NORTHWESTERN UNIVERSITY An Annotated Catalog of …
Transcript of NORTHWESTERN UNIVERSITY An Annotated Catalog of …
NORTHWESTERN UNIVERSITY
An Annotated Catalog of Marimba Concertos with Winds
A DISSERTATION
SUBMITTED TO THE GRADUATE SCHOOL
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
for the degree
DOCTOR OF MUSICAL ARTS
Field of Percussion Performance
By
Anthony Joseph Calabrese
EVANSTON, ILLINOIS
June 2014
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© Copyright by Anthony Joseph Calabrese 2014
All Rights Reserved
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ABSTRACT
An Annotated Catalog of Marimba Concertos with Winds
Anthony J. Calabrese
This document is a musical catalog of concertos for one or two solo marimbas originally
written with wind accompaniment. Chapter One summarizes the development of the marimba
since the early 1900s. Chapter Two presents charts and descriptions of 45 works in this genre,
based on works written between 1974 and 2013. Composers of these works are based in
Australia, Belgium, England, Germany, Japan, the Netherlands, Norway, Spain, Taiwan, and
across the United States. The descriptions address composition dates, instrumentation and
timing, solo instrument range and technical requirements, including cadenzas, publishers,
arrangements, recordings, commissions and premieres, style, and other details in the scores.
Musical incipits are provided where available. Sixteen works are detailed here for the first time,
including the first known works in the genre. Readers should also see Andrew Lance Dancy’s
document (2008) for complementary information on certain works.
Chapter Three examines similarities and differences, and trends among all 45 works in
the genre based on the catalog’s details. Ideas on how to solicit new works are identified from
past studies and applied to the wind ensemble idiom.
This study informs percussionists and conductors as they select concertos for
performance, it informs composers of past works, and identifies trends.
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Acknowledgments
I want to recognize my former teachers: Gordon Stout, John H. Beck, Michael Burritt,
and James Ross, as well as my advisory committee: She-e Wu, Drew Davies, and Mallory
Thompson, for their invaluable guidance and support. All are artists and professionals of the
highest order who have left an incredible impression on me. Many thanks also for the patience
and faith of the larger doctoral committee at Northwestern University, and thanks to James Giles,
and Marcia Bosits, and to Donna Wang Su, who always made me feel like I was a priority.
Thanks to the Japanese Federation of Composers for their assistance in contacting
composers.
My sincere thanks to the composers and publishing companies named throughout the
document for granting scores and permission for use in this study, such as Atelier M. Many
composers offered their unpublished materials, and Gordon Stout mailed to me an original
manuscript. I feel humbled and blessed. Thanks to those who offered recordings and out-of-print
scores, such as Music Information Centre Norway, the Sibley Music Library at the Eastman
School of Music, and people like William Moersch, Jason K. Nitsch, Chin- Cheng “Jim” Lin,
Gerard Brophy, Benoît Chantry, Vicente Ortiz Gimeno, Satoshi Takeshima, Terumichi Tanaka,
and Stephanie Webster for providing materials.
Thanks to a local friend, etymologist and taiko drummer Masanori Seto, for his
translation services.
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Glossary
4.0-Octave: Describes the formerly standard range of a marimba, from E3 to E7
4.3-Octave: Describes a standard range of a marimba, from A2 to C7
4.6-Octave: Describes a standard range of a marimba, from E2 to C7
5.0-Octave: Describes a standard, full-size range of the modern marimba, from C2 to C7.
5.5-Octave: Describes an extended-range marimba, C2-F7.
5.6-Octave: Describes a very rare range, C2-to Gb7.
C2: Lowest pitch on a 5.0-octave concert grand marimba.
C4: Commonly known as ‘middle’ C.
C7: Highest pitch on a 5.0-octave marimba.
Harmonie: French, meaning military band or wind band (Wotton, 2009, p. 26).
Keyboard Percussion: Sometimes referred to as “mallet instruments” or “mallet percussion”,
consists of the xylophone, marimba, chimes, vibraphone, glockenspiel or
concert bells, marching bell lyre, celesta, and electronic keyboard musical
instruments digital interface (MIDI) controllers (Cook, 2006).
Percussion Concerto: a work for solo percussionist with ensemble accompaniment in which the
soloist plays several non-pitched or relative-pitched instruments,
sometimes with one or more keyboard percussion instruments.
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Dedication
This document is dedicated to: my parents Mary Anne and Jim, for having supported me in so
many ways;
my wife, Angela, for her love and support, for accommodating my writing time by taking care of
our daughter, while actively singing, teaching, and pursuing additional education;
Giuseppe and Francesca Libertella, for helping me register for the 2006 “Giornate delle
Percussione” competition, which fortunately I won;
my brother Mario, and all my family, for being supportive and encouraging;
my late Uncle Eugene Campbell, for developing my familiarity with classical composers and
their works, and for years of piano lessons;
my late Uncle Lewis Campbell, who worked through significant challenges to achieve his goals;
my professors and musical colleagues, past and present, for demonstrating the highest level of
professionalism and artistry;
my former teachers working “in the trenches” of public education, who deserve copious praise
and better conditions for all they do;
my wonderful friends, for their invaluable help, support, and babysitting.
I am able to complete this document and the degree Doctor of Musical Arts with the love,
support, and good examples of everyone mentioned above. Finally, may this document be an
example of determination, commitment, and hard work to some infinitely special people:
my children.
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Table of Contents
List of Figures and Graphs 9
Chapter 1: Introduction to the Study 10
History of the Marimba as a Concert Instrument 10
Purpose of the Study 15
Literature Review 17
Definition of Terms, Method 19
Limitations of the Study 21
Chapter 2: Catalog of Concertos for Marimba and Wind Ensemble 23
Authors’ Prior Contributions 23
Chronological List of Concertos for Marimba and Winds 24
Works Arranged by Composer 27
Works Currently Unavailable, Other Works 119
Works Arranged by Duration 121
Works Arranged by Marimba Range 124
Works Arranged by Number of Ensemble Performers 127
Chart of Arrangements 134
Chapter 3: Conclusions on the Genre and Recommendations for Further Research 140
Growth of the Genre: Number of Compositions by Decade 140
Summary of Trends 145
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Recommendations for Further Research 148
References 150
Appendix: Publishing Companies and Composers 165
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List of Figures and Graphs
1 Aqua Vitae Stage Setup 58
2 Newly Composed Marimba Concertos by Decade 141
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Chapter 1: Introduction
A Brief History of the Marimba as a Concert Instrument
“Throughout history, a multitude of bar percussion instruments existed across the globe.
The earliest instrument related to the modern marimba comes from Southeast Asia” (England,
1971, p. 87). Early versions in Indonesia involved “a long, narrow, hollow wooden box open at
the top” over which pitched bars made of bronze or iron were placed (England, 1971, p. 87). The
gender, used in Java and Bali from about 1157, used individually tuned bamboo resonators for
each pitch. There were other precursors to the marimba in Africa and Central America.
Sebastian Hurtado of Guatemala changed the layout from one diatonic to two chromatic
rows of tone-bars in about 1880 (Stevens, 2010a). Guatemalan marimbas spanned up to a 6.5-
octave range. These were “the only ones [in the 19th
century] that approximate the range
capabilities of the piano” (MacCallum, 1968, p. 3). The wood used in Guatemala allowed for
accurate-sounding pitches. The first solo marimba players lived in Guatemala (Smith, 1995). The
Hurtado brothers introduced the marimba to the US on their tour in 1908.
Two years later, John Calhoun Deagan established a company that built and marketed the
first US marimbas, using tapered metal resonators. One of his best-known models, the Nabimba,
was a custom-made instrument up to seven octaves in range, inspired by the extended range of
Central American marimbas. (MacCallum, 1968, p. 4). The common range of marimbas
produced by the J.C. Deagan Company until about 1920 was 4.5 to 5 octaves. Frank MacCallum
states that
Around 1920, all manufacturers of bar percussions, as if by unanimous agreement
discontinued making any instruments with notes lower than C, one octave below
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Middle C. In doing so they put an end to the idea of marimba bands and ensemble
playing in the United States and limited the marimba to solo playing only, with a
piano or orchestral accompaniment (1968, p, 4).
Since Central and South America received the marimba as a by-product of the African
slave trade, Europe did not encounter the marimba until North Americans brought it there some
time during the second decade of the 20th
century, according to Leigh Stevens (2010b).
For several years beginning in about 1926, George Hamilton Green performed on live
radio broadcasts every Wednesday evening, and the program that featured his ensemble could be
heard in most major cities from the East Coast to the Midwest, including Boston, Washington
DC, New York, Pittsburgh, Cleveland, Cincinnati, Detroit, Minneapolis, Davenport, and St.
Louis, among others (Lewis, 2009). Through his technical, improvisatory, and compositional
prowess, Green bolstered the public’s interest in the xylophone. Green published a technical
manual and body of literature still in use today. The ragtime style was the vehicle through which
Green solidified one identity of keyboard percussion in his time.
Clair Omar Musser was active at the same time as Green, but Musser’s style was much
more in the classical vein. Musser invented a four-mallet technique in 1920, and wrote solo
compositions employing four-mallet technique. Musser performed in Europe and America, and
during his career he would perform internationally in more than 400 concerts. Musser also taught
at Northwestern University, and is said to have taught roughly 1400 students (Gerhardt, 1965, p.
7).
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In 1931, 1933, 1935, and 1941, Musser organized and conducted “marimba orchestras”
of 100 to 150 pieces, sponsored by Deagan. Concerts featured arrangements of classical works
and gave the instrument wide exposure in the US and in Europe (Gerhardt, 1965, p. 7).
Paul Creston’s Concertino for Marimba and Orchestra, op. 21, the first solo marimba
concerto, was premiered in 1940 by the 30-piece all female Orchestrette Classique in New York
City (Hixson, 1975, p. 22). It received mixed reviews at best. Kathleen Kastner describes
reviews:
The commission and subsequent performance of this first marimba concerto
brought with it the dubious characterization of the instrument as a “novelty,”
particularly in the context of the traditional classical concert season. While
generally complimentary of Creston’s composition, critics described the premiere
as, “an interesting experiment,” “the novelty of the evening” and “at first blush
might read like a manifestation of the silly season.” …This description, perhaps
partially a result of the xylophone’s novelty ragtime roots, followed the marimba
for two decades (Kastner, 1994, p. 83).
There were positive comments, too, even if qualifiedly so. “Mr. Creston writes with rhythmic
bite and variety and, occasionally, with a delightful lyrical strain,” and “Miss Stuber played it
with skill as well as art” (Kastner, 1994, p. 84).
Seven years after the premiere of Creston’s work, percussionist Jack Connor requested a
commission from Darius Milhaud, who said he “didn’t think that the marimba would be well
received in a concerto or other performing context” (Kastner, 1994, p. 84). Connor persisted,
played on the marimba for Milhaud, and the composer reconsidered. In February of 1949, the
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Concerto for Marimba and Vibraphone, op. 278, was premiered by Connor and the St. Louis
Symphony (Kastner, 1994, p. 84). Connor also performed it with the Japan Philharmonic (Abe,
1984, p. 42).
The marimba’s development was slowed during World War II. Due to rationed metal
supplies, on some marimbas brass resonators were replaced with cardboard tubes, making the
instrument more portable, but lacking the durability of metal resonators. The range of marimbas
in production had shrunk to 4 octaves or less. After 1942, the Deagan Company did not produce
instruments with ranges exceeding 4 octaves for another thirty years (“Deagan Marimbas,” n.d.).
Just after the war, Musser, who was Deagan’s design specialist, broke his ties with the company
to begin his own.
Musser marimbas were the first brand of marimba to reach Japan. In 1950, Dr. Lawrence
Lacour, who had toured Europe in 1935 in Musser’s marimba orchestra, returned to Japan as a
missionary. He brought several marimbas and used them to enrich his missionary work. This was
Japan’s first encounter with the marimba (Abe, 1984, p. 41).
During the 1950s, percussion education expanded and more collegiate percussion courses
were offered. More marimbas were in demand, and due to rising costs of materials and labor, the
early custom marimbas were no longer the focus of the market. Whereas initially many
affordable models and a few high-end models were being sold, the market shifted to more
moderate prices and quality.
Also in the 1950s, Vida Chenoweth performed the first solo marimba recital featuring
original compositions for marimba by Fissinger, Matthies, Musser, and Creston (all American-
born). Her European debut took place in 1962, and overall she is said to have performed one
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thousand recitals throughout the US and Europe (Strain, 1994, p. 8). She commented that
European audiences “understood the music. They did not have to understand the instrument, nor
did I have to explain myself” (Stevens, 1977, p. 22).
In 1963, Japanese marimbist Keiko Abe was named Yamaha’s marimba design
consultant, and would have many Japanese composers writing works for her during this decade
(Kite, 1998).
Abe’s first recording became available in the U.S. in 1969. It offered a fresh approach to
composition, and Abe’s “aggressive yet sensitive” technique and playing style (Kastner, 1995, p.
73). The 1970s saw a dramatic increase in the number of Japanese marimba works, and Yamaha
continued to expand the range, sound quality and visual aesthetics of their marimbas. The J.C.
Deagan Company ended its era of 4-octave instruments by producing 4.3-octave instruments in
1972 (“Deagan Marimbas”, n.d.). In 1973, Yamaha finished the 4.5-octave, “low-f” marimba.
(Kite, 1998, p. 52).
The techniques required in Japanese solo literature such as one-handed rolls in Miyoshi’s
Torse III challenged marimbists in Japan and the U.S. to expand their technical abilities.
(Kastner, 1995, p. 73). Leigh Stevens addressed several techniques such as one-handed rolls and
single independent rolls in his book Method of Movement for Marimba. These techniques
heightened interest in the marimba as a solo instrument in the US and in Europe. Birch handles
came into use specifically for four-mallet playing (Stevens, 2010). “By the close of the 1970s,
the Japanese marimba repertoire and its requisite technique had become a component of the
major percussion education curricula throughout the United States.” (Kastner, 1995, p. 73).
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Yamaha finished designing the 5-octave YM6000 in 1984, and Abe used the extra low
notes in writing her own compositions (Kite, 1998). The 5.0-octave range (C2 to C7) has been
the industry’s maximum until recent years, when several companies began producing 5.5-octave
instruments (ranging from C2 to F7)1.
