HIMALAYAN STUDIES
A series of 5 CDs containing 50 tracks of music with 16 of these inspired by artworks of the Russian artist Nicholas Roerich (1874 - 1947) from his Himalayan period. Roerich painted around 7,000 artworks during his lifetime.
These 5 CDs in the main make use of over 200 Tibetan, Himalayan and Far Eastern Singing Bowls carefully selected over 31 years (since 1974) and after sorting through over 5,500 bowls.
Frank with some of his bowls preparing for a solo concert at the White Eagle Lodge, London. Photo by Rose Perry
Some 42 (out of the 50) pieces arose from an original inspiration to create shorter pieces that did not use any form of multi-tracking (or otherwise known as over-dubs). However, once I tapped into this creative source I simply allowed the music to manifest, regardless of their conformity, or otherwise, to the concept of the original inspiration. To be true to the inspiration behind each piece became more important and valuable to myself than a strict adherence to the first formal constricts arising around the time of the original impulse. Happily, some of the pieces do fulfil that first impulse.
The discipline of short pieces brought about the need for conciseness and this in turn meant expanding the role regarding the significant use of certain specific instruments of mine. I also found the opportunity to incorporate several expanded techniques and several instruments otherwise seldom used (except in workshops, or in private spiritual practice) to demonstrate the different varieties of instruments. In this regard, what I term Flying Bowls come instantly to mind. These generally move gradually through 3 or more notes. Beginning from the emphasis upon the lowest note of the bowl and then each harmonic slowly dying away or moving lower in the mix until we are left with the highest tone of which the bowl is capable using one wand. Another technique was adopted from Javanese Gamelan music where the sequence of tones is played in such a manner that the succeeding tone automatically takes over from the preceding tone. The previous bowl is ‘stopped’ the instant that the next tone is struck and so on. This is used in the piece INVOCATION TO THE GOD OF ETERNAL SOUND. It is used in the opening section that is somewhat like an imagined Chinese Ceremonial with harmonic choir in the background steadily getting louder until a section utilising Tibetan Tantric undertone chanting takes over accompanied by Mongolian-style overtone singing way above (both performed by myself). Another piece utilises English Change Ringing, whilst another takes the technique of Russian Zvon Ringing as its basis, and in yet another piece a form of Canon, as used in Japanese Gagaku (ancient Japanese Court Music) music, is exploited. A further example is found in THE WAY where the final section exploits three bowls that I have linked to the Tibetan meditation practice of Trekcho.
Several pieces explore the basic structure of life prior to initiation, the process of initiation and then life afterwards. Some sort of Change is noticeable in the life after an initiation of whatever degree. Life can be seen as somewhat chaotic (perhaps becoming even more so as a spiritual stirring is found to awaken within the soul) and then, after contact with a spiritual system, some sense of Order enters into the life. One gets some sort of vision of the Plan for humankind and also the sense that one is on a Path of spiritual unfoldment that is predestined, although maybe not exactly predetermined. Sometimes this trilogy is representative of a more mystical period of transition between these two phases. By mystical I mean a period of at-one-ment with the Whole of Life and a transcending of the normal consciousness, which is gained through a heightened awareness and openness to spiritual energies and forces. In this case we once again have life as experienced prior to the initiation and then a ‘spirit murmur’ arises – sometimes violently and at other times almost imperceptibly – in the music. This is characterised mostly by indeterminate musical elements (often referred to as aleatoric musical sections). That is to say that they are out-of-control. The precise outcome of these sounds cannot be predetermined and so there are various degrees of chance active during these musical periods. This may be akin to chaos – whilst it is also true that many mythologies speak of life arising out of the chaos of the primordial elements. This chaos can also be the result of the previous form, that was ruling the life, dying or undergoing metamorphosis. It is never total, or anarchic, chaos in my music - these sections are invariably dictated by the movement of spiritual forces obeying a more formless, or less rigidly predetermined, manifestation of spiritual energy. Contact with the higher realities of existence expresses itself in a far more formless manner. The term 'spirit murmur' was coined by the American composer Alan Hovhaness many years ago. (for more on Hovhaness click HERE).
