• for large unconducted wind orchestra [On stage 41 players: 1 solo performer (playing on a deep concert bass drum tuned in low E and As, wind gong, deep tam,  tsuri-daiko or ko-daiko), 4 flutes, 2 oboes, 1 piccolo clarinet, 7 clarinets in Bes, 2 clarinets in A, 1 alto clarinet, 1 bass clarinet, 2 bassoons, 2 alto saxophones, 1 tenor saxophone, 1 baritone saxophone, 4 horns, 4 trumpets, 4 trombones, 2 euphoniums and 2 tubas, organ ad libitum]. [On stage visible from the audience and in an elevated position: 1 piccolo flute] [Off stage invisible from the audience: all other available wind instruments].

• Duration: between 16 and 21 minutes
• In 1 movement
• Composed in 2010
• Commissioned by The Philharmonic Winds for its tenth anniversary
• Dedicated to Dennis Sim Choo Huat
• First performance: 10.04.10 The Philharmonic Winds Esplanade Concert Hall, Singapore
• ISMN: 979-0-9016509-4-7
• Parts: To rent the parts, please email <rc@robertcasteels.com>
• Downloadable scores for inspection:
  FullScoreLndcsp12.pdf

Holler means a loud utterance as well as a small valley between mountains. The inspiration for Holler across the Holler was a sojourn in 2009 in the mountains near the Thai-Laotian border, where I was privileged to share the daily life of the Akhas. I was deeply impressed by the grandiose scenery as well as the way mountaineers communicate across the valley. Note by note, each player contributes a stone until a colossal mountain emerges. In Holler across the Holler, note by note, each player changes the petrified chord like solar rays of light playing on vertiginous cliffs. Primus inter pares, the solo bass drum player thrice summons and sublimates our quest for answers at three stages of our lives - youth, middle and dawn. From the peak, questions resonate across the valleys of mountains and valleys of our lives. There is no answer, a hint of an answer, then, some answer. In the open ended conclusion, the piccolo player does not endeavour to know the answers, she merely hopes to attempts to understand the questions. Holler across the Holler privileges equality, ownership and collegiality amongst players. Equality because all instrumental parts are equally important, with the percussionist being primus inter pares. With this status comes a responsibility, as the chain is only as strong as its weakest point. Within the same family, the compass of the first instrument tends to be higher. Collective temporal ownership because each performer has the individual ability to shape the performance by choosing -within reason- the moment he/she will play after the preceding player. Collegiality between players, because hopefully the unusual seating will unlock new lateral aural relationships and help forge new ties.