A new generation of major compositions came about during the 1980s, written by
composers such as Druckman, Miki, Reich, Schwantner, and others. Whereas the early 20th
century literature was comprised of a higher proportion of orchestral transcriptions, these new
works were conceived with the natural sound characteristics of the marimba in mind, such as
articulation and decay. After the technical advances of Leigh Stevens, many solo artists were
commissioning new works involving the new techniques. These new works challenged the
soloist’s stamina as well as his command of touch, color, interval changes and other technical
and expressive aspects.
Today, percussionists in Europe, the U.S. and Japan continue to learn from and inspire
each other. Many trained percussionists also compose in order to grow the repertoire further.
Percussion programs in higher education were at one time focused on orchestral music and jazz,
but now involve solo marimba and marimba ensemble literature as well. Professors are often
composers as well. Some schools even offer a specific degree in marimba performance.
Purpose of the Study
The genre of marimba concerto with wind ensemble began 34 years after the Creston,
with Gordon Stout’s Three Movements for Marimba and Wind Ensemble and Terumichi
1 Manufacturers such as Adams, Yamaha, and Marimba One produce marimbas ranging over 5 octaves.
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Tanaka’s Music for Solo Marimba and Wind Orchestra (both 1974). Between 1940 and 2002 (a
62-year period), there were 89 concertos written for marimba and orchestra or string
accompaniment (Daughtrey, 2004). For the current study, 18 additional works were found and
included, most written between 2003 and 2013. Between the years 1974 and 2013 (a 39-year
period), 44 concertos were written for wind accompaniment. The total numbers are 107 works
originally with orchestra or string accompaniment, and 44 originally with wind accompaniment.
While these numbers favor the orchestral setting overall, the wind ensemble genre has
experienced a growth pattern similar to that of the orchestral sub-genre (statistics will be
revealed in this document’s conclusion). Several works originally written with orchestral
accompaniment now have wind arrangements, though these works have been omitted so that this
document may focus on the smaller body of works originally with winds.
Musicians play an important role in the creation of new works. Keyboard percussion is
still in the process of outgrowing a residual “novelty” stereotype, and although rags and novelty
music will always have value as part of the American musical footprint, a century of diverse
literature has progressed the keyboard percussion idiom by leaps and bounds. Percussionists can
best serve their field by demonstrating to the general public the vast possibilities and applications
of keyboard percussion. Percussionists must also keep in mind their influence on the market:
each time they commission, arrange, perform, rent, or buy a work, it makes a statement to
publishers, composers, and other musicians, and validates that work for its content.
Increasing numbers of concertos are being arranged or reduced for more than one
ensemble accompaniment. These arrangements include any conceivable group: orchestra,
chamber/string orchestra, symphonic band, wind ensemble, “reduced” winds, percussion
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ensemble, or other mixed chamber ensemble. Multiple accompaniments acknowledge that these
works have become markedly more popular and are receiving more performances in professional
settings and in higher education.
This document is meant to promote awareness of the 45 concertos for marimba and winds
known, regardless of their publication status. Details on how to obtain scores and recordings are
provided, and musicians should use the details herein when selecting a concerto for study or
performance. The author hopes that musicians everywhere will become more familiar with the
works in this genre, and that the works themselves might serve to inform new compositions in
positive ways.
Literature Review
A dissertation by M. Christine Conklin (now Christine Souza), An Annotated Catalog of
Published Marimba Concertos in the United States from 1940-2000, shows a chronology of 45
concertos for keyboard percussion, including works for more than one keyboard percussion
instrument, written for string, orchestra and wind ensemble accompaniments. The problem, as
Conklin states, is that “very little is written about the marimba concerto as a genre. The majority
of research in this area deals with the first three major marimba concertos by Paul Creston,
Robert Kurka, and Darius Milhaud” (Conklin, 2004, p. 4). She suggests that apart from these
three important works, there is still much to learn about works written for the instrument. She
quotes John Raush’s review of Marta Ptaszynska’s concerto: “Although the concerto has been in
existence for over 15 years, many aficionados of the marimba have probably never heard it or
examined a score” (Raush, 2002, p. 71). Conklin continues: “Unfortunately, this seems to be the
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case for many marimba concertos. Many teachers and students are unaware of the much larger
repertoire that exists” (Conklin, 2004, p. 4).
Conklin separates the concertos into three chronological periods: Early (1940-1968);
Middle (1969-1986); and Recent (1989-2000), and identifies trends in each period. She explains
that almost all of the earliest concertos are “commissioned… from composers who were not
percussionists. Most…[were] written for orchestra accompaniment.” She suggests that
composers believed it would be easier to have their works performed by wind ensembles than by
orchestras. “Many of the composers either made arrangements of their works for wind ensemble
or, as seen in later periods, wrote their original accompaniments for wind ensemble or band.”
Conklin states that because wind ensemble is a “relatively new genre,” wind ensemble
conductors are “more likely to program a marimba concerto than orchestra conductors” (2004, p.
31). Four-mallet technique is not as demanding as in later works, often associated with chorale-
style writing. Conklin found that Oliver Nelson’s Concerto for Xylophone, Marimba,
Vibraphone, and Wind Orchestra (1967) was the first keyboard percussion concerto written with
winds as the original accompaniment (2004, p. 31). From the early period, wind or band
arrangements remain available for works by Creston, Basta, and Kurka.
Nathan Daughtrey published much statistical data in his 2004 dissertation Marimba
Concerto Performances in United States Orchestras: 1940 through 2002. In the document, he
lists 89 works, four of which have little to no information available other than title and composer.
Daughtrey graphs the number of new works composed by decade, showing a pattern of increased
growth with each successive decade. After surveying the number of performances on record for
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each work with orchestral accompaniment, Daughtrey’s results showed that Ney Rosauro’s first
concerto had the highest number of performances on record, followed by the Creston.
A 2008 dissertation by Andrew Lance Dancy develops Conklin’s observation that early
concertos were arranged or written for band in order to encourage more frequent performance.
By 2008, the genre as a whole had seen many works arranged for two accompaniments or more,
and with the same goal in mind, Dancy made a reduced wind arrangement of David Gillingham’s
Concerto No. 2 for Marimba and Band (currently available in the original wind ensemble
version, piano reduction, orchestra, percussion ensemble, and Dancy’s chamber wind
arrangement). One chapter prior to the arrangement focuses on “Extant Literature for Marimba
and Winds,” showing a total of 22 works. However, several of the entries are arrangements of
works originally written for orchestra or string accompaniment. The document also lists Timothy
Broege’s Songs Without Words, Set No. 3 for Marimba and 10 Players, and quotes Broege’s
description of this as “more chamber music in style rather than concerto style” (Timothy Broege,
personal communication with Andrew Dancy, May 8, 2008.). The body of work addressed by
Dancy represents some extremely popular works, but as the genre is growing rapidly with
original works, a more extensive and complete list is warranted.
Definition of Terms, Method
It should be noted that the term “wind ensemble” as it appears in this document is used to
describe ensembles that vary and are slightly unique from one to the next. Ensemble
instrumentation is specified for each work. For example, double bass and cello are used in David
Gillingham’s Concerto No. 2. Works with smaller combinations of woodwind and/or brass such
as woodwind quartet or quintet are also included where the title or description provided by
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composer or publisher describes the work as a “concerto” or “concertino,” or the work features
marimba solo passages such that the instrument is a central voice in the work.
This study focuses on works featuring one or two solo marimba(s). Thea Musgrave’s
Journey Through a Japanese Landscape and Huang’s Naluwan Concerto are included, despite
the employment of accessories such as tam-tam and wind chimes (Musgrave) or temple blocks
(Huang). These instruments are used for color rather than to state thematic content. No works
were included where the soloist plays thematic or motivic material on instruments other than the
marimba.
The term “keyboard percussion” will be used in reference to the infrequent historical
concerto that involves more than one instrument in the family, as opposed to a “marimba
concerto.”
The method used in identifying and retrieving the list of works cataloged is based on
dissertations found via ProQuest, publishers’ listings, music listings from retailers such as Steve
Weiss Music, The Percussive Arts Society programs database and music review sections, the
Thomas Siwe Percussion Solo Literature manual as well as internet keyword searches.
Composers and publishers from Australia, Belgium, Germany, Japan, the Netherlands,
Norway, Spain, Taiwan, and across the United States were gracious enough to send their scores
in contribution to this document. Electronic mail was the primary method of correspondence.
Any language barriers encountered via email or on the web were effectively dealt with using web
translators. When making a first contact, messages were most often sent in two languages
concurrently. Information collected includes biographical information about composers and their
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works, and then details on the scores such as instrumentation, marimba range, program notes,
identifying commissions, premiere performances, timings, recordings and publishers.
In Chapter Three, the growth of the marimba with wind ensemble genre is assessed by
number of new works per decade, and compared to the body of concertos in the string/orchestral
vein, based on Nathan Daughtrey’s 2004 dissertation study. In an attempt to update those
statistics, additional works for orchestra or string accompaniment are listed, after a web search
involving publisher/distributor, composer, and soloists’ professional sites. This study does not
presume to represent all works with string or orchestra accompaniment due to the limitation of
this search and the focus on wind accompaniment. Only works written for one or two marimba
soloists were included.
Out of 47 concertos with wind accompaniment, 25 new works are included here which do
not appear in PAS literature reviews, in the SIWE catalog, or in Dancy’s document. Fifteen of
these newly described works come from outside the U.S. Thirty-seven of the 47 (78.7%) are
currently available for performance. Ten of the works are unpublished as of the time of this
study. Unpublished works are included here to invite further research in the genre. It is possible
that works by Baumol, B’Racz, Takeshima and Webster may be published in the future.
Limitations of the Study
As stated previously, works originally written with orchestral accompaniment which are
also arranged for winds have been omitted, so that this document may focus on the smaller body
of works originally with winds.
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A few works do not fit the scope of this study. A work by Emmanuel Séjourné was
omitted (Concerto No. 2 pour Marimba et Harmonie, 2009), because it involves significant non-
pitched percussion in the solo part.2
Timothy Broege’s Songs Without words, Set No. 3 for Marimba and 10 Players was
excluded based on the composer’s description of the work as a chamber work rather than a
concerto.
As stated in the abstract, the works in this document were written and performed in ten
countries around the globe. Therefore, it is outside the scope of this study to determine how
many times each piece has been performed.
2 A performance of the concerto may be found at http://www.youtube.com/watch?v=0VlHVS1_LXQ
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Chapter 2: Catalog of Concertos for Marimba and Wind Ensemble
The first keyboard percussion concerto with winds was Oliver Nelson’s Concerto for
Xylophone, Marimba, Vibraphone, and Wind Orchestra in 1967 (Conklin, 2004). The first two
original concertos for solo marimba and wind ensemble (with no other solo instruments) were
written in 1974: Terumichi Tanaka’s Music for Marimba and Wind Ensemble (Percussive Arts
Society, n.d.), or Musik für Marimba Solo und Bläserorchester (Abe, 1984a, p. 59), and Three
Movements for Marimba and Wind Ensemble by Gordon Stout. Stout dedicated his work to Niel
DePonte, who two years later reciprocated the gesture with DePonte’s own Concertino for
Marimba and Wind Ensemble. DePonte’s work is the earliest published concerto for solo
marimba.
Authors’ Prior Contributions
In his 2008 dissertation, David R. Gillingham’s Concerto No. 2 for Marimba: A
Transcription for Marimba and Chamber Ensemble, author Andrew Lance Dancy includes a
chapter entitled “Extant Literature for Solo Marimba and Winds.” In that study, Dancy describes
17 of the 47 works in the genre. Details from that previous study are summarized here for ease of
reference, and works from Dancy’s study are notated “[D]”. Readers are encouraged to see
Dancy’s study also.
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Chronological List of Concertos for Marimba and Winds
1974 Stout, Gordon: Three Movements for Marimba and Wind Ensemble
1974 Tanaka, Terumichi: Music for Marimba and Wind Ensemble
1976 Musser, Clair Omar: Scherzo Caprice [D]
1976 DePonte, Niel: Concertino for Marimba and Wind Ensemble [D]
1976 Tanner, Peter: Concert Piece for Marimba and Wind Ensemble
1980 Carey, David: Suite for Marimba and Woodwinds
1987 Levin, Todd: Aqua Vitae for Solo Marimba and 17 Instruments
1987 Serry, John: Concerto for Marimba and Wind Ensemble [D]
1988 Briggs, Thomas: Concerto for Marimba and Wind Ensemble [D]
1988 Stukenholtz, Larry: Expansions for Marimba and Wind Ensemble
1989 Thingnæs, Frode: Liten Konsert for Marimba og Korps (Concertino for Marimba
and Band)
1990 Maslanka, David: Concerto for Marimba and Band [D]
1991 Broege, Timothy: Concerto for Marimba & Wind Orchestra [D]
1991 Reed, Alfred: Concertino for Marimba and Winds [D]
1993 McCarthy, Daniel: Chamber Symphony for Marimba and Winds [D]
1994 Musgrave, Thea: Journey Though A Japanese Landscape, for Marimba and Wind
Ensemble [D]
1994 Schoonenbeek, Kees: Concerto for Marimba and Wind Ensemble,
Concerto for Two Marimbas and Wind Ensemble [D]
1994 Stout, Gordon: Duo Concertante, for Two Marimba Soloists and Wind Ensemble
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1997 Long, David: Concerto for Marimba and Wind Ensemble [D]
1998 B’Racz, Istvan Peter: Concerto for Two Marimbas and Wind Ensemble
2002 Kopetzki, Eckhard: Marimba in the Wind
2003 Nitsch, Jason: Concerto No. 2 for Marimba and Wind Ensemble
2004 Peterson, Russell: The Life of King David: Concerto for Marimba and Band [D]
2005 Diegelmann, Udo: Treffpunkt 4/4/3
2006 Helble, Raymond: The Dragon of Wyckham [D]
2006 Chung, Yiu-Kwong: Concerto for Marimba and Wind Ensemble [D]
2006 Gillingham, David: Concerto No. 2 for Marimba and Wind Ensemble [D]
2007 Faegre, Brendan: Concerto for Marimba and Chamber Winds [D]
2007 Hirose, Hayato: Fantasy for Marimba
2007 Huang, Ssu-Yu: Naluwan Concerto for Marimba and Wind Concert Band
2007 Mashima, Toshio: Lotus Flower Concerto for Marimba and Band
2008 Glentworth, Mark: Marimba Concerto No. 1
2008 Lin, Chin-Cheng: Marimba Concertino No. 1 ‘One Love’ for Brass Band
2008 Mashima, Toshio: The Song of a Great Tree
2008 Yagisawa, Satoshi: Marimba Concerto
2009 Takeshima, Satoshi: Sky High for Wind Orchestra and Solo Marimba
2010 Baumol, Adam: Sten: Concerto for Marimba and “Funkestra”
2010 Ortiz Gimeno, Vicente: Balan fô Concerto for Marimba and Wind Ensemble
2010 Nitsch, Jason: Forward!
2012 Chantry, Benoît: Two Marimba Reflections
26
2012 Håkestad, Andreas: Movements for Marimba and Wind Quintet
2012 Webster, Stephanie: Concerto for Marimba and Winds
2013 Brophy, Gerard: Scenes from the Caucasus
2013 McMullin, Brenden: Suite for Marimba and Wind Ensemble
2013 Silverman, Adam: Carbon Paper and Nitrogen Ink
2013 Theofanidis, Christopher: Concerto for Marimba and Wind Sinfonietta
27
Works Arranged by Composer
This section details 47 works in the genre. Musical incipits are provided where available,
and are the property of the associated publisher or composer.
