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I. MABI:RU (Dark)
II. MARARA (Dry)
III. MALATUY (Fresh)
IV. MALAGTI (Light)
The Hanunóo tribe is an indigenous people from the Philippines. Their language organizes colors into four categories that are unique linguistically - "dark" and "light" are not surprising, but "dry" and "fresh" categories are related to characteristics of plants and can be understood through their "redness" and "greenness" respectively. Each movement of this piece is freely inspired by these categories.
The first movement, Mabi:ru (Dark), begins with deep, rumbling, low harmonies that gradually appear and begin to swell. The higher instruments respond with a rising gesture that reaches into the light but then descends in imitation back to the depths. The second movement, Marara (Dry), takes on the musical meaning of "dry" with a series of outbursts of very short notes that bounce around the ensemble. The idea of dry humor also makes itself known as the repetition and unexpected twists and turns of the music try not to take themselves too seriously.
The third movement, Malatuy (Fresh), is hopeful, beginning with an extended lyrical melody. This melody echoes around the ensemble throughout the movement, building to a number of lush climaxes. The final movement, Malagti (Light), is fast and energetic. Utilizing the Lydian mode, the brightest of the seven modes, the joyous melodies and fanfare-like textures spin for a while before initiating a contrasting chordal section, where undulating repeated chords support melodies that rise into the highest register. A final return to the opening energy brings the movement to a close.
Hunanóo Colors was commissioned by the Slippery Rock University Clarinet Choir, directed by Dr. Amanda Morrison. This transcription for string orchestra is by the composer. The fourth movement, Malagti, is also available for full orchestra (2222 4231 Timp+3 Str).
Duration: ca 11'
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