Aperçu partitionNotice
The work was completed in July 1990, at the suggestion of Xavier Darasse, to whom it is dedicated. Unfortunately, his early death prevented him from hearing it. The title is borrowed from the name of a famous gamelan from the Paku Alam palace in Yogyakarta, dating from the 18th century, and means roughly “storm of flowers”. The work is similar to the harpsichord solo Guntur Madu. It was premiered by Kei Koito on October 2, 1994 at Strasbourg’s Eglise Saint-Thomas, as part of the Festival Musica.
Comment
On several previous occasions, I have revisited a work and composed a new one based on it. Sopiana, Phénix and Éridan were born from Naluan, Anaphores and Octuor op.35 respectively. But usually several years elapsed between each replica. This time, as soon as Xavier Darasse heard the work for harpsichord Guntur Madu, he suggested I do an organ version. I immediately followed this suggestion, which I wouldn’t have spontaneously thought of, the organ not being a priori the instrument for speed, due to the highly reverberant acoustics in which it is commonly heard. In many respects, Guntur Sari is a transcription closer to its model than, for example, Phénix is to Anaphores.
Had it not been for the terrible accident that shattered Xavier Darasse’s career as an organist, I would have entrusted the creation of the work to him. I had to content myself with dedicating it to him.
The secularization of the organ began in the 1960s, thanks to composers like Kagel and Ligeti. Despite this, the instrument is rarely heard outside churches. As a result, although its sounds were originally made for the open air when it accompanied circus games, it has remained very much marked by the resonance of Gothic vaults, and we have little opportunity to hear its full percussive or voluble potential, precisely that which Guntur Sari explores.
Instrumentation
organFirst performance
10/2/94 Strasbourg, Festival Musica (Kei Koito)