Within the plant world we find two basic aspects - the seed and the body of the plant. The seed is dedicated to the future whilst the body of the plant will suffer chaos or a process of decomposition wherein the constituent parts return to their essential elements - as in a compost heap. Once a form has outworn its usefulness it suffers decay, whilst during such episodes in our lives, we are presented with the choice of either repeating the previous cycle or of taking an evolutionary step forwards in the form of moving towards a new rhythm of life. That is to say a rearrangement of the existing elements; a redistribution of their arrangement brought about because of the expansion of one or more of these elements, or the inclusion of another element, in turn forcing either a rearrangement of the existing structure or the elimination of those elements no longer sustainable in the new combination of elements.
This
‘spirit murmur’ also echoes something of being in the moment; in the spirit; in
the Greater Presence or awareness of the larger Whole. This arises from the
Philosophy of Wholeness wherein we may perceive life as consisting of ever
enlarging wholes of life – rather like the famous Russian dolls. We live in a
family within a home. That home is in a street and we live alongside these
other people. This street is in a village or town or city – another whole. That
whole is within a larger whole called a country. That country is within the
larger whole of the planet, which is within the larger whole of a solar system,
which is within a larger whole of a Galaxy, which is within the larger whole of
the universe, which is then within a larger whole made up of various grades of
non-physical substance.
Some of the pieces derive their inspiration from paintings of Nicholas Roerich. These invariably adopt the same title as the painting in question. What follows is a brief outline of how the painting is reflected through the medium of music. Roerich sought to express spiritual energies through his artworks and I strive to reflect these same energies through a translation into spiritual sound. Sound-bites of a brief section of each piece is included to give a feeling of this relationship. I began working with paintings and music in the 1970s putting together performances of mine with Roerich paintings and then creating specific slide shows of Roerich's art, selected around a common theme, and this synthesised with the chosen piece of music. Here this process has unfolded to one picture and one musical soundtrack.
To view more of Roerich's art and to read associated articles please visit the Roerich Museum's website
TO VIEW REVIEW OF THIS SERIES CLICK HERE
Tracks arising
from Roerich Paintings. (with sound-bites)
All images courtesy of the Nicholas Roerich Museum, New York.
To view more Roerich paintings @ their site click HERE
BASGO – STRONGHOLD OF TIBET (Volume 1)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
A strong and dynamic painting, which immediately impresses one. An isolated temple perched atop a high rock. There is a sense of courageous strength and the overcoming of difficulties. We are struck by a sense of power and yet of stillness – of a peace derived from living far away from the activities and troubles of the material world. The architecture of the temple blends in with the Himalayan mountain rock formed by the natural elements. A dramatic painting contrasting a golden light and indigo/purple darkness; human striving and a resonance within the natural environment co-existing with the elemental spirits that have occupied the area from time immemorial.
This is expressed in the music between very deep singing bowls and high singing bowls. On the right hand side the mountain takes the shape of a human face. This human element is present in the music via two special bowls – a Water Bowl and an Ululation bowl (designed to demonstrate the several [over] tones within the one sound of the bowl and so linked with deeper listening).
THANG-LA (Volume
1)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
This important mountain range is depicted here in a very mystical and beautiful way. The main tone of the painting is a blue-violet hue and there are mists encircling the two peaks that are in orange-gold. It is as if we are catching a glimpse of this sublime realm through the mists. There is something of a suggestion of an other worldly quality to this mountain range. The mountains peak out from the soft mists suggesting a pathway to a higher realm. Orange and blue are complementary colours and this creates a dynamic energy within a serenely peaceful and quietly transcendent scene. Within the peaceful blue of the mountains, the peaks are reflecting the fiery colours of the setting sun – even as the inhabitants of this spiritual realm reflect the spiritual fire both within themselves and within this exalted community. Many of Roerich’s paintings depicting Shambhala include this mountain range (Greatest and Holiest of Tangla, Sacred Tangla, Thang-La, & Song of Shambhala).
Stroked bowls alongside bowed PAISTE Sound Discs (Planicerv) and a sequence of beautiful, heartfelt, warm and gentle bowls weaving their way through this floating ethereal soundscape from within the very centre helping to make sure that we don't lose our basic humanity whilst coming into contact with these finer vibrations and spiritual impulses.
