Ian Shanahan (1996)

In Memoriam Doug White

To Gary Monger and Jan Crispe;

For Roger Woodward to play:

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

153 Infinities
for

solo (concert grand) piano

and

optional percussion {6 players}

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

1996, by Ian Shanahan.

 PROGRAMME ANNOTATION Commissioned by the Sydney Spring International Festival of New Music with funds
provided by the Australia Council for the Arts, 153 Infinities was composed for the
prodigiously talented pianist Roger Woodward to play; it hamesses Roger's extraordinary
153 Infinities finger-power and control in eliciting a galaxy of pianistic 'touches'. This work is also
dedicated to Gary Monger and Jan Crispe - in close friendship. Throughout the
for solo piano tribulations of late 1995, Gary and Jan were always there for me. (They too are 'among
the 153'.)
Ian Shanahan (1996)
Ian Shanahan, Sydney, Australia; 25 April 1996.
If the doors of perception were cleansed, everything would appear to man as it is, infinite.
- William Blake: The Ancient Tradition.

God manifested himself to me as the infinite void, but it was not the abyss, it was the vault of
heaven ... He was not some foreign God but the God of my fathers. He was loving and kind and he
had personality He said, "You suffer a little now in life, it is little compared with the great joys, the
bliss that awaits you. 00 you think I in my theodicy would allow you to suffer greatly in proportion
to your reward?" He made me aware, then, of the bliss that would come; it was infinite and sweet.
He said, "I am the infinite. I will show you. Where I am, infinity is; where infinity is, there I am ... "
- Philip K. Dick: quoted from Lawrence Sutin's biography of "PKD" Divine Invasions: A Life
of Philip K. Dick, p.269.
153 Infinities was premiered by Tamara Anna Cislowska (piano) and
the Sprung Percussion Ensemble (Guy du Blet, Claire Edwardes,
153 Infinities is a tapestry of material taken from two of my piano solos, Arc of Light Richard Gleeson, Kevin Man, Luke McAvenna, and Timothy Paillas)
and (the still unfinished) Gate of Remembrance, transformed through expansion and during the Eighth Sydney Spring International Festival of New Music,
rarefaction; it was composed as a prayer in memory of Doug White.
Eugene Goossens Hall, ABC Centre, Harris Street, Ultimo, Sydney,
Although I never knew Doug personally, his terrible affliction and death moved me on 12 September 1997. Subsequently, this work was nominated for a
very deeply - a virtuous and righteous young man, in the prime of his life, inexplicably cut
down. The powerful mysteriousness of this tragedy compelled me to ponder certain 1998 Sounds Australian National Award, for the Best Composition
imponderables, in a search for any ultimate meaning therein. So, various questions arose by an Australian Composer performed during 1997.
in my mind, such as: What is the nature of Eternity? And how is the One who is Limitless
and Transcendent made immanent throughout the fabric of bounded Time/Space? Of
course I have no definitive answers, but, as a provisional utterance, perhaps 'etemity' is A recording of 153 Infinities, played by the same personnel, is now
timelessness: the enfolding of all-time into an always-now, immutable, truly infinite; an commercially available on the Compact Disc "Solar Dust" (Broad
ecstatic detachment from Time's unyielding flow. (Through its eschewal of mundane pulse Music Records Jade JAD CD 1080).
and its obsession with piano-resonance colours and silence, 153 Infinities attempts to
capture at least something of the essence of eternity. Indeed, it was my intention to name
this piece "153 Eternities" - until I became aware of that title's unfortunate connotations of The solo grand piano version of 153 Infinities (i.e. without its array of
New Age fraudulence and idiocy.) optional percussion instruments) was premiered by Zubin Kanga
As to the second question, one can perceive in the divine personage of Jesus a (piano) at the Great Hall, the University of Sydney, Sydney, on 2 April
rapprochement of transcendence (infinitude) and immanence within our universe. By what
2003.
mechanism, though, are these two polarities reconciled in and through Him? That
hypostatic mystery is entirely beyond my understanding, I confess ... Yet, via pure
mathematics, I do obtain some comfort from the existence of transfinite numbers: A recording of the solo grand piano version of 153 Infinities, played
cardinalities of diverse infinite sets. For instance, the endless series of all 'rational
by Zubin Kanga, is now commercially available on the Compact Disc
numbers' (quantities expressible as fractions) is countable, in that it can be put into one-to-
one correspondence with the set of positive integers {1, 2, 3, 4, ... }. Richly embedded "Morning By An Ocean" (Broad Music Records Jade JAD CD 1100).
amongst the fractions between 0 and 1 there is, however, an infinitude of 'irrational
numbers' which is uncountable - an altogether higher order of infinity, bracketed by finite
limits!
It turns out that there are infinitely many distinct infinities, or 'transfinitudes'. Why,
then, do I stop at 153? Now aside from the fact that it is the 17th triangular number (i.e.
1 + 2 + 3 + ... + 17) - a property of 153 observed by St Augustine of Hippo - all I have to
say is ... read Chapter 21 of The Gospel according to John. (A further riddle: the late
Doug White is 'one of the 153'.)
 PERFORMANCE NOTES
OPTIONAL PERCUSSION {6 PLAYERS}
If the optional percussion parts are to be realized in concert, I request that they not be
mentioned anywhere in the publicity or in the Programme Annotation to this work - lest the
surprise impact of their musical entry be spoilt! Rather, the pianist is to post-announce the
six percussionists verbally, or instead credit them elsewhere within the printed programme.
STAGING AND LIGHTING
Ideally, only a small area encompassing the piano and pianist should be spotlighted,
with the rest of the performance space - in particular, the percussion instruments and their
players (if present) - remaining in total darkness, unseen. At the pianist's cue near the end
of the piece (viz. their hands being lifted and brought together in an attitude of prayer
[p.10]), spotlights suddenly snap on all three of the 'percussion zones' - which must be
deployed towards the rear of the performance space, remote from both pianist and
audience (as depicted below).
It is also strongly recommended that the pianist makes use of a page-turner in
concert.
AMPLIFICATION OF THE PIANO
