Frank Perry - Tibetan Singing Bowls - Himalayan Studies 4

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This is the fourth in a Series of 5 CDs entitled HIMALAYAN STUDIES. 


They were not intended to be a Series but as time passed by more and more pieces unfolded within the context of this project until a Series evolved. In what seemed no time at all, I had just over enough for 4 CDs - which nicely celebrated my 4 decades of music-making - so I turned my attention to the possibility of a fifth CD.


The idea then occurred to myself that I could include some early pieces that were unavailable and then the thought further developed into including pieces from each decade.

Description

#1    The Adoration of the Magi.   (10-2-2002)   (6:44)

This is a spontaneous improvisation played upon a collection of seven overtone Singing bowls chosen especially to work together. It is the only time I have played this particular combination of bowls. Two of these bowls are over 500 years old.

 #2    Book of Life.   (NKR)   (13-1-2005)   (7:00)

This is an improvisation upon a set of Yin Bowls (42) and a set of Yang Bowls (23). These are each laid out in the form of a spiral with the Yin Bowls on the listener's Right-hand side and the Yang Bowls upon the listener's Left-hand side. Something of the gentleness and communion with Nature, spiritual and animal, suffuses this subtle slow-moving improvisation.

#3    Arhat.   (NKR)   (16-12-2004)   (7:29)

The music places its focus upon the serene, peaceful, and harmonious qualities expressed in the picture whilst also utilising Singing Bowls attuned to the meditative (and altered) states of consciousness and spiritual vibrations of a being at this highly advanced level of spiritual evolution.

#4    Milarepa the One Who Hearkened - at Sunrise Comprehending the Voices of the Devas.                   (NKR)   (17-1-2005)   (5:42) 

The music begins with two struck singing bowls and then mysterious-sounding Gong sounds are heard gradually creating a crescendo of sound - imitating the sunrise. Sounds akin to the 'spirit murmur' of composer Alan Hovhaness are then added alongside other sounds representing the shafts of light depicted in this beautiful painting. A Deva is the Eastern name for an Angel.

#5    The Sound of Milarepa's Vision.   (12 -1-2005)   (4:40)

The two spirals of Yang and Yin bowls plus the 34" Symphonic Gong being stroked and rubbed feature in this improvisation.

 #6    Guardian of the Desert.   (NKR)   (17-12-2004)   (6:02)

A Conch Shell trumpet is sounded twice representing the ancient link between the Moon and ritual and ceremonial. Then bowl chords are sounded in an endeavour to put into sound the ordering of these ancient stones.

#7    On the Heights. (Tumo)   (NKR)   (19-1-2005)   (6:32)

Small Yin bowls stroked provide high-pitched bowls with very high harmonics. Against this sea of sound two bowls are struck whilst a Heart chakra bowl further enhances the sense of spiritual heart-warmth to metaphorically represent this ancient practise of Tumo.

#8    Stronghold of Tibet.   (NKR)   (13-1-2005)   (3:41)

Another improvisation upon the Yang and Yin spirals of bowls.

#9    Morning Prayer.   (NKR)   (13-1-2005)   (5:22)

The music features a Tuned Gong (G#) with a set of singing bowls that produce a repeated pattern with the singing bowls gradually increasing in number and also rising in pitch.

#10    Dream Awakening.   (2-2004)   (6:47)

A strike upon a Tibetan invocation cymbal (TIng-shag) opens the piece leading into three strikes upon a 400-year-old Japanese Zen Buddhist temple bell (Densho) and then a pair of Singing bowls. I awoke one morning with this piece in my consciousness as a waking dream. It was a very strong impression. I felt that I had to record it.

 #11    Tiger's Nest.   (NKR)   (13-1-2005)   (5:45)

The music is an improvisation upon a set of Yin Bowls (42) and a set of Yang Bowls (23). An attempt to depict the magical space between the stupas and temple buildings in the foreground and this sacred temple over the way.

#12    Surfing the Silence.   (12-1-2005)   (13:22)  

A spontaneous improvisation upon the equipment as set out for the Friday evening concert. Amidst the set of 42 Yin Bowls and 23 Yang bowls was placed another sequence of 60 or more Singing bowls in a horse-shoe-shaped configuration. The improvisation was mostly upon these inner bowls and the upper end. It exploits the pulsating qualities of matched pairs. .Listen to hear how many levels of rhythmic pulsings you are able to hear.

Track titles with (NKR) beside them indicate that the inspiration was from a painting, by the Russian artist Professor Nicholas Roerich (1874 - 1947), of the same name.

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