MAITREYA ON THE
ROAD. (Volume 1)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
In MAITREYA ALONG THE ROAD we are high up in the Himalayas and along this road, or pass, we suddenly encounter a statue of the Coming Buddha; the Lord Maitreya. Maitreya is linked to this New Age of Aquarius, which is an Air sign, which the ancients associated with the principle of Thought, and this is another reason that the wind is there at the beginning, throughout the duration, and at the close of the piece. It is as if the entire experience has arisen within the mountain winds – within the One Mind.
The music begins with wind (a recording made by myself and not edited at all) and then the sound of various Camel bells (somewhat simulating Yak bells) to imply a caravan approaching. At one point in time an individual amongst the group sees this statue and then enters into a kind of reverie. After this mystical communion with the Image of Maitreya the individual turns to pondering what this New Era will potentially bring to humankind. The promise of this future epoch, ever-present throughout many centuries of time, is likewise contemplated - temporal time and Sacred time are juxtaposed. Then our caravan has passed the site and we hear once again the sound of Yak bells, etc and finally the wind and carving remain ever serving to remind us of those essential and enduring values in Life.
For more details regarding Volume 1 and a complete listing of all of the tracks - please click HERE
MAITREYA.
TIBET. (Volume 2)
Courtesy of the Nicholas Roerich Museum, New York
To listen click HERE
A statue of Maitreya set in the wilds of Tibet. Maitreya will be the next Buddha after Shakyamuni Buddha – the current Buddha. This time the background is less dramatic and there is something of a simplicity and peaceful blessing of this Coming One – a quiet acceptance. The landscape is gentle and soft, if somewhat inhospitable, yet there is this bold statement concerning the spiritual beliefs of these simple people.
The music endeavours to portray the simple spiritual beauty and gentle peace of this painting. It features a set of Noah Bells from India. These were recorded as two tracks with no reference to each other and then played together. Whilst playing my consciousness intentionally shifted between different states of awareness and intention behind the improvisation (recorded in 1990). The result is something of a Zen-like atmosphere on beautiful and mystical-sounding bells. The improvisation upon these Noah bells floats above a drone of several Heart Chakra bowls including the Maitreya Bowl and a Heart Chakra Spirit bowl.
TIBET - OM IN THE
MOUNTAINS (?) (Volume 2)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
I do not know the title to this painting. Many of Roerich’s paintings are simply titled Himalayan Landscape, or Himalaya, or Himalayan Studies, etc. For the purpose of this application, I have rendered the above title - and I take full responsibility if it is incorrect.
In this painting we have in the foreground a dark rock with a Tibetan OM inscribed in a golden colour upon it. In the background are light blue mountains. So this OM is most stunningly portrayed. OM is the sacred sound, or vibration, or word. Just as it takes many blows with the chisel to carve the OM into the rock so, too, it takes many, many repetitions of this sacred mantra before it's vibration is established firmly in one's being. Within Tibetan Buddhist practise the OM is said to represent enlightened body alongside the spiritual concept of purity in deed (body). From time to time one can come across such rock or stone carvings whilst passing through the Himalayas. There are also ancient petroglyphs and Roerich depicted these in other of his paintings. Another manner of interpreting this title resides in the vision that the people of Tibet, in their following of the spiritual path, have sounded this sacred word for centuries within these high mountains and then out into the world. Let us trust that the political situation will allow them to fully resume that valuable contribution in the years to come.
In a certain sense one could state that all Singing Bowls sound the OM. However, there are certain ones that sound this sacred vibration upon the inner planes of spiritual reality - even as there are certain individuals who are able to sound their true note from deep within the celestial orchestra of Life. The piece begins with an OM sounded upon an appropriate Tibetan Singing Bowl and then sets it against a sequence of higher pitched Yin bowls representative of the backdrop of these soft mountains.
BADA THE PREACHER (Volume 2)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
There is a beautiful story to this painting. The painting itself is also most interesting.