Adam Baumol: Sten Concerto for Marimba and Funkestra
1.
Adam Baumol
Title: Sten: Concerto for Marimba and Funkestra
Date: 2010
Instrumentation: Funk band setup: 3 trumpets, 2 trombones, 3 alto sax, tenor sax, bari
sax, piano, bass guitar, drums
Timing: 9:15
Score:
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 4 mallets
Range: 5.0
Cadenza: No
Publisher: Unpublished
Arrangements: Original instrumentation only
Recordings: Streaming video at www.youtube.com/watch?v=YFgNcywM2gE
Incipits:
Commission: None
Premiere: April 2010, in Baumol’s graduate degree recital at The University of
Delaware. Paul Robertson, marimba; Scott Lynch, bass; Doug
Schwartz, trumpet; Tim Plimpton, trombone; Jennifer Barker, piano;
and Adam Baumol, drums.
Adam Baumol became a percussionist after learning and performing on the clarinet,
oboe, saxophone, guitar and piano. His main focus is drum set. He received his Bachelor of
Music in Percussion Performance and his M.M. in Theory and Composition, both from the
University of Delaware. He studied with Harvey Price and Jennifer Barker. In 2008 Adam
28
received Phi Kappa Lambda’s Composition Award at UD. He has taught classes and lessons in
percussion.
Istvan Peter B’Racz: Concerto for Two Marimbas and Wind Ensemble
2. Istvan Peter B’Racz
Title: Concerto for Two Marimbas and Wind Ensemble
Date: 1998
Instrumentation: Piccolo, 2 flutes, 2 oboes, 2 bassoons, 3 clarinets, bass clarinet, 4
horns, 2 trumpets, 2 trombones, bass trombone, tuba, timpani, 3
percussion.
Percussion 1: tambourine, snare drum, tom-tom, cymbals, claves.
Percussion 2: bass drum, tom-tom.
Percussion 3: wind chimes, glockenspiel, staple gun, woodblock,
shaker, bass drum, claves, hand drums (2).
Timing: 16:00
Score: Concert Pitch
Translated Title:
Is the composer a
percussionist?
No
Technical Requirements:
Range: 5.0 octaves (both soloists)
Cadenza: Yes
Publisher: Composer Self-Published
Arrangements: Wind Ensemble
Recordings: None available
Incipits:
29
Commission:
Premiere:
Gregg Giannoscoli and Andrew Harnsberger at Virginia
Commonwealth University.
30
Istvan P. B’Racz is based in the New Haven, CT area. He studied composition, electronic
music, and conducting at the Hartt School of Music, piano at the Yale School of Music and at the
Franz Liszt Academy of Music in Budapest Hungary (awarded a Fulbright Grant), and
composition and piano at the Oberlin Conservatory. His works have been performed or played in
many venues throughout the United States, in Europe, and on the airwaves. For him, the essence
of composing is “the overseeing of large-scale blue-prints, then delighting in the details”(“Bio,”
2013). His influences range from electronic and avant-garde to orchestral and classical works, as
well as popular music from 1900 to the present, folk music, pre- 1600 and ancient music, punk,
and more.
He enjoys performing new works for the keyboard (and various controllers), mixing
elements, traditions and influences. He taught piano, composition, and music technology
at Central Connecticut State University and Southern Connecticut State University. Currently he
teaches piano, composition and theory at Neighborhood Music School, piano at Southern
Connecticut State University, and composition at the Educational Center for the Arts. He also
records, edits, and produces CD/DVDs and uploads of concerts and auditions through his
company, BRACZsound.
Thomas Briggs: Concerto for Marimba and Wind Ensemble
3. Thomas Briggs
Title: Concerto for Marimba and Wind Ensemble
Date: 1988
Instrumentation: Piccolo, 2 flutes, 2 oboes, Eb clarinet, 3 Bb clarinets, 2 bassoons, 2
alto saxophones, 10 saxophones, baritone saxophone, 2 trumpets, 4
horns, 3 trombones, bass trombone, 2 euphoniums, 2 tubas, string
31
bass, timpani. Percussion 1: snare drum, 2 tom-toms, suspended
cymbal; Percussion 2: bass drum, suspended cymbal, crash cymbals;
Percussion 3: xylophone, bells, suspended cymbal.
Timing: 6:45
Score:
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 2 and 4 mallets
Range: 4.3 (B2 - Ab6)
Cadenza: Yes
Publisher: C. Alan Publications
Arrangements: Wind Ensemble, Piano
Recordings: None
Incipits:
Commission:
Premiere:
Timothy Broege: Concerto for Marimba & Wind Orchestra
4. Timothy Broege
Title: Concerto for Marimba & Wind Orchestra
Date: 1991
Instrumentation: 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 3 trumpets, 4 horns, 3
trombones, tuba, contrabass, timpani, 3 percussion
Timing: 25:00
Score:
Translated Title: n/a
32
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 4.6 octaves (E2 - Bb6)
Cadenza: Yes
Publisher: Allaire Music
Arrangements:
Recordings: O-Zone Percussion Group: Whiplash (Klavier Records K11115)
Incipits:
Commission:
Premiere:
33
Gerard Brophy: Scenes from the Caucasus
5. Gerard Brophy
Title: Scenes from the Caucasus
Date: 2013
Instrumentation: 3 flutes, oboe/English horn, bassoon, 3 clarinets, bass clarinet, 2 alto
saxophones, tenor sax, baritone sax, 4 horns, 3 trumpets, 3
trombones, euphonium, tuba, crotales, 2 vibraphones
Timing: 20:00
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 2 and 4 mallets
Range: 4.0 (G3 - Ab6)
Cadenza: Cadenza
Publisher: Composer Self-Published
Arrangements: Wind Ensemble
Recordings: Streaming Video at www.YouTube.com
Incipits:
Commission: 2012, by University of Newcastle Master’s student David
Lockeridge, with assistance from the Music Board of The Australia
Council.
Premiere: Sunday, Nov. 10, 2013, at 2:30pm, in Harold Lobb Concert Hall in
Newcastle, Australia.University of Newcastle Wind Orchestra.
Gerard Brophy is an Australian composer born in 1953 who now divides his time
between Brisbane and Calcutta. He began studying classical guitar at age twenty-two. In the late
seventies he worked closely with Brazilian guitarist Turibio Santos and the Argentine composer
34
Mauricio Kagel before studying composition at the New South Wales State Conservatorium of
Music.
He has been commissioned and performed by ensembles around the world, including the
Melbourne, Queensland, Tasmanian, West Australian, Sydney and New Zealand Symphony
Orchestras, the Malaysian Philharmonic, the BBC Philharmonic and Symphony Orchestras, and
others. He is a particularly active collaborator in the areas of ballet, dance and electronica.
Collaborations with musicians from other cultures include Senegalese master drummers, the
N’Diaye Rose family, and the timbila virtuoso Venancio Mbande from Mozambique.
Recent performances include the sell-out season of his ballet Yo Yai Pakebi, Man
Mai Yapobi choreographed by Regina van Berkel and performed by the Residentie
Orkest and the Nederlands Dans Theater; the premiere seasons of Semele and Halcyon as
part of the Australian Ballet’s highly successful Interplay and Edge of Night programmes,
and the Song Company's tour of Gethsemane, his contemporary passion play.
In his notes accompanying the recording on YouTube, Brophy describes his
Scenes from the Caucasus:
I. Davit Gareja: The isolation and the stunning location of the Davit Gareja
monastery overlooking the infinite expanses of the Azerbaijan steppe--a place
of timelessness and unparalleled serenity.
II. Kazbegi: The majesty of Mt Kazbegi towers over the Georgian pilgrim church
of the Holy Trinity deep in the heart of the Caucasus range.
III. Tbilisi: Not too far under the glittering and urbane surface of this engaging
city lays an ancient and mysterious soul. (Brophy, 2013b)
35
“My ambitions in this work were twofold,” Brophy says. “Firstly I was keen to exploit
the familiar pyro-technical possibilities of the marimba in all their dazzling splendour. But I
also wanted to feature its lyrical qualities, which demand a somewhat more understated yet no
less exacting virtuosity” (Brophy, 2013b). The movements’ durations are six minutes, seven
minutes, thirty-five seconds, and six minutes, forty seconds, respectively.
Brophy has written several works for percussion ensemble, including Two Views from
Here (quartet, 2009), Luminoso (quartet, 2007), Songo (quintet, 2002), Trash (quartet, 1995),
Umbigada, Obrigado! (quartet, 1995), Glint (sextet, 1992), Hydra (trio, 1980), plus many
more mixed chamber ensembles. Brophy’s music is available from the Australian Music
Centre.
David Carey: Suite for Marimba and Woodwinds
6. David Carey
Title: Suite for Marimba and Woodwinds
Date: 1980
Instrumentation: Woodwind Quintet
Timing:
Score:
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements:
Range:
Cadenza:
Publisher:
Arrangements:
Recordings:
Incipits:
Commission:
Premiere: 21 January 1980, Rochland Center for the Arts, Nyack, New York,
36
with the Springstead Woodwind Quintet and the composer on
marimba (Siwe, 1995, p. 61).
Benoît Chantry: Two Marimba Reflections
7. Benoît Chantry
Title: Two Marimba Reflections
Date: 2012
Instrumentation: 2 flutes, oboe, bassoon, Eb clarinet, 3 Bb clarinets, bass clarinet, alto
saxophone, tenor saxophone, baritone saxophone, 3 Bb trumpets, 3
French horns, 3 trombones, euphonium, Bb euphonium in treble clef,
basses, string bass, drum set, timpani, mallets and percussion, mallet
percussion, timpani, and drum set. Alternate parts are available for Eb
horn, Bb trombones in bass clef, Bb euphonium in bass clef, Eb bass
and Bb bass, in treble or bass clef.
Timing: 7:30
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 4 Mallets
Range: 4.5 octaves (G2 - E6). There is only a single note on G2, marked
“optional.” Therefore the work is playable on a 4.3-octave instrument
as well.
Cadenza: No
Publisher: Tierloff Muziekcentrale
Arrangements: Wind Ensemble, Piano
Recordings: The Hageland Wind Orchestra guest conducted by Evan Feldman.
The disc is entitled Two Marimba Reflections: Tierolff for Band No.
28 (Tierloff Muziekcentrale)
Incipits:
37
Commission:
Premiere: The Hageland Wind Orchestra with the Belgian soloist Kelly Helsen,
on April 14th
, 2012, at Den Egger in Scherpenheuvel, Belgium,
conducted by Kah Chun Wong.
Benoît Chantry is a Belgian percussionist and composer who began his musical study at
the Doornik Conservatory, Belgium, where he studied piano, violin, saxophone and percussion.
He continued his percussion studies at the Royal Conservatory in Brussels, where he studied
orchestral conducting, chamber music, jazz and composition. He composes for musical theatre
but also arranges for jazz and folk artists. In the biography preceding the score of Two Marimba
Reflections, Chantry describes his style as: “characterized by…attempts to combine various,
often very different, styles” (Chantry, 2012). He conducts chamber music ensembles and
symphony orchestras, at events such as the opening of the Musical Instruments Museum in
Brussels. He has been conducting wind bands since the age of seventeen.
Chantry is the conductor of the wind band La Concorde at Péronnes, and of the wind
band of the Doornik Conservatory. He is also a professor at the Doornik Conservatory and the
Brussels Royal Conservatory. In 1999 he was awarded the Composition Prize at the SABAM
European Jazz Contest and in 2007, and he was also awarded the Prize of the Music Federation
of the Province of Henegouwen. He is published by HaFaBra Music, Percussion Music Europe,
and Tierloff Muziekcentrale. He has conducted the Hageland Wind Orchestra on two recordings
for Tierloff.
Two Marimba Reflections consists of two movements: the first, North, is described by
Chantry in the program notes as “lyrical and romantic,” while the second, South, “has more
modern characteristics and quickly progresses to a more jazzy style with an incredible
38
accompaniment from the band” (Chantry, 2012). The degree of difficulty is graded four for the
ensemble, five for the soloist.
Yiu-Kwong Chung: Concerto for Marimba and Wind Ensemble
8. Yiu-Kwong Chung
Title: Concerto for Marimba and Wind Ensemble
Date: 2006
Instrumentation: Piccolo, 2 flutes, 2 oboes, 2 bassoons, 3 clarinets, bass clarinet, 2 alto
saxophones, tenor sax, baritone sax, 4 horns, 3 trumpets, 2
trombones, bass trombone, euphonium, baritone in tenor clef, tuba,
string bass, timpani, 4 percussion.
Timing: 15:30
Score:
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 4 mallets
Range: 5.0 (C2 - C7)
Cadenza: Yes
Publisher: C. Alan Publications
Arrangements: Wind Ensemble, Piano
Recordings: Streaming audio at www.c-alanpublications.com
Incipits:
Commission:
Premiere:
39
Niel DePonte: Concertino for Marimba and Wind Ensemble
9. Niel DePonte
Title: Concertino for Marimba and Wind Ensemble
Date: 1976, revised in 1983
Instrumentation: Piccolo, 3 flutes (flute 1 minimum 2 players), 2 oboes, 3 Bb
clarinets
(clarinet 1 minimum 2 players), bass clarinet, 2 bassoons (if only one
available, play lower part), alto saxophone, tenor saxophone, baritone
saxophone, 4 horns in F, 4 trumpets, 4 trombones, 2 tubas (if only
one available, play lower part), timpani (5 drums, reducible to 4), 3
percussion. Percussion 1: vibraphone (no motor), bass drum and
mounted cymbal, medium suspended cymbal, crash cymbal, mounted
tambourine, medium triangle, high suspended cymbal. Percussion 2:
xylophone, bass drum (shared with perc 1), large tam-tam,
tambourine, bass drum with mounted cymbal (shared with perc 1).
