Maria Flurry, Arizona Philharmonic’s principal timpanist, and I have been together for over 35 years. During that time I’ve seen how her curiosity and creativity have influenced her artistry, shaping the unique performances she brings to the stage. Watching her prepare for the January 12 manos percussion concert reminds me of shared experiences that sparked various artistic explorations, each influencing the upcoming performance.
Of the many percussion instruments on stage for the manos percussion concert, the most striking are three large water bowls perched on pedestals, glowing with light from below and casting dramatic shadows on the ceiling. These bowls reflect a journey that began in 2005, when Maria was invited to perform Tan Dun’s Water Concerto with the Flint Symphony Orchestra. To prepare, she transformed our kitchen sink into a rehearsal space, experimenting with floating wooden bowls, cowbells and gongs. She discovered how submerging instruments could bend pitches, and how slapping and scooping water add color to rhythm. Since then we’ve co-composed water-percussion pieces for us to perform in our duo, Sticks and Tones, resulting in new sounds and techniques that we will feature in the concert.
Hearing a bowed vibraphone always captures people’s curiosity. Maria began developing this technique years ago, trying differently sized bows and learning from string players to sustain long, expressive tones. Unlike the sharp attacks and quick decays typical of percussion, she sought lyricism — lines that could sing and resonate like voices. Together we first used bowing in Gounod’s Ave Maria, where the vibraphone’s sustained tones gently sing the melody. For the coming concert three percussionists will bow the vibraphone together for an ethereal effect.
Flamenco rhythms, with their intricate energy and expressive drive, have long fascinated Maria. This came to life in 2013, when I wrote half of Impulso: Symphonic Dances for Marimba, Flamenco Guitar, and Dancer. Maria and I both immersed ourselves in the language of flamenco, collaborating with musicians steeped in its traditions and discovering rhythms and techniques that continue to shape her work. Today Maria studies castanets and cajón remotely with flamenco masters in Spain, and will bring this love of flamenco to a couple of the works.
Percussionists are known for playing anything that can be tapped, scraped or shaken, and Maria is no exception. On our first date 35 years ago she stopped mid-stride to thump a steel light post, drawing out a deep, resonant tone. Half embarrassed and half intrigued, I didn’t know what to think, but it was clear Maria heard the world differently. That curiosity has led her to experiment with many unconventional objects. In the manos percussion concert you’ll hear flowerpots, café items, trash cans and more.
The concert will showcase a wide sonic (and visual!) range through an eclectic program spanning Afro-Cuban rhythms, Bach, calypso-inspired steel pan, Debussy and Saint-Saëns’ iconic Danse Macabre. Maria, her colleagues Joshua Ferrell and Bensen Kwan and several special guests will perform on instruments made of wood, metal, skin, clay and water. It’s a chance to see what I’ve seen over the years — a culmination of moments and opportunities that have grown into something extraordinary.
Arizona Philharmonic’s manos percussion concert will take place on Sunday, January 12, 3pm in the Ruth Street Theatre, 1050 Ruth St. in Prescott. Tickets are available via AZPhil.org.
