Totem
for orchestra

The symphonic composition Totem is not associated with totem poles, but with the broader sentiments of totemism.

One view of totemism is that it is a way of life, a belief that humans are transcendental beings or direct descendants from a particular totem, some kind of family or clan symbol. These are often derived from nature such as animals or plants. This spiritual connection between a human and a totemic symbol, where they are one and the same (e.g. a person is a thunderbird, raven, orca whale, or bear), is in contrast to an alternative belief that a human is separate from a symbol or icon, which serves a guardianship role.

Totemism is observed in different cultures, in particular the First Nations People of the Northwest Coast. The depiction of themselves as the human embodiment of their totem creates a powerful, living-bridge between the self and their ancestors. This bridge has become a rich source of inspiration to create three tableaus that encompass a transformational experience. In the first tableau, Angst, the mind is held hostage by fear of the unknown dangers within nature.

The object of fear represents the totem animal. The second tableau, Rite, ends with a moral children’s song passed down to me from my ancestors in Holland. This oral tradition bridges the past with the present, and is reconceived into a solemn chorale in the third tableau. The piece develops into a climatic third tableau, Mosh, an out-of-control slam dance. This represents a ceremonial enactment as when an entranced dancer becomes the totem. As the piece unfolds, the importance of the totemic symbol is gradually eclipsed by the overall “collective unconscious”.

Totem is conceived to be primeval, percussive, and stripped back to the bone of carnal instincts. As such, it is not intended to imitate the music of First Nations People, but rather borrow its commanding pulses and gestures. Other influences are composer György Kurtág and blast-beat drumming of extreme metal band Napalm Death.

Totem was composed for the Vancouver Symphony Orchestra commissioned by its music director Bramwell Tovey and then CEO Jeff Alexander. After its premiere at Vancouver’s Orpheum Theatre, the work was taken on a US tour to Washington, California, Nevada and Arizona in early 2013.

 

REVIEWS

“Raw and edgy” Hali Bernstein Saylor, Las Vegas Review-Journal – Jan.26, 2013

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“Really the highlight of the evening” Ed Bruce, Las Vegas Entertainment, 26 January, 2013

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“Top has an ear for orchestral colour second to none … The work reflects an earthy neo-primitivism” David Gordon Duke, The Vancouver Sun - January 20, 2013

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“Underscored with a primitive and propulsive energy” Melinda Bargreen, The Seattle Times – Jan. 24, 2013

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“It's got one basic tempo and a basic pulse that operates in the slow sections as well as the quick sections. It's very cleverly done … It's a very beautiful piece, and it's got a very still, beautiful ending," Bramwell Tovey as quoted in the Arizona Daily Star, 20 January 2013

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“Totem with its fabulous percussion and complex pulsations is almost tribal; it’s a work of musical genius.” Karen Fitzgibbon, Review Vancouver, January 2013.

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“Tensile string glissandos and sustained wind chords as cool and aloof as a Hitchcock blonde … Built out of logs and hide, full of earthy thwacks and snaps from the percussion … and gutsy sound effects” Gavin Borchert, Seattle Weekly – Jan. 24, 2013

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"Totem, was made of three pieces, or “tableaus” named Angst, Rite and Mosh. I personally found it intriguing how the composer could make traditionally sounding instruments sound so bleak and creepy. For example, the violins imitated a slow siren sound, and the percussionists were able to use instruments such as a “thunder sheet” , a drum kit (not found in orchestras!) and an actual siren.” Hannah Greiner, Pianofortekeys.com, January 22, 2013

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“A composer of considerable talent, able to communicate with a broad public, yet highly individual in his artistic persona … The orchestral writing, which was realized brilliantly under Tovey’s baton, is vivid and full of interest, the textures are lucid, and the dynamic arc of the work is articulated clearly.” Bernard Jacobson, Seen and Heard International (Seattle), 30 January 2013

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“Top also worked items of personal significance into his score: a sentimental Dutch song handed down through his family, and the aggressive blastbeats of thrash metal he thrilled to as a teenager.” Alexander Varty, Georgia Straight - Jan 21, 2013