Aran
‘‘Aran’’ and ‘‘McCrimmon Will Never Return’’ date from the period 1970-72, and were written for the Promenade Theatre Orchestra, a group started by White, consisting of 4 performers; White, Hobbs, Hugh Shrapnel and Alec Hill.
‘‘Aran’’was written at a time when the PTO was beginning to combine the sounds of reed organs and toy pianos, the original instruments of the group, with some newly-acquired percussion instruments. The note-to-note procedure of the piece was determined by random means, in the hope of producing a gentle unpredictability in the final result. It was hoped that the whole would be grittily resonant. This recorded version, for 12 performers, is generally more soft-centred than the original.

American Standard
Although the instrumentation of the piece is not specified, an ideal group would be similar to that which performed this version, recorded at the first performance of the piece in March 1973. It is played by the New Music Ensemble of the San Francisco Conservatory of Music, directed by John Adams, the composer, and the instruments used here are:
Flute, clarinet, clarinet (doubling bass-clarinet), clarinet (doubling bass-drum), tuba, percussion (trap set), violin, 2 violas, cello, double-bass, and harp. A conductor is not necessary for performance, since the arrangement and distribution of parts depends on what instruments are available, and ensemble problems that arise are ‘‘to be worked out in standard American fashion: proposal, debate and vote’’. Extra materials, that anyone making a version considers appropriate, may be used in performance in various forms whether film, tape, video, speech, mime, dance etc. Each section of this performance has at least one example of the use of ‘‘extra materials’’.
The piece is in 3 parts, each separately performable, and separately titled:
1. John Philip Sousa
The use of a steady, insistent pulse makes the title’s derivation quite clear; the pulse is given by a bass drum and other instruments have constant pitches which are departed from and returned to. As with all 3 pieces, the dynamics are restrained and undramatic, with the exception of the ‘‘extra material’’ – a crisp snare-drum roll that both sets the tone and gives a dramatic touch that is not present anywhere else. This is not in the score.
2. Christian Zeal and Activity
The main body of the music consists of a series of long held notes, very consonant, in 4 parts which are occasionally synchronised to give unified chords. The instruments are divided into 4 groups according to their pitch ranges, with at least one sustaining instrument in a group, each group having a leader who cues movement from one note to the next. During this piece, the ‘‘extra material’’ consists of a tape-recording of a radio talk-show.
3. Sentimentals
This is the most melodic piece of the 3 and the one which involves the greatest range of variation, quoting extensively from Duke Ellington’s ‘‘Sophisticated Lady’’.The gentle swing of the trap set, that is added during the piece, is again not included in the score, and its presence gives the sound a distinctively Californian feel, close to that of the Beach Boys, or Hollywood studio bands.The curious ending is an ironic affirmation of the maudlin chromaticism of the Ellington piece which generates the music.

McCrimmon Will Never Return
‘‘McCrimmon Will Never Return’’ stems from a temporary interest in Piobaireachd (Pibroch), the most highly developed form of Scottish bagpipe music. The melody of the title has several variants, which are played simultaneously on 4 reed organs. The tempo is sufficiently slow that the characteristic skirls or flourishes in the music become audible as individual notes.

A1 - Christopher Hobbs - Aran
A2(i) - John Adams - American Standard (i)
A2(ii) - John Adams - American Standard (ii)
A2(iii) - John Adams - American Standard (iii)
B1 - Christopher Hobbs - Mc Crimmon Will Never Return
B2 - Gavin Bryars - "1,2 1-2-3-4"

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