Percussion 3: large crash cymbal, bells, 2 bongos, snare drum (5”).
One player on a part, except where indicated.
Timing: 10:30 (see link to streaming video)
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 2 and 4 mallets
Range: 4.3
Cadenza: Yes
Publisher: Marimba Productions, Inc.
Arrangements: Wind Ensemble, Orchestra, Piano
Recordings: Streaming video at
http://www.youtube.com/watch?v=CTMOb3ABkh8
Incipits:
40
© Property of Marimba Productions, Inc. All rights reserved including recording and public
performance. Reprinted with permission.
Commission: For Gordon Stout
Premiere: Premiered with piano in 1976 at Interlochen, MI, with Christine
Smith, piano, and Niel DePonte, soloist.
Wind ensemble premiere on July 20, 1977 at Interlochen, MI, The
University of Michigan Wind Ensemble, Dr. Richard Strange,
conductor, Niel DePonte, soloist.
The (revised) orchestral arrangement world premiere took place on
January 15, 1984 in Portland, OR. The Oregon Symphony Orchestra,
Neal Gittleman, conductor, Niel DePonte, soloist.
Revised wind ensemble arrangement was premiered May 3rd
, 1987 by
The Eastman Wind Ensemble in Rochester, NY, Dr. Donald
Hunsberger, conductor, Luanne Warner, soloist.
Niel DePonte was born on May 3, 1953 in New York City. He studied percussion (with
Ted Frazeur) and education at The State University of New York at Fredonia (1974), and the
Eastman School of Music with John Beck (M.M, Performer’s Certificate, 1976). Fred Hinger
was also one of his former teachers. In 1977, at the age of 24, DePonte was appointed principal
percussionist of the Oregon Symphony. Niel DePonte was one of 2003’s five Grammy Award
nominees for Best Instrumental Soloist Performance with Orchestra for his recording of Oregon
41
composer Tomas Svoboda’s Concerto for Marimba and Orchestra conducted by James DePreist
and performed by the Oregon Symphony on Albany Records. DePonte studied conducting with
Leonard Bernstein, David Effron, and others, and has appeared as guest conductor with
numerous American symphonies and at various music festivals throughout the U.S. and abroad,
particularly in Russia. DePonte directed the Bel Canto Northwest vocal Institute for three
seasons. He is an advocate for music in schools, and directs youth programs and competitions in
Portland, OR, where he is currently based.
Udo Diegelmann: Treffpunkt 4/4/3
10. Diegelmann, Udo
Title: Treffpunkt 4/4/3 für Marimbaphon ad libitum und Blasorchester
Date: 2005
Instrumentation: Piccolo, 2 flutes, 2 oboes, 2 bassoons, Eb clarinet, 3 Bb clarinets,
bass clarinet, 2 alto saxophones, tenor sax, baritone sax, 2 French
horns, 2 cornets, 3 trumpets, 3 trombones, 3 tenor horns, baritone,
tuba, F tuba, timpani, triangle, bongos, conga, bass drum, drum set
Timing: 15:00
Score: Concert Pitch
Translated Title: Meeting Point 4/4/3 for Marimba ad lib and wind band
Is the composer a
percussionist?
Yes
Technical Requirements: 2 and 4 mallets
Range: E2 to Gb6
Cadenza: Yes
Publisher: 2005 Hubert Hoche-Musikverlag
42
Arrangements: see “Other Information” below
Recordings:
Incipits:
Commission: Hubert Hoche
Premiere: November 2006, in Hammelburg, Germany. Stadtkapelle
Hammelburg with Hubert Hoche, conductor, and Udo Diegelmann,
soloist.
Novelty is the main objective of the piece. A role reversal occurs at the very beginning:
brass players hit mouthpieces with their palms, woodwinds use ‘key flapping noise’, and
percussionists use leaf blowers/hair dryers on their instruments. Players change positions on
stage at indicated times. There is also a bit of visual comedy involving a leaf blower. Other
extended techniques include hitting the trombone’s bell with a rubber mallet, and using a blow
gun to hit drums with projectile peas.
43
This is definitely not an active or virtuosic marimba concerto. The first half of the piece
requires the marimbist to “play” glissandi with a hair dryer. Measures 266 to 279 are labeled
“marimba solo,”, but still do not entail technical difficulty. A metered cadenza occurs at 281, the
ensemble enters at 332, and solo line becomes no more than another ensemble part at 350.
The oboe and bassoon parts are optional. Select cues from these parts are included in the
flute, clarinet or baritone saxophone parts.
The composer has indicated all solo marimba sections can be skipped if no marimba
soloist is available.
Brendan Faegre: Concerto for Marimba and Chamber Winds
11. Brendan Faegre
Title: Concerto for Marimba and Chamber Winds
Date: 2007
Instrumentation: Piccolo, 2 flutes, oboe/English horn, clarinet, bass clarinet, bassoon,
tenor saxophone, trumpet, 2 horns, trombone, tuba, piano, 3
percussion
Timing: 19:30
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 4 mallets
Range: 5.0 octaves
Cadenza: Yes
Publisher: 2007 Raven Feather Music
Arrangements: Wind Ensemble
Recordings: None
Incipits:
44
Commission:
Premiere: March 24, 2007, University of Puget Sound, (Tacoma, WA). Ad-hoc
ensemble with Rickey Badua, conductor, Amy Putnam, soloist.
David Gillingham: Concerto No. 2. For Marimba and Wind Ensemble
12. David R. Gillingham
Title: Concerto No. 2. For Marimba and Wind Ensemble
Date: 2008
Instrumentation: Piccolo, 2 flutes, oboe/English horn, clarinet, bass clarinet, bassoon,
tenor saxophone, trumpet, 2 horns, trombone, tuba, piano, timpani, 3
percussion.
Timing: 23:00
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 5.0 octaves (D2 - A6)
Cadenza: Yes
Publisher: C. Alan Publications, 2008
Arrangements: Wind Ensemble, Reduced Winds, Percussion Ensemble, Piano.
Recordings: Downloadable at www.c-alanpublications.com
Incipits:
45
Commission: By a consortium of schools and private individuals organized by
Marc Wooldridge, including
Air National Band of the Northeast, Milford, MA, Thomas
Carmichael,
Apple Valley High School, Apple Valley, MN, Eric Strom, Corey
Desens
Brigham Young University-Idaho, Rexburg, ID, David L. Taylor,
Diane Soelberg, Christopher Dupuis
California State University, Fresno, Gary P. Gilroy, Matthew Darling
Central College, Pella, IA, Stanley E. Dahl, Evan Feldman, Mitchell
B. Lutch
Concordia College, Moorhead, MN, David P. Eyler, Scott Jones
Community College of Southern Nevada, North Las Vegas, NV,
Richard McGee
Friends University, Wichita, KS, John W. Taylor, Matthew
Maholland
Gustavus Adolphus College, St. Peter, MN, Robert Adney, Douglas
Nimmo
Illinois State University, Normal, Illinois, Stephen K. Steele
Iowa State University, Ames, Iowa, Barry Larkin, Michael Golemo
Kansas State University, Manhattan, KS, Frank Tracz
Knightwind Ensemble, Milwaukee, WI, John Steinke
Michael C. Muncher, Birmingham, AL
Middle Tennessee State University, Murfreesboro, TN, Reed Thomas
Mississippi State University, Mississippi State, MS, Elva Kaye Lance
Missouri Western State University, St. Joseph, MO, Jeffrey Hinton
Morehead State University, Morehead, KY, Richard Miles
Northwestern College, Orange City, IA, Marc Wooldridge, Timothy
McGarvey
Purdue University, West Lafayette, IN, Pamela J. Nave, Diana Day
Raymond Dandurand, Somers, CT
Southwestern Oklahoma State University, Weatherford, OK, James
South, David Bessinger
46
The University of Akron, Akron, OH, Robert D. Jorgensen, Larry
Snider
The University of Alabama at Birmingham, Birmingham, Alabama,
Gene Fambrough, Sue Samuels
The University of North Carolina at Pembroke, Pembroke, NC, Tracy
Wiggins, Timothy Altman
The University of South Dakota, Vermillion, SD, Darin Wadley,
Stephen Sudduth
Premiere: Nov 10, 2006 by the Northwestern College Symphonic Band (IA).
Timothy McGarvey, conductor, Marc Wooldridge, soloist.
Mark Glentworth: Marimba Concerto No. 1
13. Mark Glentworth
Title: Marimba Concerto No. 1
Date: 2008
Instrumentation:
Timing:
Score:
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 4 mallets
Range: 5.6 octaves (D2 - Gb7) Requires 8vb displacement/ossia
Cadenza: Yes
Publisher:
Arrangements:
Recordings:
Incipits:
47
Commission:
Premiere: Pedro Carneiro
Andreas Håkestad: Movements for Marimba and Wind Quintet
14. Andreas Håkestad (Andreas Haakestad)
Title: Movements for Marimba and Wind Quintet
Date: 2012
Instrumentation: Flute, oboe, A clarinet, F horn, bassoon
Timing: The work’s duration is between 20 and 23 minutes (the former
referring to the composer’s indication, the latter referring to a
subsequent performance in Petrozavodsk, available on YouTube).
Score: Concert Pitch
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 2 and 4 mallets
Range: 5.0 octaves (C2 - B6)
Cadenza: Yes
Publisher: Composer Self-Published
Arrangements: Wind Quintet
Recordings: Streaming Video at
http://www.youtube.com/watch?v=CohkTaPGYeo
Incipits:
48
Composed for: Composed for marimbist Anders Kristiansen
Premiere: May 22, 2012 at Dokkhuset in Trondheim, Norway
About the Work:
I. Introduction
II. Rivers - from Wagner
III. Raining - from the sky
IV. Chorale - from Bach
V. Playground - from Stravinsky
VI. Outroduction
“The motives from the opening of movement I make the foundation for the theme in
movement II. The minor second is the interval I have based the whole composition on.
Movement III uses the minor second interval from movements I and II, and also points
forwards to movement V by introducing the rising fourths in bar 196 and the horn melody in
bar 229. Movement IV is a chorale made to calm the music down before the fast movement
V. The outer voices are heavily based on the minor second interval, and the last chord
prepares the tonality of movement V. Movement V also uses the minor second, and the
marimba melody is derived from Olivier Messiaen’s third mode: The whole-half-half scale.
Movement VI includes all the main motives from the preceding movements” (A. Håkestad,
personal communication, January 3, 2014).
Andreas Håkestad was born on August 18, 1982. He is a composer and jazz drummer,
based in Trondheim. He received his master's degree in composition in 2012, having studied
under Stale Kleiberg and Henning Sommerro, as well as a bachelor's degree in jazz drum set and
teacher training from 2008, having studied with Tor Haugerud, Ernst Wiggo Sandbakk and Carl
Håkon Wådeland. Both degrees were earned at Norges Teknisk-Naturvitenskapelige Universitet
49
(NTNU, or Norwegian University of Science and Technology). He received a Trondheim Jazz
Festival Talent Award in 2010, and a Bodø Municipality Culture Scholarship in 2007. He served
as lecturer in arranging and composing in the NTNU department of music from 2010 to 2012.
Håkestad has composed for and performed in small and large ensembles, spanning both
jazz and contemporary styles. He has received commissions from the Trondheim Symphony, the
Trondheim Jazz Festival, and the Bodø Sinfonietta, among others. Håkestad’s career has led him
to perform at festivals and jazz clubs in Norway, Sweden, Denmark, China, Slovenia, Belgium,
France and Portugal. He has toured with groups like Green Serene, Legopulver, Hayden Powell
Quartet and Henning Gravrok Quartet. He has also played concerts with, among others Kenny
Wheeler, Per Jørgensen, Magnus Lindgren, Hilde Gunn Øiseth, Eirik Hegdal, Cikada Quartet
and The Source. Håkestad can be heard on several recordings, and he has a lot of experience as
artistic director and conductor of the big bands and other ensembles.
The work was also performed in Petrozavodsk, Russia, by musicians from Helgeland
Sinfonietta and the Kareliske Philharmonic in Petrozavodsk in September 2012.
Raymond Helble: The Dragon of Wyckham
15. Raymond Helble
Title: The Dragon of Wyckham
Date: 2006
Instrumentation: Piccolo, 2 flutes, oboe, bassoon, Eb clarinet, 2 B
b clarinets, bass
clarinet, contrabass. clarinet, 2 alto saxophones, tenor sax, baritone
sax, 3 cornets, 2 Bb trumpets, 4 horns, 2 trombones, bass trombone, 2
baritones, 2 tubas, timpani, and 9 percussion parts divided as follows:
(bells, xylophone, chimes, snare drum & tenor drum, tam-tam & bass
drum, cymbals, anvil)
Timing: 10:00
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Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 Mallets
Range: 4.3 octaves
Cadenza: No
Publisher: Keyboard Percussion Publications
Arrangements: Wind Ensemble Only
Recordings: Streaming Video at www.YouTube.com
Incipits:
© Property of Marimba Productions, Inc. All rights reserved including recording and public
performance. Reprinted with permission.
Commission: 2005 by the Lebanon Missouri Band Boosters.
Premiere:
Notes :
Dedicated to wife Carol Helble
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Hayato Hirose: Fantasy for Marimba
16. Hayato Hirose
Title: Fantasy for Marimba
Date: 2007
Instrumentation: 2 flutes, oboe, bassoon, 2 Bb clarinets, Bb bass clarinet, 2 alto
saxophones, tenor saxophone, baritone saxophone, 3 Bb trumpets, 2
French horns in F, 3 trombones, euphonium, Bb euphonium in treble
clef, bass, 4 timpani, and 2 percussion (triangle [written in timpani
part], tambourine, glockenspiel, suspended cymbal, snare drum, crash
cymbals). Additional parts for European ensembles are available as
well, including horn in Eb, Bb trombones in either treble or bass clef,
and Eb or Bb bass parts in treble or bass clef.
Timing: 13:30
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 5.0 octaves (Eb2 - G6)
Cadenza: Yes
Publisher: DeHaske
Arrangements: Wind Ensemble, Piano
Recordings: Published by DeHaske: From Ancient Times (catalog DHR 04-028-
3), a two disk set featuring marimbist Richard Dols, The Marine
Band of the Royal Netherlands Navy, and conductor Major Harmen
Cnossen.
