In REJANG for solo percussion I have linked elements from the music of the Far East to a more Western way of thinking. The title can be understood partly as a description of the instruments played, yielding local associations, and partly as having an undefined ritual flavour, inasmuch as it contains a particular idea.
To the almost aggressive character of this work I have added a sound from nature, conveyed by a set of genuine Balinese Wind Mills (surely used here for the first time in a Western work), which endow the work with a more conciliatory transition between two areas which, however, remain what they are: tendencies pushing in opposite directions.
The work is divided into five movements according to considerations of timbre. Some kind of order, or limitation if you like, had to be imposed on the almost chaotic events and ideas which lie behind at least some parts of REJANG.