The painting has been made after the poem by Pollensky (1809 - 1898) Bada the Prophet/Preacher. The poem speaks about the young man who served the blind Bada. When he was tired of leading Bada, he decided to deceive him. He said that they were surrounded by a multitude of people and everyone was waiting for the old man - Preacher. But in reality, only the stones were lying around. With great inspiration Bada began to speak and his deceiver, after a good rest, told him that he could now be silent because everybody had gone away. And then the old man sadly became silent, he bowed down his head but as soon as he became silent the stones answered him with AMEN!
The piece is an attempt to portray this story through sound. The central section is to represent the preacher's sermon, which in essence is to strive to raise the level of the congregation into at-one-ment with realms of harmony and light - the music of the spheres. There is then a silence as he awaits the response from his listener's. Then the whole of Nature resounds to his inspired Message.
For more details regarding Volume 2 and a complete listing of all of the tracks - please click HERE
HIMALAYA - (SISSU
in the mist) (Volume 3)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
This painting is actually simply titled Himalaya but from others painted of Sissu, it is apparent that this is the monastery depicted here and so I have added the title in brackets. The main hue of this painting is a light transparent yellow. The mists engulf the monastery of Sissu and it appears to be floating in the sky. This is rather like our higher mind when we can experience a sensation of floating up away from our worldly concerns. Through such beauty one is reminded of the reality behind the material form – the heavenly temple with its spiritual community.
The main music expresses this floating sensation and then struck bowls enter in - gradually getting louder – even as the (mystical) monastery slowly appears from within the mists. Descending slowly from higher realms, the community of Buddhist monks gradually enter our realm and act as a bridge to relay these refined spiritual energies out to all of humankind.
For more details regarding Volume 3 and a complete listing of all of the tracks - please click HERE
BOOK OF LIFE (Volume 4)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
The yogi is in a state of at-one-ment with all creation - so much so that the gentle deer are not afraid of his presence. He is studying a holy scripture that will provide him with spiritual disciplines in order that his life and behaviour will become ever more in-tune with those rarefied spiritual realms that he endeavours to make real in his life - to enter into at-one-ment or, in other words, to lose his sense of separation from the Whole of Life.
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 my left hand side and the Yang Bowls upon my right hand side. Something of the gentleness and communion with Nature, spiritual and animal, suffuses this subtle improvisation.
ARHAT (Volume
4)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
An Arhat is the level beyond an Initiate and beneath the Master level. Here we see depicted an Arhat in a cave having tamed the Dragon of the lower nature and of time. This dragon may be seen to protect the Arhat, perhaps by virtue of the lower nature of any person obscuring the true nature of the Arhat. The Arhat has a halo about his head indicating his level of attainment. When the Kundalini reaches the Crown Chakra, and the Pineal and Pituitary glands resonate in harmony together, then a golden glow is released from the base of the brain and this sublime level of spiritual attainment has been traditionally depicted via the halo – in many traditions. The Adept is removed away from the world where he can become absorbed into uninterrupted communion with the Absolute Self.
Interestingly, in the philosophical approach hinted at here, the dragon has not been destroyed but rather subdued or transcended through an all-inclusive approach. This is the tantric approach (as distinct from the Sutric path) where one does not deny the lower nature but rather works with it in an attempt to transcend, and so discover enlightenment, through transforming weaknesses.
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.
MILAREPA THE ONE WHO HEARKENED - at Sunrise Comprehending the Voices of the Devas.
(Volume 4)
Courtesy of the Nicholas Roerich Museum, New York
To listen click HERE
Deva is the Indian name for angel. Milarepa is known as Tibet's great yogi. He lived between 1052 and 1112 A.D. He was a disciple of Marpa and he is the great Kargyupta guru. Jetsun Milarepa was the most celebrated of the Tibetan apostles of the Maha-Mudra school, which reached Tibet from India through Nepal and China nearly a century before the advent of Padma Sambhava (who is credited with establishing Buddhism in Tibet). This (Kargyu) school had two pathways and Milarepa was more associated with that of the ascetic or hermit as contrasted with the monastic pathway.