The grand piano ought to be amplified for the entire work whenever the percussion is
utilized or whenever the solo piano version is presented in a concert hall.
THE NOTATION OF TIME
153 Infinities is notated entirely in time-space notation, with each numbered 'ictus'
corresponding either to one second, or slightly more or one second exactly of elapsed
time; beams define 'connected sounds'. Therefore, musical events should be deployed
chronometrically in direct proportion to their relative horizontal placement upon the score-
page; yet any sense of metricated rigidity is strongly discouraged! (Complete temporal
asymmetry ought to be strived for.) An electronic metronome flashing once per second
might prove to be an effective tool in this respect.
Grace-note groups all lie 'outside time' - locally independent of the time-space
paradigm - and are to be played "as fast as possible", or at the very least quite rapidly. (A
tenuto marking is used to suggest a more leisurely pace.) Most grace-note groups occur
either as an 'upbeat' or an 'afterbeat' to some other sonority, whose timing will define the
placement of any contiguous grace-note groups.
As fast as possible (in conjunction with a grace-note group) constitutes a 'local
tempo' which will always be entirely dependent upon certain factors, such as the distance
(and direction) your hands must traverse along the keyboard from one sonority to the next,
dynamic level, fingering, the weight and responsiveness of the piano's keys, the
mandatory attainment of clarity (that each sonority still must be clearly discernible), your
pianistic virtuosity, how well you feel, room acoustics, etc. "As fast as possible" is,
therefore, 'micro-contextual' and potentially forever variable - a precise directive without a
predictable outcome! So, for this mode of performance, do not necessarily strive for
evenness of speed: rather, rhythmic fluidity, naturalness and - where applicable -
asymmetry should be your goals. (Think of the continuity of a fast-flowing river, with its
ceaselessly evolving inner turbulences, eddies, whirlpools, and its more sedate currents.)
-i-
Pauses are always notated with a large rectangular fermata (,..,), over which is given
either the number of seconds' rest or an instruction - ... silence - to wait until all piano
resonances have decayed into complete silence before moving on.*
* With the latter case, the pianist in practice really needs to gauge the exact moment 'silence' first
arrives from the audience's perspective, even though they themselves might still be able to hear
(very) faint sounds emanating from within the piano.
OTHER NOTATIONS
Diamond-shaped noteheads C instruct the pianist to depress the corresponding
keys silently it is recommended that the hands remain in position, poised for the next
event. (If it proves to be absolutely necessary, the page-turner may assist with the silent
depressing of keys.)
All pedalling on the piano is well-specified: the pedals (from left to right) are denoted
U.C., Sost and Ped, respectively.
Dynamic indications, from "p pass." (as soft as possible) to "f pass." (as loud as
possible), are occasionally affixed with arrows which denote subtle gradations of loudness.
Please respect these nuances.
Also, suggestions are made in the piano part for the disposition of the hands.
OTHER DETAILS CONCERNING THE PERCUSSION
The percussionists should all start playing together as soon as possible after
spotlights illuminate the three 'percussion zones', thereafter coordinating attacks
precisely at the beginning of each bar (i.e. at 0", 1", 6", 14", and 27").
All percussion instruments are to be permitted to ring on indefinitely (vibraphones: the
pedal is kept depressed throughout!), but any residual resonances must be damped by 18"
after the pianist's final high note - if necessary.
The six percussion parts in 153 Infinities - though rather brief - are all very difficult
to perform with fidelity (at the notated speed), and do require a great deal of practice. If
their challenging nature proves to be overwhelming for the six percussionists (through a
shortage of rehearsal time, technical limitations, or whatever other exigencies), then an
obvious, pragmatic - although by no means entirely desirable - solution is simply to
change the scale of the time-space notation so that each numbered 'ictus' corresponds to
somewhat more than one second of elapsed time.
It is also essential that three quite distinct 'percussion zones' be retained towards the
rear of the performance space: each of these 'zones' is intended to symbolize one of the
three persons of the Holy Trinity.t
Further information in regard to staging and lighting, the initial entry of the
percussion instruments, and all aspects of notation, is supplied above.
t As an interesting aside, there is a small but growing repertoire of significant twentieth-century
compositions in which a 'single Divinity' is represented by more than one musician or instrument
- thereby avoiding an obvious anthropomorphism: in Igor Stravinsky's Babel (1944), the words
of God are articulated by a male choir; for The Flood (1961-1962), Stravinsky gave the role of
God to a duo of bass voices accompanied by an insistently-beaten bass drum (hence the
composer omits bass voices from his chorus); Benjamin Britten's second Canticle, Abraham
and Isaac (1952), conflates the voices of Abraham (tenor) and Isaac (alto) to embody the voice
of God. My own method of sidestepping both the anthropomorphic trap and any danger of
idolatry in 153 Infinities has been to illustrate the Holy Trinity through a multitude of 'abstract'
percussion instruments: therefore, it is not the percussionists who symbolize God the Father,
- ii-
 Jesus Christ, or The Holy Spirit, but rather the three zones of percussion instruments
themselves! Nor of course does my Holy Trinity speak in any human tongue; instead, 'Divine
utterance' is simulated through recurrent yet enigmatic pitch-sequences and complex - often
mathematically generated - durational and timbral patterns ... a kind of dazzling non-verbal
'glossolalia'.
Detailed descriptions and abbreviations of all of the percussion instruments are
now provided, below:
cutting, high-pitched; ca.10-15" decay.
3. Kenyan Bell Tree(s): KBT
About twenty or so bronze conical and cylindrical bells (with clappers), suspended in a
flat diamond-shaped frame, microtonally pitched within the range C45 - CF the bell
tree's timbre should be a high-pitched, delicate, fairly dry jingle, rather cutting; ca.5"
decay. Jolt, displace or shake the framework to activate the bells, in accord with the
notated waveform contours.