Incipits:
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Commission: Fumito Nunoya
Premiere: September 23, 2007, in Akita, Japan, with the Odate Wind Ensemble
and the Odate City Band combined. Hiroo Saito, conductor, Fumito
Nunoya, soloist.
About the Work:
This piece is described on the cover of the score as a difficulty grade four for the ensemble, and
grade five for the soloist (medium-advanced and advanced, respectively). The piece is written in
four movements, played without a break: allegro, andante misterioso, tempo rubato and allegro
energico. The opening allegro introduces quartal arpeggiations in sixteenths in the upper
woodwind parts, while similar intervals are used at the octave in lower voices. All of this
material is adopted and varied in the solo part, changing character for brief moments later in the
piece.
Hayato Hirose was born in Japan in 1974. He holds master’s degrees in composition and
wind band conducting from Lemmens Institute in Belgium, a bachelor’s degree in composition
from Boston Conservatory, and studied at the Tokyo Music and Media Arts Shobi. Hirose
studied composition with Jan Van der Roost, Piet Swerts, Andy Vores, and Yoriaki Matsudiara.
Having begun composing at the age of twenty, Hirose has at least twenty works for band
published with DeHaske, (a division of Hal Leonard), ranging in difficulty from level “two-plus”
to five, and requiring from 13 to over 31 players (Hirose, “List of Works”). His compositions
have earned him recognition such as the Young Composer Competition at the International
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Society of Contemporary Music, the Tokyo International Chamber Music Composition
Competition and the “Prosperous Future for Band into the 21st Century” competition. Hirose has
received commissions from Japan, the United States, Canada, Germany, France, and the
Netherlands. Also an active conductor, he has premiered many new works and has served as
assistant conductor at the Greater Marlborough Symphony Orchestra, the Boston Conservatory
Repertoire Orchestra, and served as music director of Chorus Boston. Hirose is a member of the
National Association for Composers, USA (“Hirose, Hayato”, n.d.).
Ssu-Yu “Claire” Huang: Naluwan Concerto for Marimba and Wind Concert Band
17. Ssu-Yu Huang (Claire Huang)
Title: Naluwan Concerto for Marimba and Wind Concert Band
Date: 2007
Instrumentation: Piccolo, 2 flutes, 2 oboes, 2 bassoons, 3 Bb clarinets, bass clarinet, 2
alto saxophones, tenor saxophone, baritone saxophone, 3 trumpets, 4
F horns, 3 trombones, euphonium, tuba, double bass, timpani, 2
mallet percussion (xylophone, vibraphone, chimes), and 3 percussion
(wind chime, triangle, suspended cymbal, tambourine, tenor drum,
snare drum, tam-tam, bass drum, bongos, tom-tom, woodblock, crash
cymbals). There is a piano reduction available (Huang, “News”,
2012c).
Timing: 8:40
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 2 and 4 mallets
Range: 4.0 octaves (C3 - F6)
Cadenza: Yes
Publication: Composer Self-Published
Versions: Wind Ensemble, Piano
Recordings: Streaming Video at http://www.youtube.com/watch?v=e92Oi01SM20,
http://www.youtube.com/watch?v=77Bzq-R0H_Q, and http://www.youtube.com/watch?v=bNvUiqh6VnE
Incipits:
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Commission: The Hsinchu Wind Orchestra
Premiere: July 21, 2007, by The Hsinchu Wind Orchestra, at Chung-Hsin Hall
in Taichung, Taiwan. Ito Yasuhide, conductor, Yi-Lin Liu, soloist
Ssu-Yu Huang is a native of Taiwan, born in 1970. She began studying piano at age six,
and began studying composition in 1987 while attending Taiwan Women’s College of Arts and
Technology, where she majored in electronic organ and piano. In 1996 she graduated from the
Chinese Culture University in Taipei with a Bachelor of Music in composition. She studied
composition and piano at the University of Melbourne, Australia in 1997. In 2007, she studied
with Dr. Geoffrey Gibbs while working towards her Master of Composition degree at the
University of Rhode Island.
Since 1993 she has composed over 60 original pieces and arranged over 100. Her works
have been performed in Argentina, China, Germany, Japan, Malaysia, Philippines, Singapore,
Spain, Taiwan, the United States, and Venezuela. The majority of her works were commissioned
by music groups and musicians including Taiwan Navy Band, Taiwan Wind Ensemble, Hsinchu
Wind Orchestra, Japanese guitarist Kazuhito Yamashita, Japanese flute ensemble Marronier,
Japanese 22nd Century Club, and others.
55
Naluwan Marimba Concerto is a musical tale of the A-Mei, one of the twelve tribes that
lived in Taiwan prior to the Han dynasty. Though the piece is written in a single movement,
Huang provides narratives for the four major sections:
I. Bon-Cha, Ancestor of the A-Mei Tribe, (measures 1-72): From the opposite shore of
the ocean, Bon-Cha and his sister drifted to Taiwan in a canoe. [Many generations
later, their descendants became] the A-Mei Tribe today.
II. Chief Malago Fighting Giant Alika, (measures 173-130): On the Mei-Lun
Mountains in Hua-Lieng, Chief Malago led the tribe warriors against the aggression of
the giant, Alika. [After much struggle], the giant was finally defeated. The tranquility
and happiness of the tribe was restored.
III. Song of Life, (measures 131-158): The hearth was where the family got together,
lived, and educated their youngsters. It was the center of the family and the source of
livelihood. At the gathering place the tribe members sat around the fireplace and sang,
symbolizing the continuation and prosperity of life.
IV. Harvest Festival, (measures 159-183): The prayer ritual for a good harvest in the
coming year included singing and dancing. The more enthusiastic the celebration, the
more abundant the crops would be. Harvest Festival was the most important
celebration for the agriculture based A-Mei Tribe. Thus, this theme is used for the
grand finale (Huang, 2012b).
There is no recording of the piece on CD, however there are two performances available
of the wind ensemble version and one of the reduction available online. Naluwan Marimba
Concerto made its Canadian premiere on May 1, 2013, performed by the National Youth Band
56
of Canada with Jonathan Dagenais conducting and marimba soloist D'Arcy Gray at Convocation
Hall, Mount Allison University, Sackville, New Brunswick.
Huang also wrote a solo marimba piece called Dance of Fireflies in 2012, premiered by
David Lockeridge at the Conservatorium of Music, University of Newcastle, Australia on
November 11 of that year (Huang, 2012a).
Eckhard Kopetzki: Marimba in the Wind
18. Eckhard Kopetzki
Title: Marimba in the Wind
Date: 2002
Instrumentation: 2 flutes, oboe, 2 clarinets, bass clarinet, bassoon, 2 alto saxophones,
tenor sax, baritone sax, 2 trumpets, 2 horns, 3 trombones, baritone,
tuba, 2 percussion (including 2 congas, drum set, and cowbell)
Timing: 12:00
Score: Concert Pitch
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 4 Mallets. The solo marimba part, with a few running figures, mainly
requires double lateral strokes in even sticking patterns, emphasizing
the right hand voice with accents on the beat.
Range: 4.0 octaves (C3 - C6)
Cadenza: Yes
Publication: Ineke-Busch Verlag, 2002
Versions: Wind Ensemble
Recordings: Streaming Video at www.YouTube.com
Incipits:
57
Commission: None cited
Premiere: 2001, Blaskapelle Roding Oberpfalz (Bavaria). Christian Kühn,
soloist
Eckhard Kopetzki was born in Hanover, Germany, on December 9, 1956 (Olson, 2011).
He studied percussion with Hans Kitschenberg and music theory with Walter Heise at the
University of Osnabrück. He continued at the Hermann Zilcher Conservatory in Würzburg,
studying percussion with Joachim Sponsel, and theory with Hurbert Nordhoff. The last portion
of his music training was completed at the University for Music in Würzburg, where he studied
percussion with Axel Fries and Siegfried Fink.
Kopetzki’s career involves a combination of teaching and composing. His first positions
were at music schools for young students (Olson, 2011). As a result, his works reflect varying
levels of technical challenge to accommodate the needs of both young and seasoned
percussionists. He has been teaching at a vocational school for music in Sulzbach-Rosenberg,
Germany, a position he has held since 1985.
As of 2011, Kopetzki had published at least 88 works for percussion, written for
elementary through professional experience levels, through companies such as Southern Music
Company, HoneyRock, Norsk Musikforlag, Zimmermann, Ineke Busch Verlag, and his own
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Contakt Musikverlag, through which he and his wife focus on publishing pedagogical works. His
compositions have earned recognition by the Percussive Arts Society: Canned Heat for multiple
percussion received first prize at the PAS Annual Composition Contest in 2002, Three
Movements for a Solo Dancer received the highest prize in the solo marimba category, and
Exploration of Time for percussion ensemble tied for third.
Author Darin James Olson reiterates Kopetzki’s description of his style:
Heavily influenced by rock music at an early age, Kopetzki’s music can be
defined through short motives and rhythmic ostinatos that are developed and
manipulated. This results in the creation of groove oriented, rhythmic
compositions that are distinctly his own. (2011, p. 2)
Marimba in the Wind is in two separate movements, with an overall duration of about
11:30. The opening movement, of roughly four minutes, is in rock style. The second movement
opens in a traditional-sounding concert band chorale, with a rolled section lasting about three
minutes. A cadenza is followed by an up-tempo, rhythmic section of roughly three minutes,
twenty seconds.
Todd B. Levin: Aqua Vitae, for Marimba and 17 Musicians
19. Todd B. Levin
Title: Aqua Vitae, for Marimba and 17 Musicians
Date: 1987
Instrumentation: Piccolo, flute, oboe, english horn, clarinet, bass clarinet, bassoon, 2 C
trumpets, 2 horns, 2 trombones, tuba, 3 percussion.
Perc 1: sleigh bells, glass wind chimes, japanese temple bell at Ab4,
piccolo, woodblock, vibraphone, bells, guiro, chinese cymbal,
cowbell, 2 large woodblocks, offstage marimba “A”;
Perc 2: mark tree, vibraslap, chimes, crotales, chinese cymbal,
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piccolo snare drum, 2 large woodblocks, afuche, offstage
marimba “B”;
Perc 3: timpani, celesta, slapstick, bamboo wind chimes, 2 suspended
cymbals [16” thin and 22” medium-thin], ratchet.
Timing: 18:00
Score: Concert Pitch
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 4.3 octaves (A3 - C7).
Cadenza: Yes
Publication: Not published. A copy is housed in the special collections section at
Sibley Music Library, Rochester, New York.
Versions: Original version only
Recordings: None
Incipits:
Commission: None. Aqua Vitae was written as a master’s thesis for Levin’s degree
at the Eastman School in 1987, and it is unpublished. The score is
dedicated to Charles Owen who passed away in 1985.
Premiere: None
Todd B. Levin was born in 1962 in Detroit. He earned a bachelor’s degree from the
University of Michigan, Ann Arbor, and a Master of Arts in Composition from the Eastman
School of Music, University of Rochester, in 1987. He studied with Robert D. Morris at the
Eastman School.
Levin has two recordings of his original music: DeLuxe and Ride The Planet, both on
Deutsche Grammaphon/Polygram Records (now Universal Music). Terms used to describe
Levin’s music include post-minimalist, post-modern, pop, and it is likened to the tape/phase
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process commonly associated with Steve Reich. His musical collage process involving classical
and other genres is often employed as ironic or satirical. In an interview with journalist John
Marstall, Levin stated he “never wanted to be a ‘career’ composer” (Marstall, 2008). He is a
curator of post-war and contemporary art in New York City, and has been involved in this
market as a buyer and seller for roughly thirty years (Marstall, 2008).
The piece requires the solo marimba to be amplified, with a speaker on either side of the
instrument. Three “satellite” chamber ensembles are arranged around the soloist symmetrically.
The instrumentation chart below shows which instruments are grouped together onstage. The
instruments are arranged with woodwinds upstage center, and two brass trios of similar
instrumentation are placed stage left and right. Each group includes one percussionist. For the
final section of the piece, two of the three percussionists walk out into the seating area of the
performance hall, and the piece finishes with a marimba trio in free time, surrounding the
listeners.
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Figure 1:
Instrumentation Chart from Aquae Vitae (Levin, 1987). Reproduced with permission.
Aqua Vitae uses serial techniques and makes use of many sonic effects, such as quick
contrasting dynamics between groups of instruments (imitating the adjustment of the fade dial on
a stereo), shifting voices into the foreground and background. The music moves with fluid
accelerandos and rallentandos, and many rhythmic figures accelerate and die away.
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Rhythmically, certain events do occur in tutti, though the rhythmic pulse of those events is often
softened by overlapping rhythmic groupings of five, six, and seven. Levin makes extensive use
of very expressive, contrasting articulation and tone indications, from “warm” to “whisper” to
“really wail.” Quick changes in register, articulation, and frequent use of glissandi are also part
of the work’s vocabulary. In the final section, “Evaporation,” the three marimbas play a cyclical,
undulating figure, though not in unison. Wind and brass events become increasingly isolated and
sparse, until the ensemble fades out, yielding to the marimba trio. The marimbas’ notation
reduces to a graphical representation—a single line with the same undulating contour—and fades
into silence.
Based on the indicated tempos, chord positions and shifts involved, the solo part is
extremely challenging, and appropriate only for professionals. At some points, ossia markings
are needed for some very wide shifts in pitch at the sixteenth-note. The ensemble parts also
require very sensitive players in terms of rhythm, timbre, tone, and balance.
Chin-Cheng Lin: Marimba Concertino No. 1 ‘One Love’ for Brass Band
20. Chin-Cheng Lin (Jim Lin)
Title: Marimba Concertino No. 1 ‘One Love’ for Brass Band
Date: 2008
Instrumentation: Soprano cornet in Bb, 4 cornets in Bb, 3 Horns in Eb, 2 baritones in
treble clef, 2 trombones in treble clef, bass trombone, 2 euphoniums
in treble clef, 2 basses in Eb, 2 basses in Bb, timpani, and 2
percussion (suspended cymbal, glockenspiel, bass drum, chimes,
vibraphone, snare drum, and hi-hat).
Timing: 8:00 (concerto with strings: 20:00)
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
Yes
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Technical Requirements: 4 Mallets
Range: 5.0 (C2 - C7)
Cadenza: Yes
Publisher: The original brass version is self-published by the composer.
The Concertino was included as the third and final movement in the
three-movement Concerto No. 1 with string orchestra
accompaniment. This string version and its corresponding piano
reduction are published through Editions Francois Dahlmann.
Arrangements: Brass Band, Strings (Concertino included as mvt III), Piano
Reduction (of string version).
