In many ways, Chou Wen-chung's percussion quartet Echoes from Gorge serves as paradigm of music in latter half of twentieth century, in which element of has been elevated to position of eminence. This view of sound, revealed in Edgard Varese's use of term organized sound in preference to has been explained by Chou himself as a modern Western parallel of pervasive Chinese concept: that each single tone musical entity in itself, that musical meaning lies intrinsically in themselves, and that this concept is manifest in great emphasis placed on production and control of tones, which often involves an elaborate vocabulary of articulations, modifications in timbre, inflections in pitch, fluctuations in intensity, vibratos, and tremolos (Chou Wen-chung, Concepts and Twentieth-Century Western Composers, The Musical Quarterly 57 [1971]: 214, 216). This concern for the production and control of tones readily apparent in score to Echoes from Gorge. Seventy-two instruments are distributed evenly among four players and grouped by timbral or articulatory characteristics into families: lignophones, for example, claves, wood blocks, castanets, and temple blocks; metallophones, featuring Asian cup bells and Chinese cymbals that impart distinct oriental flavor; membranophones, such as bongos, timbales, tom-toms, and bass drums; and instruments capable of multiple articulations, such as snare and parade drums. Instruments are also categorized by characteristics of tessitura (high and low sounds), sonority, and pitch (undulating and sliding, former produced by large metal sheet and latter by lion's roar). Chou stipulates use of ten specific playing areas, from edges or rims of instruments to their centers, and twenty-five implements in addition to fingers. Fluctuations in intensity of are controlled through notation of subtle gradations in dynamic levels, at times on note-by-note basis. The coordination of multiple playing areas, number of implements, and fluctuating dynamic levels pose significant challenge for percussionist. For example, one player required to strike large gong fortissimo near its rim with hard yarn mallet in right hand, while left hand simultaneously executes mezzo-forte stroke at center with wood beater. The titles of twelve short sections of this twenty-minute work evoke an orientally inspired imagery: Raindrops on Bamboo Leaves, Shadows in Ravine, Droplets Down Rocks. Some sections are devoted to instruments of one family - metallophones in Clear Moon, membra-nophones in Drifting Clouds; others are distinguished by textural characteristics sustained, rolled sounds in Peaks and Cascades and very dense fabric in Sonorous Stones. The rhythmic structure not based on meter, but on permutations of six rhythmic modes derived from permutations of durational ratios of 3:2:1. An expressive performance of Chou's Echoes from Gorge requires consummate musicianship and ensemble playing of highest order. This literature that makes available to percussion ensemble an opportunity for musical expression previously found only in long established chamber repertory written for instruments of string, woodwind, and brass families. Wolfgang Rihm has an extensive list of works to his credit, embracing chamber music, instrumental pieces, vocal and choral works, chamber operas, pieces for music theater, and orchestral music. He has been particularly inclined to write for orchestras of Mahlerian proportions. Percussion has played prominent roles in many of these works. Rihm's Stuck for three percussionists, short theatrical event. It was written in 1988-89, product of same approximate period as his major work for musical theater, Die Eroberung von Mexico. Each of three performers in Stuck are limited to single instrument: bongo, suspended cymbal, and wood block. …