He is seen here in a traditional pose of a Dzogchen practitioner - whilst Roerich is obviously illustrating Milarepa's ability to hear the beautiful colours of the sunrise. It is said of Milarepa that he could hear colour and see sound. I don't believe that this refers to some sort of synaesthesic condition. Rather do I believe that it is as a result of spiritual practices.
"I am very fond of the words of the remarkable Tibetan sage, Milarepa, who practised great austerities. When people begged him to have pity on himself and stop leading such a hard life, he said that as all of us are subjected to death, he preferred to die in pursuit of a beautiful goal." (Helena Roerich). Permission to quote courtesy of the Nicholas Roerich Museum, New York
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.
GUARDIAN OF THE DESERT.
(Volume 4)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
During the 1920s Roerich travelled with his family (wife and two sons) for five years through Central Asia. On his travels he came across stone circles and also menhirs. In the endless spaces of Central Asia; in the plains and the deserts, there were magical places, where Roerich came across Megalithic stone monuments. These somewhat tormented Roerich as these monuments of the creative force of the cultures that have been wiped off of the face of the earth. "On the way, we encountered many beautiful places of so-called "deer stone", high menhir-like granite or sandstone blocks, sometimes ornamented. We also saw numbers of unexcavated kurgans, large and carefully constructed. The base of the kurgans was symmetrically surrounded by rows of stones, and on the top, also were stones. Near the kurgan, as if forming a second row, were small stone elevations. Especially interesting were the stone "babas", of exactly the same character as those of the southern Russian steppes.
In one case there was a long row of oblong stones, extending almost a whole mile up to a stone "baba", facing the East. We noticed that the carvings even now are smeared with grease and we heard a legend that one of the images was a powerful brigand, who, after his death, was transformed into a protector of this place. Out Tibetan, Konchok, who was attached to us as an attendant by the Tibetan representatives in Urga, addressed long prayers to the protector of the region, demanding a happy journey for us. In conclusion, he threw a handful of grain at the image.
We especially rejoiced in discovering in the Trans-Himalayan region of Tibet, typical menhirs and cromlechs. You can picture yourself how remarkable it is to see the long rows of stones, or stone circles, which vividly transport you to Carnack and the coast of Bretagne. After their long journey, the prehistoric druids recalled their distant homes. The ancient Bonpo in some way may be connected with these menhirs." Nicholas Roerich Permission to quote courtesy of the Nicholas Roerich Museum, New York
The music is by way of a meditation upon these ancient peoples and their values. Stone lasts a very long time whilst certain values are likewise always present in the human condition. 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.
ON THE HEIGHTS (TUMO) (Volume 4)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
This painting illustrates the technique of Tumo. This is a practice whereby the yogi generates inner heat in order to survive very cold conditions. Here we see the isolated yogi surrounded by snow on a cold and windy peak, set amidst a chain of peaks, but the snow around him has melted from his inner, psychic heat. The spiritual vibrations of these remote mountain peaks are most conducive to spiritual practices whilst the yogis engaged in these lofty endeavours assist in creating a focal point for bringing these high spiritual vibrations out into the human realm.
The music begins with very high singing bowls containing very high, eerie overtones. This ocean of sound is accompanied by two deep singing bowls being struck (approximately the interval of a Fourth apart) and a Heart Chakra bowl played all the way through to represent the spiritual power and love that transform the outer (and inner) cold - the intellectual or moral cold.
STRONGHOLD OF TIBET (Volume 4)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
During Roerich's travels through India, Tibet, Mongolia, China, Altai in the 1920s he encountered many monasteries. Here in the midst of the Himalayas, miles from anywhere, is a community dedicated and committed to the spiritual life and to following the teachings of wise old sages far removed from the hustle and bustle of earthly cares and concerns. With no earthly distractions this is a true stronghold of spiritual vibrations emanating out into the wider community the results of the spiritual practises of the Buddhist sangha within. Nicholas Roerich believed that the best time for spiritual practice was at dusk and dawn.
This is an improvisation again upon the collection of Yin and Yang bowls.
MORNING PRAYER (Volume 4)
Courtesy AgniArt, Samara Russia
To listen please click HERE
Here the monk is beginning his day with prayers. Having recently returned from the realm of sleep and the more spiritual dimensions of reality, through this morning ritual he is reaffirming his intention to transform his daily life by remembering from where he comes and to where is is going in his earthly sojourn, even as the light of the (spiritual) sun transforms life on earth.