Recordings: Streaming video at www.YouTube.com
Incipits:
Commission:
Premiere: September 26th
, 2009, at Desingel Blue Hall, Antwerp, Belgium.
Kelly Helsen, marimba, with Brass Band Willebroek, conducted by
Frans Vlolet. (C. Lin, personal communication, July 2, 2013)
which premiered in the 2010-11 concert season.
About the Work:
Marimba Concerto No. 1 One World, One Dream, One Love tells the name of each
movement in its title. Lin characteristically uses the entire range of the five-octave marimba,
from C2 to C7, and many of his works require agility to play runs across the full range of the
marimba quickly.
Chin-Cheng “Jim” Lin was born in Taipei, Taiwan, in 1984, and studied at the Royal
Conservatory at Antwerp with Ludwig Alpert, where Lin earned his master’s degree with
greatest distinctions (Lin, n.d.). At the time of this study, Lin was enrolled in a Doctor of
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Performing Arts program in percussion theater performance, studying under Igor Lesnik at the
Zagreb Music Academy, University of Antwerp.
Lin currently holds positions as a faculty member of the marimba department at the
Artesis University College of Antwerp Royal Conservatory, Lemmens Institute in Leuven, as
marimba teacher at MUDA Art High School in Gent, and percussion teacher at the Bornem
Municipal Academy for Music, Theater and Dance.
In addition to his concurrent work teaching and working toward his terminal degree, Lin
has written more than fifty works for marimba, and is published by Beurskens Music Edition
(Netherlands), Bingbang Publications (Croatia), Dahlmann Publications (France) and C. Alan
Publications in the US.
As a performer, Lin has performed in over 20 countries, and has collaborated with
composers who wrote pieces for him, such as John Thrower (Fusion for One), Rich O’Meara
(Impromptu) and Emmanuel Séjourné. Lin remains an active touring soloist and premieres works
of other composers as well as his own.
Since 2002, Lin has accumulated thirteen performance awards in solo and chamber
competitions worldwide (four first prizes). He received awards for two of his compositions,
Fology and Back to the Time. A “European Soloist Champion Award” in 2007 awarded by the
Taipei Representative Office in Belgium (for promoting Taiwanese arts) led to a performance for
the Belgian royal family.
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David Long: Concerto for Marimba and Wind Ensemble
21. David Long
Title: Concerto for Marimba and Wind Ensemble
Date: 1997
Instrumentation: 2 flutes, 2 oboes, English horn, 2 bassoons, 3 clarinets, bass clarinet,
2 alto saxophones, tenor sax, baritone sax, 3 trumpets, 2 horns, 2
trombones, tuba, timpani, 3 percussion (Percussion 1: xylophone,
bells, chimes, suspended cymbal; Percussion 2: triangle, suspended
cymbal, snare drum, tambourine; Percussion 3: crash cymbals, bass
drum, woodblocks, tam-tam)
Orchestra Instrumentation: 2.2.2.2/ 2 trumpets, 4 horns, percussion,
strings
Timing: 30:00
Score:
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 4.3 octaves (A2 - Ab6)
Cadenza: Yesa
Publisher: C. Alan Publications
Arrangements: Wind Ensemble, Orchestra, Piano
Recordings: Spiral Passages (with orchestra.) (C. Alan code 05740)
Incipits:
Commission: By Cort McClaren, University of North Carolina at Greensboro,
Charles Murph, Greensboro Concert Band, Greensboro, NC,
and Thomas Jenner, Enloe High School, Raleigh, NC.
Premiere: Movement three was premiered in 1997 by The University North
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Carolina at Greensboro Wind Ensemble, at the North Carolina Day of
Percussion hosted by UNCG. John R. Locke, conductor, Danny Frye,
soloist.
Premiered in its entirety in 1998 by the Greensboro Concert Band and
three soloists: Laura (Phillips) Franklin, Nathan Daughtrey, and Cort
McClaren. Each soloist performed one movement, respectively.
(Dancy, 2008, p. 12).
Toshio Mashima: Lotus Flower Concerto for Marimba and Band
22. Toshio Mashima
Title: Lotus Flower Concerto for Marimba and Band
Date: 2007
Instrumentation: Piccolo, 2 flutes, oboe, bassoon, Eb clarinet, 3 B
b clarinets, alto
clarinet, bass clarinet, 2 alto saxophones, tenor sax, baritone sax, 3
trumpets, 4 horns, 2 trombones, bass trombone, euphonium, tuba,
string bass, harp, timpani, 5 percussion (snare drum, bass drum, 4
tom-toms, suspended cymbal, claves, wind chimes, triangle, shaker,
and glockenspiel)
Timing: 17:10
Score: Transposed
Translated Title:
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 5.0 octaves (C2 - C7)
Cadenza: Yes
Publisher: Atelier M 2007
Arrangements: Wind Ensemble
Recordings: Cafua Records: David R. Gillingham: With Heart and Voice,
Recorded in Togane Cultural Center, Togane, Japan, on February 6
and 7, 2010, by the Toke Civic Wind Orchestra, and released in
Spring 2010. Hiroyuki Kayo, conductor, Reina Iwami, soloist.
item code CACG-0151
Incipits:
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Commission: Fumito Nunoya
Premiere: Odate City Band in Odate, Akita prefecture, Japan, on September 23,
2007. Fumito Nunoya, soloist.
About the Work:
Melodic style akin to jazz, with some sections incorporating traditional Japanese scales.3
Score Notes:
“This piece was inspired by the drawings of Claude Monet, who is one of my favorite
painters, and the beautiful garden of his house in Giverny where Monet lived and
drew in his later years. This garden has a Japanese-style pond and arched bridge, and
it shows that Monet was greatly influenced by Japanese ukiyo-e.
The piece consists of three movements in cyclic forms. Cyclic form is a technique of
musical construction that has a theme melody not only in the first movement but also
in the others.
The motif of the first movement is Monet’s drawing “Impression, soleil levant”. The
theme of the quiet dawn is followed by the theme of the rising sun that is gradually
but vigorously energized.
The second movement depicts lotus flowers that quietly sit in the pond in stillness of
night.
3 see David Hebert’s Wind Bands and Cultural Identity in Japanese Schools for more information.
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The third movement begins with violently breaking the stillness tailed from the
second movement. The theme of the first movement starts in a reversed style and the
hidden theme of the first movement (Bass) shows up in a little different form. The
intensity/violence of the melody lasts from the beginning to the end and is closed.
Through this piece, I paid homage to Monet for his great passion and never-ending love for
painting. In this piece, I tried to express the marimba’s primitive charm and its gentle and
nostalgic sound” (Mashima, 2007, score insert, translated by Masanori Seto).
Other Works:
Mashima’s other works for percussion are: Komorebi (Sunbeams Streaming through the
Leaves of Trees) for two marimbas, and percussion ensemble works Shimauta Five and
Conversation IV.
Toshio Mashima is a composer and orchestrator born in 1949 in Tsuruoka-shi, Yamagata
Prefecture, Japan. According to a biography by Tim Reynish, Mashima interrupted his initial
studies in technology at Kanagawa University to study music, enrolling in the Yamaha Band
Educator Academy. His composition instructor was the late Bin Kaneda, and he studied jazz
theory under Makoto Uchibori. After graduating in 1971, he played trombone in jazz and pop
bands. Working as an assistant to Naohiro Iwai encouraged his interest in wind band
composition (Reynish, 2014).
Hebert notes that “his more serious band works are highly respected among peers” (2011,
p. 163). Three of his works, Seascape, Coral Blue, and Sweet Breeze in May were selected as test
pieces for the All-Japan Band Association Competition in 1985, 1991, and 1997, respectively.
He received an award in 1997 for composition from the Academic Society of Japan for Wind,
Percussion & Band (Reynish, 2014). His best-known work for band may be Les Trois Notes du
Japon (Three Notes of Japan), based on three scenes from Kyoto (Hebert, 2011, p. 163) and
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commissioned in 2001 by the Tokyo Kosei Wind Orchestra. On December 16, 2006, at the
"Coups de Vents” International Wind Band Composition Contest held in Lille, France, Mashima
received the prestigious “Grand Prix des Conseils Généraux du Nord et de Pas-de-Calais” for his
wind symphony La Danse du Phenix: Impression de Kyoto. “The only award of its kind in the
field of wind band composition, this Grand Prix came with a cash prize of 10,000 Euros and a
premier performance by professional wind musicians at the Opera de Lille in France” (Hebert,
2011, p. 163).
Mashima has also composed for television and film, for concert and big bands, and much
of his music is jazz influenced. He has arranged much popular American music such as themes
from Mission Impossible, the music of Count Basie and Henry Mancini, and themes from various
Walt Disney films. These titles are included in two CD volumes entitled New Sounds for Brass,
volumes one (1991) and two (1991) recorded by the Tokyo Kosei Wind Orchestra. In the more
classical vein, he has arranged works such as those of Rimsky-Korsakov (Scheherezade
Symphonic Suite), Gershwin (Cuban Overture, An American in Paris), Puccini (Selections from
‘Turandot’), Debussy (L’Isle Joyeuse), Saint-Saens, Handel, and Smetana.
Mashima is currently an instructor at Shobi College of Music (Shobi Institute of
Education) and a special instructor for the Yamaha Music Academy, but is said to have
established his strong career as a professional composer “entirely outside academia” (Hebert,
2011, p. 163). His works for jazz ensemble have been published in Japan, the United States, and
the Netherlands. Mashima’s works are published via Atelier M in Japan.
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Toshio Mashima: (The Song of a Great Tree) Song of Taiki Concerto for Marimba and
Symphonic Band
23. Toshio Mashima
Title: (The Song of a Great Tree) Song of Taiki, A Concerto for Marimba
and Symphonic Band
Date: 2008
Instrumentation: Piccolo, 2 flutes, 2 oboes, English horn, bassoon, contrabassoon, 3
clarinets, bass clarinet, alto saxophone, 2 tenor sax, baritone sax, 3
trumpets, 4 horns, 3 trumpets, 3 trombones, euphonium, tuba, string
bass, harp, timpani, and 4 percussion
Percussion 1: 4 tom-toms, snare drum, wind chimes, surdo
Percussion 2: sleigh bells, claves, woodblock, bongo, cymbals,
pandeiro/shaker
Percussion 3: suspended cymbal, tam-tam,
bass drum, agogo bell,
Percussion 4: xylophone and glockenspiel.
Timing: 18:00
Score: Transposed
Translated Title: Daiju no Uta
Is the composer a
percussionist?
No
Technical Requirements: 4 Mallets
Range: 5.0 octaves (C2 - C7)
Cadenza: Yes
Publisher: Aterlier M Inc. (since July, 2013)
Arrangements: Wind Ensemble
Recordings: Bravo Music
Kyo-En XII: Prosperous Future for Bands into the 21st Century
(item BOCD-7484) Makoto Nakura, soloist.
Incipits:
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Commission: Co-commissioned by Centro de Estudos Musicais Tom Jobim, Arthur
V. Neis, and the ISGM New Music Commissioning Fund for soloist
Makoto Nakura and the São Paolo Symphonic Band.
Premiere: June 2008, Makoto Nakura and the São Paolo Symphonic Band
Composer Bio: (See Toshio Mashima: Lotus Flower)
About the Work:
In three movements, the work depicts the Japanese emigration to Brazil that began in 1908.
Settlers fled to Brazil in search of work on coffee plantations in the Liberdade district of São
Paolo, “the center of the biggest Japanese immigrant community in the world” (Veselinovic,
2013).The dedication “for the annual rings of the friendship of Brazil and Japan” is written
on the front page. A descriptive metaphor hosted on the publisher’s web site: “trust and
friendship of the two peoples has become a big tree taking root, [showing] unshakable unity”.
Movement one is entitled “Voyage”, and opens with an ominous fanfare to the long nautical
journey to Brazil. The second movement, “Nostalgia” is slow and melodic, and constructed
from a brief, sequenced motive. Movement three is entitled “The Festival of Fruition”. In this
movement, trumpet calls and other heroically-inspired lines eventually yield to Brazilian
percussion patterns, and invoke a vibrant and celebratory samba for the finale.
The Song of a Great Tree was presented at the Kyo-En band festival (a festival for the
domestic cultivation of the Japanese band idiom and its composers). The festival presents
many premieres of new works by Japanese composers, such as Mashima’s The Song of a
Great Tree, and is sponsored by the “21st Century Wind Music Executive Committee”. The
work has also been performed in Japan, Berlin, and the Czech Republic.
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David Maslanka: Concerto for Marimba and Band
24. David Maslanka
Title: Concerto for Marimba and Band
Date: 1990
Instrumentation: Piccolo, 3 flutes, 2 oboes (2nd
doubles on English horn), Eb clarinet, 3
clarinets, bass clarinet, Bb contrabass clarinet, 2 bassoons,
contrabassoon, 2 alto saxophones, tenor sax, baritone sax, 3 cornets, 2
trumpets, 4 horns, 2 trombones, bass trombone, 2 euphoniums, 2
tubas, cello, double bass, harp, timpani, and 3 percussion
Percussion 1: vibraphone, bass drum, snare drum (shared), crash
cymbals, 4 tom-toms,
Percussion 2: xylophone, 3 suspended cymbals (shared), medium
gong (shared), sleigh bells, bass drum (shared)
Percussion 3: glockenspiel, crotales, tam-tam, medium gond (shared),
4 tom-toms, 2 bongos, medium tom, tenor drum (shared), ratchet,
large suspended cymbal (shared), chimes, snare drum (shared).
Timing: 19:30
Score: Concert Pitch
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 5.0 octaves (C2 - D6)
Cadenza: Yes
Publisher: Carl Fischer c/o Theodore Presser Company
Arrangements: Wind Ensemble, Piano
Recordings: Maslanka Concertos (Albany Records, code: TROY424)
Incipits:
Commission: By The U.S. Air Force Band, Washington, D.C.
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Premiere: November 8th
, 1990, at The Percussive Arts Society Convention in
Philadelphia, Pennsylvania. Steven Grimo, conductor, Randall Eyles,
soloist.
Daniel McCarthy: Chamber Symphony for Marimba and Winds
25. Daniel McCarthy
Title: Chamber Symphony for Marimba and Winds
Date: 1993
Instrumentation: Flute, oboe, clarinet, bass clarinet, bassoon, trumpet, horn, trombone,
tuba, percussion (snare drum, tom-tom, wood block, temple block,
claves, afuche, bongos, suspended cymbal, gong, castanets)
Timing: 14:30
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 5.0 octaves (C2 - C7)
Cadenza: No
Publisher: C. Alan Publications
Arrangements: Wind Ensemble
Recordings: 5.0 (C2 - C7)
Incipits:
Commission: By Cort McClaren (C. Alan) and the school of music at The
University of North Carolina at Greensboro.
