Instrumentation: 2 Flutes, 2 Clarinets (Bb), 2 Alto Saxophones, 2 Tenor Trombones, 2 Vibraphones, 2 Marimbas, 2 PIanos, 2 Violoncelli (16 players in total)

Payriminpatatik is the palawa kani term describing the region around Queenstown on the west coast of Lutruwita/Tasmania. This is the piece in which I most palpably felt the tensions and conflict between the Lutruwitian natives and Europeans, depicted in the first 2.5 minutes of the piece. After this point a lament is played on piano and cello, whereupon unresolved tensions and conflicts return in multifarious ways. I imagined, as with South American tribes, a better outcome against the European invaders. However, the piece works towards a new fusion of identity, the Europeans becoming inevitably integrated into the fabric of the place they sought to conquer. Thus spirits are heard in the sense of returning. The lament is transformed into something omnipresent and palpable. Ultimately a sense of irrepressible joy breaks through, interjected by solemnity - voices of the elders - before the piece closes with a sense of triumph, leaving the way open for continuing growth and development. This piece concludes the fourth in the series of ”lutruwita“ pieces for chamber music ensemble and can, as with the others, be performed separately or as part of the set.

I - lutruwita (nipaluna 2)
II - larapuna
III - tiagarra
IV - payriminpatatik