Composed for seven bassoons, Rushes takes its place alongside Michael Gordon’s Timber for expanding the boundaries of a single instrument’s repertoire into unknown (and at times, otherworldly) spaces. Like Timber, which maps new percussive territory for the simantra—a simple two-by-four slab of wood, amplified and played in a group of six to yield trance-like sonic textures—Rushes brings out tonal and timbral aspects of the bassoon that are meant to induce a quasi-meditative, almost ecstatic state, in the listener as well as the performer.

Years ago I pursed my lips and blew into a bassoon, and felt the entire instrument buzz as I droned on the very bottom note, a B flat. I held the long conical piece of wood in my hands with admiration — it was covered with what looked like a New York City subway map of shiny metal keys running every which way. The bassoon had heft and it was primal — the two reeds vibrating against each other produced a poignant and mournful sound.

It all came back to me on a cold sunny Thursday in January 2011. Five bassoonists set up in my living room. Along with 25 other bassoonists from far and wide, they had banded together and asked me to write a new piece. I’m not sure any of them imagined that my response would be an hour-long work for seven bassoons.

In earlier conversations with Dana Jessen, the American bassoonist who initiated this project, I had asked to look at all the influential bassoon music written in the 20th century. Dana showed up with just a small pile of music. I felt a little bit like Magellan. I knew there were worlds to find if I could just set sail.

During that Thursday afternoon, we explored a myriad of sounds and my living room was filled with an exquisite buzzing of dark tones. I was particularly drawn to the short percussive attacks by all the bassoons in counterpoint with each other. The texture had the aural effect of a Seurat painting, and I began to write for the instruments as if they were participants in an extreme sport — a non-stop barrage of ethereal rapid-fire points of sound that seamlessly shifted from one instrument to the next. This architectural movement of sound, which runs throughout the entire piece of music, is a technique that I first used in Timber, a percussion work for six amplified simantras. I imagined entering these waves of moving sound and embarking on a journey through a stark monochromatic landscape that slowly revealed its hidden colors.

The score, with tens of thousand of notes, looks a bit like an Escher drawing or a very long weaving pattern for a loom. In June 2012, in Edisto Island, South Carolina, I met with the seven bassoonists of the newly formed Rushes Ensemble. As we rehearsed, I thought that the piece had become like the thick river winding its way through the marshes and reedy growth surrounding us. I had already settled on the name Rushes, both for its reference to the reeds and to capture the mental state it produced. Now, with the seven bassoonists fully immersed in the music, I felt the primordial flow of sound harkening back to the very first reeds.

— Michael Gordon