Premiere: At the Southeast chapter of the Music Educators National
Conference, Raleigh, North Carolina. Michael Burritt, soloist.
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Brenden McMullin: Suite for Marimba and Wind Ensemble
26. Brendan McMullin
Title: Suite for Marimba and Wind Ensemble
Date: 2013
Instrumentation: Piccolo, 2 flutes, 2 oboes, 3 clarinets, bass clarinet, 2 bassoons,
contrabassoon., 2 alto saxophones, tenor sax, baritone sax, 3
trumpets, 2 horns, 2 trombones, bass trombone, tuba, timpani,
3 percussion
Timing: 14:30
Score: Concert Pitch
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 5.0 octaves (C2 - Bb6)
Cadenza: No
Publisher: Composer Self-Published
Arrangements: Wind Ensemble
Recordings: Premiere Recording held at Moorpark College Music Dept.
Incipits:
Commission: Written for Naoko Takada
Premiere: December 15, 2013 by Moorpark College Wind Ensemble.
Brendan McMullin, conductor, Naoko Takada, soloist
Brenden McMullin is a trombonist, professor, conductor, and vocalist in the Los Angeles
and Ventura County areas. He has shared the stage and recorded with such artists as Duffy
Jackson, Barry Manilow, Eric Whitacre, Barbara Streisand, and Clyde Reasinger and has
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performed on stage at the Academy Awards. His compositions have been performed by
numerous high school and college jazz bands, wind ensembles, and chamber ensembles.
Recently his composition Why You Gotta Be Like That (Jazz Overture for Full Orchestra) was
recorded by the Kiev Philharmonic and is featured on the album Masterworks of the New Era
(Vol. 12) which received a JPF Award nomination under the category "Best Classical Album." In
2013 his jazz big band composition Sal y Pimienta was awarded first prize for the National Band
Association’s Young Composers Jazz Composition Contest. He also arranged the music and
performed on the critically acclaimed Latin jazz album Hector Contreras & His Latin Jazz
Ensemble. Brendan earned his bachelor’s degree in music composition and California Teaching
Credential from California State University, Northridge and his master's degree in music
composition from University of California, Los Angeles. He is currently on faculty at Moorpark
College where he runs the jazz program, directs the wind ensemble, and teaches trombone, music
theory, and music appreciation. He also teaches online music appreciation and audio engineering
classes at California Virtual Academies (McMullin, 2009).
Suite for Marimba and Wind Ensemble was written while McMullin was a student at
UCLA. The piece is written for soloist Naoko Takada, who premiered the work with Moorpark
College Wind Ensemble on December 15, 2013. The work is in four movements: I. Andante; II:
Allegro (emphasizing syncopation); III: Adagio (on a 12-bar blues form, a la Stravinsky); and
IV, a jazz waltz nicknamed “Light-Burning Swing.” The piece is about fifteen minutes in length
and uses the full range of a five-octave marimba, C2 to C7.
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Thea Musgrave: Journey Through a Japanese Landscape
27. Thea Musgrave
Title: Journey Though A Japanese Landscape, for Marimba and Wind
Ensemble
Date: 1994
Instrumentation: piccolo, 2 flutes, 2 oboes, English horrn, 2 clarinets, bass clarinet, 2
bassoons, contrabasoon, 4 horns, 3 trumpets in c, 3 trombones, tuba,
piano, harp, timpani, 2 percussion (percussion 1: bass drum, cymbal,
med tam-tam, tenor drum, 2 woodblocks, tambourine, vibraphone,
triangle, percussion 2: chimes, xylophone, crotales, side drum, 3
toms, 5 temple blocks, high tam-tam, cymbal, bass drum)
Timing: 25:00
Score: Concert Pitch
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 Mallets
Range: 5.0 octaves (ossias provided for 4.5-octave instruments)
Cadenza: No
Publisher: Novello & Company Limited (G. Schirmer)
Arrangements: Wind Ensemble, Orchestra
Recordings: Oriental Landscapes (orchestra accompaniment) (BIS Label)
Incipits:
© Copyright 1994 Novello & Company Limited.
G Schirmer Inc.
All Rights Reserved. International Copyright Secured.
Maestro song code: 0078545
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Commission: The British Association of Symphonic Band and Wind Ensembles
Education Trust, Royal Northern College of Music, University of
Warwick, Birmingham Conservatoire, Guildhall School of Music and
Drama.
Premiere: July 14, 1994, at Cheltenham International Festival. Royal Northern
College of Music Wind Ensemble, Timothy Reynish, conductor,
Evelyn Glennie, soloist.
Clair Omar Musser: Scherzo Caprice
28. Clair Omar Musser
Title: Scherzo Caprice
Date: 1976
Instrumentation: Piccolo, 2 flutes, 2 oboes, 2 bassoons, Eb clarinet, 3 B
b clarinets, bass
clarinet, 2 alto saxophones, tenor saxophone, baritone saxophone, 4
horns, 3 trumpets, 2 trombones, bass trombone, euphonium, tuba,
timpani, 1 percussion (bells, triangle).
Timing: 9:30
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 2 and 4 mallets
Range: 4.0 octaves
Cadenza: Yes
Publisher: Keyboard Percussion Publications
Arrangements: Wind Ensemble, Piano
Recordings:
Incipits:
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© Property of Marimba Productions, Inc. All rights reserved including recording and public
performance. Reprinted with permission.
Commission:
Premiere:
About the Work:
Was performed at 1998 West Point Marimba Festival
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Jason K. Nitsch: Concerto No. 2 for Marimba and Wind Ensemble
29. Jason K. Nitsch
Title: Concerto No. 2 for Marimba and Wind Ensemble
Date: 2003
Instrumentation: 2 flutes, 2 oboes, 3 clarinets, bass clarinet, soprano saxophone, 2 alto
sax, tenor sax, baritone sax, bassoon, 3 trumpets, 4 horns, 3
trombones, euphonium, tuba, timpani, 5 percussion
Timing: 12:05
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 Mallets
Range: 5.0 octaves (D2 - Ab6)
Cadenza: Yes
Publisher: 2010 Suburban Zombie Music
Arrangements: Wind Ensemble
Recordings: Streaming Video at composer’s website
Incipits:
Commission: None. Written as a gift for Larry Vanlandingham
Premiere: Not performed
About the Work:
Jason K. Nitsch was born in Houston, Texas in 1977. He holds a Bachelor of Music
Education from Baylor Universtiy School of Music in Waco, TX, and a Master of Music
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Education from Boston University. Nitsch’s teachers included Michael Haithcock, Jeffrey
Grogan, Jerry Luckhardt, Dr. Patrick Jones and Dr. Larry Vanlandingham.
In addition to experience in concert and marching ensembles, Nitsch became interested in
arranging and then composing beginning in his undergraduate years. His credits include many
arrangements, a film score from 2000, and awards in 2005 and 2006 from Bandworld Magazine,
placing his compositions Ferris Wheel and On the Banks of the River Shannon on a list of “top
100 new publications for band” in those respective years. Bandworld ranked American Visions
on their list of top 100 new band pieces of 2008 (Nitsch, 2010).
His works have been performed in Europe, Australia and Canada, as well as by the
Chicago Brass Choir, University of North Texas, Arizona State University, Baylor University,
Ithaca College, Mesa State College, University of Minnesota, Ole Miss University, and Syracuse
University. Nitsch’s works have been featured at the 2002, 2004, 2005 and 2006 Midwest
International Band and Orchestra Conventions in Chicago, Illinois.
He has affiliations with the American Society of Composers, Authors and Publishers, and
Center for the Promotion of Contemporary Composers, World Association for Symphonic Bands
and Ensembles, Texas Music Educators Association, Texas Bandmasters Association, Texas
Music Adjudicators Association and the Percussive Arts Society.
Nitsch is currently published with C. Alan Music Publishers, the FJH Music Company,
Grand Mesa Music Publishers, and TRN Music Publishers. In 2009 he launched Suburban
Zombie Music to promote his entire catalogue. He currently is the Associate Director of Bands at
Klein Collins High School in Spring, Texas, and has held several teaching positions at high
schools, middle schools, and with marching organizations (Suburban Zombie Music, 2013a).
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The dedication of Concerto No. 2 for Marimba and Wind Ensemble reads: “In Honor of
Dr. Larry Vanlandingham on his retirement from Baylor University” (Nitsch, 2003).
Vanlandingham was the professor of percussion at Baylor for 40 years, from 1963-2003 (SZM,
2013b). The Concerto score is transposed, and requires 2 flutes, 2 oboes, 3 Bb clarinets, bass
clarinet, soprano, alto, tenor, and baritone saxophones, bassoon, 3 Bb trumpets, 4 F horns, 3
trombones, euphonium in bass clef, tuba, timpani, and 5 percussion (tambourine, suspended
cymbal, triangle, tom-toms, bass drum, snare drum, slapstick, xylophone, gong, drum set,
vibraphone, chimes, orchestral bells). The solo marimba part ranges from D2 to C7, requiring a
5-octave instrument. The duration of the Concerto is twelve minutes, five seconds.
Concerto No. 2 for Wind Ensemble and Solo Marimba has not been performed to this
date. In personal correspondence, the composer stated: “[The Concerto] was originally intended
as a gift commission for Dr. Larry Vanlandingham at Baylor University (who was my teacher) as
he neared his retirement. Dr. Brian Zator was slated to be the featured soloist (a classmate of
mine at Baylor and the Professor of Percussion Studies at Texas A&M Commerce). The Wind
Ensemble at Baylor would be the accompanying group for the premier. Unfortunately, Dr.
Sedatole (who was the director of bands at the time) left Baylor to take over at Michigan State,
Dr. Vanlandingham passed away and the project was never initiated beyond the very basic
sketches that I shared with you” (J. Nitsch, personal communication, July 3, 2013).
The work has been withdrawn from publication, and will be in a state of revision until
further notice from the composer. Based on personal communication with Nitsch, anticipated
revisions will deal with significant items such as, but not limited to, thematic content and
development.
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Jason K. Nitsch: Forward!
30. Jason K. Nitsch
Title: Forward!
Date: 2010
Instrumentation: 2 flutes, 2 oboes, 3 clarinets, bass clarinet, 2 alto saxophones, tenor
sax, baritone sax, bassoon, 3 trumpets, 2 horns, 3 trombones,
euphonium in bass clef, euphonium in tenor clef, tuba, timpani,
percussion (snare drum, bass drum, suspended cymbal, crash
cymbals, triangle, tambourine, woodblocks, bongos
Timing: 6:00
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 5.0 octaves (D2 - Eb6)
Cadenza: Yes
Publisher: 2010 Suburban Zombie Music
Arrangements: Wind Ensemble
Recordings: Streaming Video at Suburban Zombie Music
Incipits:
Commission:
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Premiere: February 2011, at Texas Music Educators Association Convention.
North Lamar High School Band with Brian Zator, soloist.
Composer Bio: (See Nitsch: Concerto No. 2 for Marimba and Wind Ensemble)
Forward! is written in a single movement and was published in 2010. Each percussion
instrument is scored on separate staves. Up to six percussion parts sound concurrently at times,
so the piece will require at least a section of six percussionists in addition to the soloist. The
composer calls the difficulty level “medium-difficult.”
Brian Zator from Texas A&M University was the soloist in the premiere performance of
Forward!, which took place at the Texas Music Educators Association Convention in February
2011, with North Lamar High School Band accompanying. Although Nitsch’s promotional web
page lists the duration of the piece as six minutes, a performance posted online in which Zator
performed with the Texas A&M Commerce Wind Symphony exceeded eight minutes, due to
Zator’s substitutions and extensions in the cadenza section. As of June 2013, the score does not
show evidence of the soloist’s cadenza having influenced the original score, though some section
percussion parts were added or instruments were substituted in the Texas A&M Commerce Wind
Symphony performance.
Vicente Ortiz Gimeno: Balan fô Concerto for Marimba and Wind Ensemble
31. Vicente Ortiz Gimeno
Title: Balan fô Concerto for Marimba and Wind Ensemble
Date: 2010
Instrumentation: 2 flutes, 2 oboes, 2 bassoons, Eb clarinets, 3 B
b clarinets, bass
clarinet, 2 alto saxophones, 2 tenor sax, baritone sax, 4 horns, 3
trumpet, 3 trombones, 2 flugelhorns, 2 euphonium, tuba, cello, bass,
harp, timpani, 3 percussion bass drum, crash and suspended cymbals,
snare drum, triangle, tam-tam, tambourine, xylophone.
Timing: 12:00
Score: Concert Pitch
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Translated Title: “Play the Balan” (Malinké)
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 4.3 octaves (Bb2 - F6)
Cadenza: Yes
Publisher: Tot per L'Aire
Arrangements: Wind Ensemble, Piano
Recordings: www.radiobanda.com
Incipits:
Commission: Written for Alejandro Ortiz Gimeno
Premiere: July 16th 2011, by Unió Musica de Llíria (“Union of Music of
Lliria,” Valencia, Spain). Enrique Artiga, conductor, Francisco
Inglés, marimba.
Vicente Ortiz Gimeno is a clarinetist, conductor and composer. His father was his first
teacher. Ortiz Gimeno played in concert bands and studied at conservatories in Valencia, Spain.
His musical upbringing included studies in clarinet, piano and cello. He earned a degree in
clarinet from Castellón Conservatory, having also studied composition there. He attended several
master classes in California, and in Boston he won the Berklee Composition Competition, where
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he studied film scoring and orchestral conducting. Gimeno has performed in France, Italy,
Switzerland, Germany, Austria, Bulgaria and Los Angeles, and has played professionally in two
bands in Spain. Some of his compositions have been selected as mandatory pieces for concert
band contests in Castellón, Valencia, and Alicante. Gimeno has been the artistic conductor of the
Berklee Composers Orchestra, and was the assistant conductor of the Berklee Symphony during
2011-12 (Ortiz Gimeno, 2013).
The Program Notes for the Balan fô Concerto on the Wind Repertory Project read “Balan
fô, in the malinké language means “play the balan”. The balan is one of the precursors of the
current marimba, however, the balan uses a different tuning system… The melodic and harmonic
material in this piece are built using perfect fourths, but in a tonal context. The piece was
composed using the three part Allegro-Adagio-Allegro form, with a marimba cadenza linking the
second and third movements” (Wind Repertory Project, 2013). The duration of the work is
twelve minutes.
