Echoes A

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Description +
- Echoes A〈Memories of Agbogbloshie〉thematises the illegal export of waste to poorer countries and the resulting poisoning of nature and groundwater - with serious health consequences for the population - focusing on the example of the now violently demolished ‘Agbogbloshie’ landfill near Accra in Ghana. The alienation of nature through the destructive dumping of old electronic scrap in Central Africa contrasts with the local struggle to escape poverty, with one possible solution also being the transformation of the undignified labour conditions on the landfills towards new sustainable recycling industries. With Echoes A, I would like to draw attention to these mostly invisible consequences of our throwaway consumption in the Western world. For example, the Odor River near Accra is now completely dead, the region's groundwater is contaminated and the nearby Korle Lagoon is one of the most polluted bodies of water in the world.
Instrumentation +
- Multi-Percussion
  
  Bassdrum / Doun-Doun / O-Daiko
  Toms / African Drums / Taikos
  Djembe / Darbouka / Conga
  Woodblock / Polyblock / Bamboo
  Hi-Hat / Cabassa / Nut Shaker
  Bell (hanging)
  Bell (suspended)
  5 Metal Tubes / Metal Bars
  5 Metal Plates / Gongs / Bells
  Percussion Tables
  
  Mallets and other utensils used for Echoes A
  
  •two vibraphone mallets (medium soft & medium hard)
  •two pairs of hard felt mallets (medium hard & hard)
  •one orchestral bass drum beater (medium soft)
  •one pair of timpani mallets (medium soft/soft)
  •one double bass bow
  •one Caxixi
  
  Place the Caxixi and all mallets with the exception of one hard felt mallet (hard) on the percussion table on the right-hand side at the beginning of the piece.
About the composer +
- Maximilian Wolfgang Schwarz (*1997 in Vienna) is one of the most versatile percussionists of his generation. The multi-award-winning multi-percussionist and drummer has been performing on major international stages for many years, either as a soloist or as a guest with renowned ensembles such as Elbtonal Percussion or the CBPercussion Group at spectacular festivals and projects. In addition to selected works of contemporary classical music, his constantly growing solo repertoire primarily includes his own compositions. Max Schwarz cultivates a hybrid compositional style consisting of classical compositional approaches from different eras and cultures, his own serial concepts and electronic production. His avant-garde pieces are published by Edition Svitzer (Copenhagen); he also regularly produces for television, film and theatre.
  
  As part of the jury of the ‘Stellar Composition Competition’ (2nd prize for Constellations I), percussion luminary Dame Evelyn Glennie praised the piece with the following words: ‘It's the best piece I have ever come across that explores sound effects on the marimba in a really musical way. It is the essence of the piece rather than an ‘addition’. Maximilian is absolutely superb and the video work is really well done.’
  
  As a drummer, he fuses driving grooves, elements from world music and complex polyrhythms with live electronics. With this characteristic style, he is part of the world music/electronica trio maTrigal. Max Schwarz is currently studying classical percussion with Prof. Alexej Gerassimez at the University of Music and Performing Arts Munich in the postgraduate programme ‘Excellence in Performance’. In 2023/2024 he toured Germany, Austria, Italy, France and Spain.
Reviews +
- Review (Percussive Notes, February 2025)
  
  “Echoes A” is a thought-provoking and wonderfully complex work for solo multi-percussion. The composer states that this piece is meant to call attention to the “illegal export of waste to poorer countries” with some specific areas that have been affected. The composer masterfully represents these areas while creating various textures and melodic ideas throughout the work. Each section feels like a different place with its own character and purpose. Listening only to the audio, it’s difficult to believe that all of this can be achieved through one player.
  
  While the setup diagram included with the sheet music looks a bit large and the instrument list looks a bit long, the setup ends up being sleek, fascinating, and surprisingly compact. The composer lists many common instrument substitutions for some of the rarer instruments, but I think something would get lost in translation. The textures presented throughout the work with the suggested instruments are extremely interesting and successful partially due to the smartly chosen instruments. Even the notation has obviously benefited from a great deal of thought and consideration to make the complex rhythms and melodies as easy to read as possible.
  
  As for the performance aspect, this work is certainly not an easy one. Of course, there are many classic aspects for this work: fast, note-heavy passages, mixed meters, wood versus metal, etc. One of the more challenging aspects is when the performer, although standing, must play a pedal with each foot while playing melodic rhythms with multiple implements in the hands. Even if you do not plan to perform this piece, check out the video of the composer performing this piece online; it is very professional and well done.
  
  The composer’s performance looks almost effortless, but if you’ve ventured into the multi-percussion life before, you’ll know that’s not the case. If you’re up to the challenge, this work would be an absolute highlight on any recital or program.
  
  —Ben Cantrell
Credits +
- Front Cover graphics and layout: Renate Lutter
  Photo: Reiner Nicklas
  Printed in Copenhagen, Denmark
  Copyright © Edition SVITZER
  www.editionsvitzer.com

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