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.
TIGER'S NEST (Volume 4)
Courtesy of the Nicholas Roerich Museum, New York
To listen please click HERE
I believe this painting to be a depiction of the monastery established at the cave of Guru Rinpoche (Padma Sambhava). We see it on the far side nestled on the mountain's slope. By the side of it we can see within the mountain the head of a Tiger (or it could be seen as an Eagle). This sacred spot is known as the Tiger's Nest.
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.
For more details regarding Volume 4 and a complete listing of all of the tracks - please click HERE
MOST SACRED (TREASURE OF THE MOUNTAIN) 1933
(Volume 5)
Courtesy of the Nicholas Roerich Museum, New York
To
listen (to closing section) click HERE
Treasure of the Mountain is from the above painting by the Russian artist Nicholas Roerich. It relates to the Mountain Kanchenjunga. In the foreground of the painting are huge crystals, it is as if we were inside the mountain. At the far top left we see in the distance a cavern lit in a golden colour and within this sacred space are a group of 'Mahatmas' or spiritual Masters. Although the painting is undeniably both dynamic and dramatic, an overall sense of stillness pervades it so that Time seems transcended. Accordingly the musical structure if events reflects the journey of the eye / 'I' around a pivotal point of relative silence. The predominant colour tone (key) to the painting is a rich deep blue.
Consequently the primary feeling of the music is derived from these several factors: Blue; Gold; Cave; Light; Mountain; Stillness; Mythical Time; Initiate consciousness; Masters & Ceremony / Ritual. The Mahatma presiding is seen holding a Flaming Cup in some timeless and ancient ritual of the Great White Brotherhood / Shambhala.
The predominant instrumentation consisted of ancient Tibetan singing bowls. These are antiques, their ages ranging from 200 to 800 years old. Research has demonstrated that these particular instruments when played create pulses around the same speed as that displayed by Zen monks in satori and others in a state of deep contemplation: namely alpha brain wave patterns. These instruments are, therefore, highly suited to music reflecting such states of consciousness. The link to ritual is also clear, as specific rituals are used by the practitioner of meditation / contemplation. However, these bowls are mostly linked to the Tantric Paths as also to the pre-Buddhist native Bon and in addition to Nada Yoga. Bon has strong connections to shamanistic streams so that those sacred magical bowls derive their psycho-spiritual significance from any number of combinations of these spiritual pathways. The specific choice of bowls for this piece arose out of my super-sensible studies leading to a selection corresponding to the energies derived from contemplation of the painting. My musical compositions / improvisations are always concerned with organising the several sets of sound combinations according to their effects upon the subtle bodies of Man. This particular piece not unusually combines spontaneous composition with pre-determined structures. This is often the case when the source of inspiration is a painting.
From over 100 Bowls some 16 were selected along with two PAISTE Gongs; a Sun Gong & a No. 3B Sound Creation Gong plus a pair of Ting-shag (Tibetan Invocation cymbals).
I have been working with the sacred instruments of Tibet since 1973, when they began to be incorporated into my percussion set-up. I now create music from my range of over 600 metallophones some of which were invented, built and developed by myself, others are often adapted. Apart from reverb in a few places, no electronics were used at all.
PAX CULTURA.
Frank Perry, Ringwood. January 6th, 1995.
These words accompanied the initial release on the SOLAR label. This piece is the original version of this title (slightly different to the second version that appears on The Healing Bowls of Tibet - TIBETAN SINGING BOWLS Volume 1) commissioned by SOLAR and released in 1995.
For more details regarding Volume 5 and a complete listing of all of the tracks - please click HERE
(C) Copyright by Frank Perry 1996. All rights reserved.
© Frank Perry, 1996. All of these articles are copyright. They may individually be copied and shared with others in a spirit of knowledge-sharing and fair play, but they may not be sold, printed or reproduced in quantity or changed in form without the permission of the copyright holder. None of this material may be reproduced in workshops or lectures of any kind unless quotes are credited or properly attributed.
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