dedicated to Currie. Far from offering another opportunity to bash anything that is created out of wood, metal or skin, Musgrave has clearly taken into account both Currie's virtuosity and sensitive musical expressiveness, as well as the strengths, rather than any limitations, of the accompanying band. In also involving three groups of satellite solo percussion, Musgrave has provided a work in which Currie - too often the lonely soloist - can enjoy a bit of instrumental jousting with his percussive and orchestral colleagues.

After a Prologue, marked "dramatic", and in which all the percussionists make their individual entrances on to the platform, the following six sections unfold without interruption. Each is dominated in turn by the contrasting timbres produced by wood ("lyrical"), metal ("capricious") and skin ("stormy"), separated by two interludes, "mysterious" and "excited".

As you might expect from Musgrave, abundant contrast in rhythm, color and texture is fastidiously and fascinatingly woven into the musical fabric. Currie moved confidently between each instrument, especially mellifluous on the tuned percussion, into which creeps a Hollywood-style filmic element. And though vividly dramatic, he avoided being raucous, as the work's climax erupts before the epilogue brings together the conflicting elements of wood, metal and skin in this subtle showpiece.

The players of NYOS demonstrated a natural feel for the music's shape and dynamics, while the plucky orchestral percussionists struck out, undaunted.….
— Lynne Walker. The Independent

….Entitled Wood, Metal and Skin it is…an orchestral drama designed to feature the extraordinary variety of percussion instruments…..the work develops a fascinating theatrical interplay between the solo player and his orchestral colleagues…..But the percussion virtuoso is not one for unnecessary flamboyance. He moves among his instruments with a lithe athleticism, playing with an enthralling flair and concentration which is quite gripping to observe………
— Frank Carroll. The Sunday Herald

…….What of the music? With the action swinging from one extremity of the platform to another, and with the orchestra (including other sorts of soloists) in the middle, the work's centre of gravity constantly shifted in the course of what gradually took the form of a sort of symphonic accelerando, mounting through the first six movements and dissolving suddenly in the seventh.

Musgrave succinctness and command of the fine instrumental sonority ensured that every note counted……..
— Conrad Wilson. The Herald

……as for the music….(it) unfolds a continuous and delicious sequence of moods, characterized by the intrinsic percussion textures hinted at in the title: "Wood, Metal and Skin". Garry Walker conducted a performance shimmering with lucid effects and purposeful intent. There are loud moments , but essentially this single-movement work concerns itself with the more subtle side of percussion playing. Currie led by example, arresting us with his effortless virtuosity and engaging personality.
— Kenneth Walton. The Scotsman

Composer's Note:

This work is intended to feature the extraordinary variety of percussion instruments in a dramatic way. The interplay of the solo percussion player with his colleagues in the orchestra plays a vital role. This can be seen in the layout. The solo percussion player is set downstage RIGHT: the timp player upstage RIGHT: two orchestral percussion players "A" upstage LEFT, and two others "B" downstage LEFT. The timp and percussion are therefore set at the 4 corners of the platform.

PROLOGUE: dramatic
A dramatic opening as the timp player "summons" first the orchestral percussion players [upstage "A" players on metal, downstage "B" players on skin] and finally the soloist [on wood…marimba]. The main musical elements are four "anchor" chords [D flat minor, A major, E flat major and C major triads] followed by a series of rising triads. These are the harmonic foundation for the section, and they reappear in the interludes.

WOOD: lyrical
Soloist on marimba is accompanied by percussion A [xylophone and maracas], and percussion B [temple blocks and wood blocks]. Here the mood is lighthearted and lyrical. A violin melody appears and also a short motive for muted trumpets. Soon the timp player gets restive, effecting a change of color and mood.

INTERLUDE: mysterious
The "anchor" chords now reappear very softly, alternating on 3 solo violins and 3 solo celli. The soloist sets the color of the movement on tubular bells and vibraphone, the orchestral percussion play cymbals and tam tam with wire brushes and also introduce two more unusual instruments: metal wind chimes and Chinese bell tree. The timp player has a cymbal placed upside down on the drum and thus is also playing on metal!

METAL: capricious
The capricious mood is set by the soloist on vibraphone accompanied by the instruments from the interlude, later adding glockenspiel and crotales, The mood eventually clouds over and, incited by the timp player, all is ready for the stormy movement to come.

INTERLUDE: excitedly
The anchor chords reappear now on muted brass, but the interlude is mostly carried by the percussion. The soloist plays congas, tom toms and bongos, the other percussion a variety of drums.

SKIN: stormy
Now that the percussion is all on loud drums, the orchestra lets loose in a very fast stormy movement which leads to a "wild" climax! Eventually the mood calms down and leads to….

EPILOGUE: peaceful
…a peaceful ending. The soloist plays vibraphone and tubular bells, and later marimba: the other percussion play a variety of instruments so that the colors of wood, metal and skin are all present at the same time!

Top of Page   |   Home   |   Compositions   |   Chester Novello   |   G. Schirmer

Webmaster