4.5 Almglocken: Aim

THE PERCUSSION INSTRUMENTS:
Five very large to medium 'herd bells', all pitched within the range C 42 - C 44 and
Descriptions and Abbreviations possessing a mellow, lush, resonant timbre. The largest two or three almglocken should
sound almost gong-like; their pitches must lie below C 113. 00 not muffle or mute any of
the almglocken f
Within their respective parts, all percussion instruments are notated in sequential
order according to their physical distribution; they are listed below in the same fashion. In 5. Large Sizzle Cymbal: Sizz
any references to pitch herein, "Middle C" shall be designated as CI 3, the Clone octave A large, very resonant, thin sizzle cymbal, possessing a high 'sizzle' and a long decay.
higher as C I 4, etc. (i.e. assuming that AI 3 =440 Hz, then C I 3 :::: 261.6255653 Hz). 6. Large Chinese Cymbal: ChCym
A (very) large, resonant chinese cymbal.
PERCUSSION ZONE 1 {"GOD THE FATHER"} Mallets
Two yam-wound vibraphone mallets of medium hardness.
PERCUSSIONIST 1

1. Large Brake Drum: BrDr

A large resonant brake drum (from a truck or whatever), laid horizontally so that its flat
surface can be struck.
2. 3 Large Japanese Temple Bells (Rin): Rin
Three large Japanese 'cup bells', resting upon their traditional cushions, which radiate
extremely beautiful, mellow, resonant, microtonal bell-sounds - all exhibiting very long
decay-times, no rin being higher pitched than about G 43.
3. Vibraphone: Vib
Range: F 42 - F 45. A high-quality instrument (with wide bars in the low register) is
required; the vibraphone must also be equipped with an electric motor and
potentiometer that will yield a medium rate of vibrato.
Mallets
iT
PERCUSSION ZONE 2 {"JESUS CHRIST, THE SON OF GOD"}
PERCUSSIONIST 3
1. Crotales: Crot
Written range. C43 - C45, sounding two octaves higher than notated. The twenty-five
crotali should be rack-mounted, in the manner of a keyboard.
2. Vibraphone: Vib
Range: F 42 - F 45. A high-quality instrument (with wide bars in the low register) is
required; the vibraphone must also be equipped with an electric motor and
potentiometer that will yield a fast rate of vibrato.

