I Ching

For solo percussion

By Leif Thomsen

A rare genre

Concert music for solo percussion is rare, and I Ching has become a popular work, certainly on of the most popular of Nørgård's percussion works. It is often performed, despite the exotic and expensive range of instruments called for. Moreover, in terms of technique it is a very demanding work, as regards tempo, rhythmical flexibility and the actual physical performance - the musician really has to work, especially in the long final movement.

Physical music

There is a commonly-held prejudice about classical music (as opposed to rock and other kinds of rhythm music), that it lacks the physical side (the 'body'). The underlying supposition here, is of course that corporeality is something positive. This is not the place to discuss such an idea: does a rhythmical stamping beat feel more 'physical' than the act of counting one's upper teeth with the tip of one's tongue?

However, in the light of the common connotations of the concept of 'physical', one may admit that I Ching is physical music, especially if one has seen the work performed: the percussionist stands in the middle of a sea of instruments, and moves around in between them - all the time. In all the movements, one sees what one hears. This gives the music a special sensual and physical appeal, which together with the catchy melodies and the very visual rhythmic process make the work a very intense piece of music to experience.