22.4

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Description +
- 22.4% is the ratio from the node to the edge of a vibe bar.
  
  Composed on commission from Matthew Lau and Consortium, the idea for 22.4 was formulated in layers, slowly over the course of a year. This work was written concurrently, in steps, along with my other compositions of the pandemic; Social Distancing, Piccolo Concerto, Zoon, Table Music and Red Metals.
  
  I didn’t plan that the piece would be like a sort of “heldenleben”; documenting the progression in the life of an artist. Or, that I was going to ask the vibraphonist to recite poetry. The piece suprised me how it revealed itself in layers and came into focus in parts.
  
  The seemingly unrelated 5 movements are tied together as a story of a composer.
  
  I. The Nibelung’s Dream
  After playing the Ring Cycle, I wondered what a Nibelung band would sound like? A symphony of metallic hammering forms. It’s a good rhythm to dream and the vibes dances with it in the second half of the movement. Don’t all composer’s dream of their own Bayreuth?
  
  II. Schumann Resonances
  The Schumann resonances are a set of spectrum peaks in the extremely low frequency (around 7.83 Hz) portion of the Earth's electromagnetic field spectrum. Robert Schumann’s op.133/1 is blended at three speeds, and mixed with low binaural tones to form the carpet of this movement: the tortured artist….
  
  III. Tiki-Lounge with Disco Fux
  The vibes played a role in the mid 20th century “Tiki Lounge” exotica. In this movement, the star of my favorite counterpoint book by Aldous Fux, meets the “student” in a Tiki Lounge. Skeptical at first, the master recognizes the potential for studies with Dionysian inspired “divine madness”. A flurried chase of ribbons of notes (with “good” voice-leading), paper umbrellas, torches, and hi-hat.
  
  IV. Sirens of Bingen
  The spiritual quest is represented by a text from Hildegard von Bingen describing the “Cosmic Egg”. Positioned on a rock surrounded by sea, the composer calls out like a “Siren,” asking to be drawn to the cosmic glow to distorted sounds of Hildegard’s music.
  
  V. Tungsten Picnic
  I think Tungsten is one of the coolest metals—check out its properties… Not really a picnic, this movement should feel like the performer is holding a glowing hot piece of W 74, skiing down a slope. It is dangerous and relentless in its virtuosity, showing the composer, performer, and consortium have become a heavy metal by the end of this journey. (A vibe made of Tungsten would not be a dream to transport…)
Instrumentation +
- Vibraphone, spoken words and tape
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About the composer +
- A versatile musician, James Boznos has been the Principal Timpanist of the Hong Kong Philharmonic Orchestra since 2000. James has been a soloist with the HK Phil on three occasions, having performed both of the William Kraft’s Timpani Concertos as well as his own composition Timpani Concerto Nr. 1. Prior to joining the HK Phil, Boznos worked regularly with the Chicago Symphony and the leading new music groups of Boston and Chicago. He has been a frequent guest principal with the orchestras in Asia. An advocate for his students, he teaches at the Hong Kong Academy for Performing Arts.
  
  As a composer, James Boznos is creating a unique catalog of solo, chamber and orchestral works; blending instrumental, vocal, and electronic genres. Recent premieres have included: Concerto Nr. 2 “Pavilions” for extended timpani, orchestra and pre-recorded sounds, with the composer as soloist. 22.4 with Matthew Lau, Cantata Nr. 2 “Nevu’ah”, Cantata Nr.3 “Gabriel”, and Cantata Nr.4 “unseen Things” with the Hong Kong Bach Choir. The Hong Kong Philharmonic have performed Oikogeneia, Social Distancing, Go, Table-Music I, Piccolo Concerto, Dragon Factors with Jaap van Zweden, and most recently Cantata Nr. 5 “The Valley of the Bones”. His music is published by Edition Svitzer.
Credits +
- Front Cover Graphics and Layout: Nicola Lee
  Printed in Copenhagen, Denmark
  Copyright © Edition SVITZER
  www.editionsvitzer.com

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