Four yam-wound vibraphone mallets of medium hardness. Mallets

Tiii
PERCUSSIONIST 2 rrrr Four very hard plastic glockenspiel mallets.

1. 'Triangle Windchime': L WC * PERCUSSIONIST 4

Three small triangles of different size/pitch grouped together (as a windchime) in such a
way that each triangle bangs against the others without losing much of its natural 1. 'Triangle Windchime': L WC *
resonance. Three medium triangles of different size/pitch grouped together (as a windchime) in
such a way that each triangle bangs against the others without losing much of its
2. Brass Tube Windchime(s): BrTW * natural resonance.
About twenty or so medium to small thick brass tubes (outer diameter ca.6-10 mm,
maximum length ca.330 mm), sounding within the range FII4 - CF: brilliant, starry,

- iii- - iv-
2. Large Autocoil: Coil
A large helical spring, from the front-end suspension of a car, hung up high by a leather
boot/ace. An arrow to the left of a notehead indicates a sweeping rasp-like
'arpeggiando' attack (either upwards or downwards) that dramatically runs along the
whole length of the helix, striking most (or all) loops in rapid succession; otherwise, for
the coil's normal mode of performance, tap just a single loop.
3. Sieighbells: Sleigh
A lush-sounding ribbonlloop-type sleigh bell consisting of many individual pellet-bell
elements, suspended high and struck (not shaken). A ghungrO (Indian bell strap) may
be substituted, if necessary.
4. Chinese Bell Tree: CBT
A nested set of microtonal bells, strung together on a rod in order of size. Upward and
downward glissandi - as well as their relative speeds and approximate starting
positions - are notated graphically, as usual.
5. Brass Tube Windchime(s): BrTW * 3. 'Triangle Windchime': L WC *
About ten or so large brass tubes (outer diameter ca. 18-25 mm, maximum length
ca.610 mm), sounding approximately within the range EI;3 - AH brilliant, cutting,
rather like small tubular bells; ca. 15-20" decay.
6. 2 Strings of Bronze Jingle Bells: BJB *
Each string should hold six or so small microtonally pitched bronze/brass bells (with
clappers), suspended high: the bells' timbre should be high-pitched, lush and resonant.
Agitate the strings to activate the bells.
7. Brass Bell Windchime: BBW
Three tiny brass/bronze bells (without clappers) spanning the range G I; 6 - C # 8,
suspended in a horizontal line with the lowest-pitched bell in the middle, touching the
other two. The timbre should be very cutting: caS' decay. Jolt, displace or shake the
bells' suspending rod to trigger a sequence of echoed attacks.
Mallets
Two very hard plastic (or heavy brass) glockenspiel mallets.
TT
PERCUSSION ZONE 3 {"THE HOLY SPIRIT"}
PERCUSSIONIST 5
1. Glockenspiel: Glock
Written range: G 42 - C 45, sounding two octaves higher than notated.
2. Giant Orchestral Bass Drum: BD
A very large and broad orchestral bass drum (e.g. Ludwig brand): its timbre should have
at least the depth of rolling thunder, infinitely low-pitched.
Mallets
Four very hard and heavy brass glockenspiel mallets.
-v-
~ A large, (very) soft woollen bass drum beater.
PERCUSSIONIST 6
1. Medium Brake Drum: BrDr
A resonant medium-sized brake drum (from a car), laid horizontally so that its flat
surface can be struck.
2. Autocoil: Coil
A medium to large helical spring, from the front-end suspension of a car, hung up high
by a leather bootlace. An arrow to the left of a notehead indicates a sweeping rasp-like
'arpeggiando' attack (either upwards or downwards) that dramatically runs along the
whole length of the helix, striking most (or all) loops in rapid succession; otherwise, for
the coil's normal mode of performance, tap just a single loop.
Three large triangles of different size/pitch grouped together (as a windchime) in such a
way that each triangle bangs against the others without losing much of its natural
resonance.
4. Giant Tam-Tam: T-T
A very large, resonant tam-tam - very deep, profound and mysterious!
5.2 Large Javanese Gamelan Gongs: Gongs
Two 'nipple' gongs (large and very large) with very broad rims - extremely deep,
profound and mysterious!
Mallets
Two very hard and heavy brass glockenspiel mallets.
A large, soft gong/tam-tam beater.
A large, dense, extremely bouncy, 'sticky' rubbery-plastic "superb all" mallet.
* Windchimes [Percussionists 2, 4 & 6]
Agitate the elements of these windchimes direct/y, with hand(s) or mallet(s), roughly in
accord with the notated waveform contours. All windchime attacks and excitations
should be varied as much as possible, subject to the indicated dynamic level.
The physical disposition of every instrument used in 153 Infinities is diagrammed
below:
Ian Shanahan, Sydney, Australia; 8 September 1997.
- vi-
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