JOIN US FOR THE CONCERT WORLD PREMIERE OF MICHAEL TORKE'S BLOOM

WRITTEN FOR SANDBOX PERCUSSION, ENSEMBLE-IN-RESIDENCE AT THE NEW SCHOOL'S COLLEGE OF PERFORMING ARTS

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Sandbox Percussion, a Brooklyn-based percussion ensemble of established leaders in contemporary art music, has teamed up with the acclaimed composer Michael Torke for BLOOM, a new piece composed for the group. BLOOM uses a series of interlocking rhythms that create a groove when played together, using each player’s drums (non-pitched instruments), and vibraphone and marimbas (pitched). “Just as shoots of plants push through dirt erupting in blooms, the vibes and marimbas burst forth from the drums,” writes Torke in his program notes. “In other words, this music has an organic profile, unlike other recent pieces of mine.”

BLOOM is structured in three sets — Bloom 1, Bloom 2, and Bloom 3 — each divided into three movements: “morning,” “noon,” and “night.” Two slower movements, Stem 1 and Stem 2, are interspersed between the Bloom sets. The drums represent the earth out of which the shoots grow, which in turn are represented by the mallet instruments. Much of Torke’s music has a rhythmic profile, a physical pulse through which he takes classic minimalism to new expressive spheres, also influenced by neoclassicism and a strong sense of color. “Michael uses rhythm in his music in an intrinsic way,” says Rosenbaum, who previously recorded percussion parts for Torke’s albums PSALMS AND CANTICLES, TIME, and UNSEEN, which led to the collaboration with the full group. “Almost as soon as I started playing his music, I had the feeling that Michael and Sandbox would be a good match,” Rosenbaum adds. “Rhythms are the building blocks of the structure of many of his pieces, driving forward the emotion and the energy. It’s inspiring to find a composer who uses rhythm in a new and innovative way; we learned a lot from Michael and from this piece about how to ‘melodicize’ a rhythm.” “He also challenged us technically: In some of the more complicated parts, Michael asks us each to create a composite melody that is split between our keyboard percussion instruments and drums — that’s a particular challenge we had never encountered before.”

Although Torke usually includes a colorful array of percussion instruments in his orchestral and chamber works — tambourine, claves, cymbals, tubular bells, glockenspiel, xylophone, and vibraphone, among many others — and in 2001 composed a percussion concerto, Rapture, BLOOM is his first piece for percussion quartet alone.

“No group I’ve worked with is as committed, both to their artistry in general and to the specific project at hand, as Sandbox Percussion,” says Torke. The group first saw the work in progress in November 2023, and by May 2024 had learned and recorded the completed piece. “It turns out that the kind of music I write is the kind of music they do very well, so it is an optimal match.” “My endeavor is to carve out a place in the musical real estate — to find an expression that is unique enough to take up space in the repertory,” Torke adds. “Whether I succeed, time will be
the judge.”

The world-premiere recording of BLOOM on Ecstatic Records is available on all major streaming platforms. Physical copies of the full album will be available on October 18. Sandbox Percussion commissioned music videos from past collaborator Michael McQuilken. “Bloom 2, morning,” is out now. Watch HERE.

SANDBOX PERCUSSION

Mission Statement
Sandbox percussion expands the breadth and depth of the percussion form through commissions of original work that broaden representation in chamber music. We create new musical experiences by transforming creative challenges into meaningful art that is shared with our community.

Described as “exhilarating” (The New York Times) and “utterly mesmerizing” (The Guardian), GRAMMY®-nominated ensemble Sandbox Percussion is dedicated to artistry in contemporary chamber music. The ensemble was brought together in 2011 by a love of chamber music and the simple joy of playing together; today, Sandbox Percussion captivates worldwide audiences with visually and aurally stunning performances.

More about Sandbox Percussion

Michael Torke
Composer Michael Torke’s work has been described as “some of the most optimistic, joyful and thoroughly uplifting music to appear in recent years” (Gramophone). He has been hailed as a “vitally inventive composer” (Financial Times), and “a master orchestrator whose shimmering timbral palette makes him the Ravel of his generation” (New York Times). He has created a
substantial body of works in virtually every genre; his recent piece SKY, for violinist Tessa Lark, was a finalist for the 2020 Pulitzer Prize and was nominated for a Grammy® award for “best classical instrument solo.” Torke has been commissioned by The Philadelphia Orchestra, the New York Philharmonic, the San Francisco Symphony, New York City Ballet, Alvin Ailey, National Ballet of Canada, Metropolitan Opera, Théâtre du Châtelet, English National Opera, the London Sinfonietta, Lontano, De Volharding, and the Smith, Ying, and Amstel quartets, among other prestigious orchestras, ballet companies, and ensembles.
He has worked with conductors Simon Rattle, Kurt Mazur, Edo de Waart, and David Zinman; choreographers Christopher Wheeldon, James Kudelka, and Juri Kilian; librettists A. R. Gurney, Michael Korie, and Mark Campbell; and directors Des McAnuff, Bart Sher, and Michael Greif,
among others.

Torke has been commissioned by entities as diverse as the Walt Disney Company and Absolute Vodka; worked with soloists such as Tessa Lark, Christopher O'Reilly, and Joyce Castle; and written incidental music for The Public Theater, The Old Globe Theater, and Classic Stage Company, among others. He has also been composer-in-residence with the Royal Scottish National Orchestra.

Beginning his career with exclusive contracts with Boosey and Hawkes, and Decca Records, Torke now controls his own copyrights and masters through his publishing company, Adjustable Music, and record company, Ecstatic Records. Find out more at michaeltorke.com