Sally Greenaway | Composer

Balkan-Batik brings together two musical worlds in a bright and quirky rhythmic dance. The melodic material is derived from the Pelog scale from Javanese gamelan music. This is infused with the driving pulse and rhythmic character of gypsy music from the Balkans.

The marriage of these two cultural worlds is not as obscure as you might think - both cultures have ancient connections to Sanskrit, which provides a common link for intertwining these musical worlds. It is no accident that Balkan and Javanese elements are the inspiration for the sculpting of this piece for String Quartet: Balkan-Batik sews together the stories and backgrounds of Ed and Charlie in a joyous and buoyant work to celebrate their marriage.

Charlie has a close affinity for Javanese culture, philosophies of life and Hindu artwork (having worked as a midwife in Java). As a result, Balkan-Batik gives a nod to Javanese gamelan music and Batik textiles. The piece’s melodic material, especially for the Viola, is descended from the Pelog scale of Javanese gamelan (roughly translated as B C E F G for this context). The melodic contours in Balkan-Batik are loosely inspired by the significance and meaning embedded into this scale which are linked to the cosmos, deities, colours, sound, thoughts and philosophies in Javanese culture.

The Batik textiles of Java feature intricate and significant motifs and patterns, many of which are adorned for special occasions or reserved for royalty. The sekar jagad Batik (meaning 'flowers of the universe' or 'map of the world') is used for weddings and features a tapestry of classical motifs depicted as islands to form a patchwork pattern. Just as Batik is created through multiple layers of wax and inks, Balkan-Batik builds up layers of musical textures, rhythms and timbres, with each string instrument given a special role within the layering of the ensemble.

Ed's inner gypsy (his love of folk fiddle music and his many travels across the globe, particularly through South-Eastern Europe, the Middle East and Asia) provided a clear compass towards exploring Balkan musical influences. Ed requested a piece that danced, had strong rhythmic conviction and tended towards folk and ethnic music over the traditional classical music approach. And the viola part was to be the star.

Balkan-Batik's groove and harmony are inspired by the many different types of contemporary gypsy folk music found in the Balkans. The layered rhythms are a cross-pollination of Balkan brass dance band music and Javanese gamelan music. The melodies feature glissandi smears between notes and ornamentation inspired by the gadulka, fiddles and clarinets which feature heavily in Balkan Gypsy bands. The viola and first violin dance around intertwining melodies whilst the second violin has a repeating ostinato pattern. The cellist is required to be the rhythm section of drums and bassline, even being asked to make percussive sounds to mimic a drum rimshot crack.

Balkan-Batik covers a lot of ground in its short 4 minute duration, delighting with contrasting sections and with the viola given centre of attention.