Composed in 2010, Balan fô was the winner of the “Ciutat de Llíria International
Composition prize” in January 2011, held in Llíria (Valencia, Spain). This piece is written for
percussionist Alejandro Ortiz Gimeno, the composer’s brother. Balan fô was premiered on July
16, 2011by Unió Musica de Llíria (“Union of Music of Lliria”, Valencia, Spain) with the
percussionist of the Valencia Opera House Francisco Inglés. Enrique Artiga directed the
premiere. The work is published with Tot Per l’Aire.
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Russell Peterson: The Life of King David: Concerto for Marimba and Band
32. Russell Peterson
Title: The Life of King David: Concerto for Marimba and Band
Date: 2004
Instrumentation: Piccolo, 2 flutes, 2 oboes, English horn, Eb clarinet, 3 B
b clarinets,
bass clarinet, 2 alto saxophones, tenor saxophone, baritone
saxophone, 2 bassoons, 4 horns, 4 trumpets, 2 trombones, bass
trombone, 2 euphoniums, tuba, timpani 5 percussion, piano, tape
Timing: 17:45
Score: Concert Pitch
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 4.5 octaves (F#2 - C7)
Cadenza: Yes
Publisher: Composer self-published
Arrangements: Wind Ensemble
Recordings: Downloadable at wwwp.cord.edu/faculty/rpeters/russ.catalog.html
Incipits:
87
Commission: Marc Wooldridge and Northwestern College (IA) Symphonic Band
directed by Timothy McGarvey
Premiere: Northwestern College Symphonic Band, Scott Hagen, conductor,
Marc Wooldridge, soloist
Whitney Prince: Concertino for Marimba and Wind Ensemble
33. Whitney Prince
Title: Concertino for Marimba and Wind Ensemble
Date: Completed in 2004
Instrumentation: 1 Piccolo, 2 1st Flutes, 2 2
nd Flutes, Oboe 1, Oboe 2, 3 1
st B
b
Clarinets, 3 2nd
Bb Clarinets, 3 3
rd B
b Clarinets, 2 B
b Bass Clarinets,
1st Bassoon, 2
nd Bassoon, E
b Alto Saxophone 1, E
b Alto Saxophone 2,
Bb Tenor Saxophone, E
b Baritone Saxophone, 2 1
st B
b Trumpets, 2
2nd
Bb Trumpets, 2 3
rd B
b Trumpets, 2 1
st Horns, 2 2
nd Horns, 2 1
st
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Trombones, 2 2nd
Trombones, 2 Euphoniums, 2 Tubas, Timpani, 4
Percussion.
Percussion 1: Chimes, Orchestra Bells, Vibraphone, Four Tom-toms
(8, 12, 16, and 20”)
Percussion 2: Snare Drum, Tambourine
Percussion 3: Small Triangle (4”), Two Crash Cymbals (16 and 20”),
Three Suspended Cymbals (14, 18 and 22”), Large
Tam-tam (40”)
Percussion 4: Large Triangle (6”), Bass Drum (36”)
“This instrumentation is recommended to achieve an ideal balance
within the ensemble and with the soloist. If a larger ensemble is
employed, section sizes should increase proportionally to maintain
balance within the ensemble, and care must be taken to not
overbalance the soloist” (Prince, 2004).
Timing: 7:35 (I: 4:00, II: 3:35)
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 2 and 4 mallets (I: 4 mallets, II: 2 mallets)
Range: 4.3 octaves (Bb2 - B
b6)
Cadenza: Yes
Publisher: Potenza Music (Piano Arrangement).
Wind parts available directly from composer at [email protected]
Arrangements: Wind Ensemble, Piano
Recordings: None
Incipits:
89
Copyright: Louisville, KY: Potenza Music Publishing ©2013
Commission: For composer’s son, Jeffrey Prince
Premiere: This Concertino was premiered by Jeffrey Prince, marimba soloist,
and the Saline (Michigan) High School Wind Ensemble, Nathaniel
Lampman, conductor on May 27, 2005.
Prince writes, "Concertino for Marimba is intended to develop and showcase the two-
and four-mallet skills of an advanced high school or collegiate level percussionist. The first
movement is slow and expressive, the second, fast and energetic. With piano accompaniment, it
is well-suited for high school solo and ensemble festival and student recitals.” (Prince, n.d.
retrieved from www.potenzamusic.com). The first movement required rolling using four mallets,
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and though some positions require rolling between upper and lower manuals, there are no
advanced techniques required such as one-handed rolls. The second movement employs mixed
meter, including a dancelike compound meter. The solo writing requires only two mallets, and
remains in octaves four and five, in tonal patterns that are often linear.
Whitney Prince holds degrees from the University of Michigan and University of
Colorado. He studied composition with Anthony Iannaccone. Prince is Professor of Music at
Eastern Michigan University where he teaches undergraduate and graduate courses in music
theory and aural skills. Prior to teaching theory, Prince served as Percussion Instructor and
Associate Director of Bands at Eastern Michigan. In 2008-09 he served as Interim Head of the
Department of Music and Dance. His works are published by Potenza Music and Woodwindiana.
Alfred Reed, Concertino for Marimba and Winds
34. Alfred Reed
Title: Concertino for Marimba and Winds
Date: Completed in November, 1991
Instrumentation: Piccolo, 2 flutes, 2 oboes, English horn, Eb clarinet, 3 B
b clarinets, E
b
alto clarinet, bass clarinet, contrabass clarinet, 2 bassoons, 2 alto
saxophones, tenor sax, baritone saxophone, 2 Bb cornets, 3 B
b
trumpets, 4 horns, 3 trombones, baritone in tenor clef, baritone in
bass clef, tuba, string bass, bass drum, snare drum, suspended
cymbal, drum set, mallet percussion (bells, vibe,) timpani, harp
Timing: 17:00
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
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Range: 4.3 octaves (Bb2 - F6)
Cadenza: Yes
Publisher: 1993 C.L. Barnhouse Music Publications
Arrangements: Wind Ensemble, Piano
Recordings: Reed in Recital (Bravo Music OSBR-21045, Reed, cond.);
The Marimba Concertino (Kono, recorded Feb 1992, Kosei
Publishing Co);
Alfred Reed Live! (2000 Klavier)
Incipits:
Commission: By Kazunori Momose, (timpanist of NHK Symphony) for Reiko
Kono
Premiere: May 3, 1992, at the Fourth Otonowa Concert, Otonowa Wind
Sinfonica, Kazunori Momose, conductor, Reiko Kono, soloist.
The section percussion parts are somewhat flexible in that a single drum set player can
cover the parts of snare drum, bass drum, and suspended cymbal.
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Kees Schoonenbeek: Concerto for Marimba and Wind Ensemble, Concerto for Two
Marimbas and Wind Ensemble
35. Kees Schoonenbeek
Title: Concerto for Marimba and Wind Ensemble,
Concerto for Two Marimbas and Wind Ensemble
Date: 1994
Instrumentation: Flute, oboe, bassoon, Eb clarinet, 3 B
b clarinets, bass clarinet, alto
saxophone, tenor sax, baritone sax, 2 horns, 2 percussion
Timing: 13:00
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 4.3 (A2 - Bb6)
Cadenza: Yes
Publisher: Canzona Music
Arrangements: Wind Ensemble (1 soloist)
Wind Ensemble (2 soloists)
Piano (1 soloist)
Recordings: None; a downloadable midi file can be found at www.freescores.com.
Incipits:
Commission:
Premiere:
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John Serry: Concerto for Marimba and Wind Ensemble
36. John Serry
Title: Concerto for Marimba and Wind Ensemble
Date: 1987
Instrumentation:
Timing:
Score:
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range:
Cadenza:
Publisher: Not Published
Arrangements: Wind Ensemble
Recordings: None
Incipits:
Commission: Leigh Howard Stevens and the University of Wisconsin and James
Madison University. Dedicated to L.H. Stevens.
Premiere: Spring 1987, University of Wisconsin, Whitewater, Thom
Wubbenhorst, cond., L.H. Stevens, soloist.
Adam Silverman: Carbon Paper and Nitrogen Ink
37. Adam B. Silverman
Title: Carbon Paper and Nitrogen Ink
Date: 2013
Instrumentation: Piccolo, 4 flutes (players 2-4 double on piccolo), 2 oboe, English
horn, Eb clarinet, 4 B
b clarinets, bass clarinet, 2 bassoons,
contrabassoon, 4 saxophones (soprano, alto, tenor, and baritone), 4
trumpets in Bb, (player 4 doubles on piccolo trumpet in B
b), 4 horns,
3 tenor trombones, bass trombone, euphonium, tuba, piano,
contrabass, timpani, 6 percussion (including crotales in 2 octaves,
glockenspiel, xylophone, vibraphone with motor, snare drum, bass
drum, suspended cymbals, chimes, 3 triangle, woodblock)
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Timing: 20:20
Score: Concert Pitch
Translated Title: Same
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 5.0 octaves (C2 - A6)
Cadenza: No
Publisher: 2013 Adam B. Silverman Music Publications (BMI)
Arrangements: Wind ensemble, percussion ensemble, piano
Recordings: Streaming Audio at composer’s and Sound Cloud websites
Incipits:
Commission: By a consortium of University Wind Ensembles including: Arizona
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State, Auburn, Brigham Young, Colorado State, Florida State,
Furman, Kutztown, Rowan, South Dakota State, Southern Methodist,
Temple, Troy, Central Arkansas, Central Florida, Minnesota Duluth,
Nebraska-Lincoln, South Carolina, Texas, West Chester, and the
West Chester University Percussion Ensemble.
Premiere: October 29, 2013 by Scott Herring with the University of South
Carolina Wind Ensemble (Scott Weiss, conductor).
Score Notes:
In Michael Pollan’s popular book The Omnivore’s Dilemma, the author describes carbon
as “supplying life’s quantity, since it is the main structural element in living matter,” and
nitrogen as “supplying life’s quality,” since it is the essential ingredient in amino acids,
proteins and nucleic acids. I particularly enjoyed his turn-of-phrase when he wrote “the genetic
information that orders and perpetuates life is written in nitrogen ink,” and it also reminded me
of some artwork by Hannah Burr, in which faint landscapes are inscribed on fragile leaves of
carbon paper. The titles of the first three movements were extracted and loosely adapted from
lines of The Human Genome: Poems On The Book of Life by Gillian K. Ferguson and the third
movement’s title, On the fabric of the human body, is the translated name of a landmark text on
human anatomy, Andreas Vesalius’ De humani corporis fabrica (1543). This book, a copy of
which I inherited from my father, features intricately detailed illustrations of human dissections
set in allegorical poses and settings. Together, the movement titles form a small poem.
The music was composed freely, without attempts to “pictorialize” its topic. Instead, it
takes as its overall approach the concept of “inscription,” with instrumental layers etching
impressions on one another. The solo marimba, in particular, imprints upon the rest by
triggering notes of the accompaniment that extend the marimba’s notes through sustaining,
echoing, and forming cascading trails.
Silverman’s other works for percussion are: Naked and On Fire for percussion sextet,
Gasoline Rainbow for percussion octet, Quick Blood for percussion quartet, and Stars, Cars,
Bars for speaking marimbist (“About Composer Adam Silverman”, 2013).
Adam Silverman was born August 15, 1973, in Atlanta, GA. He currently lives both in
New York City and Swarthmore, PA. He teaches music composition, theory, songwriting and
orchestration at West Chester University.
Silverman's most frequently performed works have been for opera, percussion ensemble,
and cello. In addition to the current work, he has composed concertos for saxophone and wind
ensemble, and a double concerto for violin, cello and orchestra.
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Silverman began his musical training as a pianist in Atlanta, and taught himself to play
guitar. By age 16, he was writing original songs and performing locally. He attended Tulane
University, the University of Miami, The Vienna Musikhochshule, and earned graduate degrees
at The Yale School of Music. His composition training at Tanglewood led him to receive the
ASCAP-Leonard Bernstein Fellowship.
Silverman founded the Minimum Security Composers Collective in the early 2000s, a
group of four composers who created new works and handled concert production and promotion.
This led Silverman to collaborate with Eighth Blackbird on a production that was performed at
Carnegie Hall and Lincoln Center's Alice Tully Hall. Silverman composed Sturm for The Amelia
Piano Trio, Kicking and Screaming for The Albany Symphony Chamber Orchestra, Ricochet for
Strata and the Piccolo Spoleto Festival, Corrie Q's Jigs and Reels (String Quartet No. 3) for the
Corigliano Quartet, and many others.
Silverman composed the opera Korczak's Orphans, which centers around the tragic
heroism of a Jewish author and orphanage director in World War II Poland. It has been
performed by New York City Opera, Real Time Opera, The Atlanta Young Singers, and The
Brooklyn Opera Company. Silverman's second opera, Griselda e il Marchese di Saluzzo, is an
Italian-language operatic "short" based on a tale from Boccaccio's The Decameron; scored for
just seven musicians, four soloists and a small women's choir, it was composed for International
Opera Theater, and was performed in 2010 and 2011 in Philadelphia, in Pieve, Italy, and in
Saluzzo, Italy.
Silverman composed music for Le Colonel des Zouaves (2005), a Dadaist theater piece
by French dramatist Olivier Cadiot, set for solo actor and men's chorus.
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In 2008, New Focus Recordings released a CD devoted to Silverman's compositions, and
his compositions have also appeared on CDs by the Prism Saxophone Quartet, cellist Amy Sue
Barston, The Florida State University Percussion Ensemble, and others.
Carbon Paper and Nitrogen Ink opens with a nod to the signature sound of Joseph
Schwantner: “stacking” chords upward, in staggered entrances. Silverman’s piece has
rhythmically driving outer movements, with a chorale in the second movement. Sometimes
pensive, and almost pointillistic, Silverman’s musical language always keeps a backdrop of
warm, legato, sonorous color under the rhythmic activity. The solo part was written in
collaboration with Scott Herring, Phillip O’Banion, and Gene Koshinski. The result is fairly
idiomatic and often keeps the hands moving in alternating patterns which reinforce the pulse.
Gordon Stout: Duo Concertante, for Two Marimba Soloists and Wind Ensemble
38. Gordon Stout
Title: Duo Concertante, for Two Marimba Soloists and Wind Ensemble
Date: 1994
Instrumentation: Piccolo, 3 flutes, alto flute, 2 oboes, English horn, 4 clarinets, bass
clarinet, 2 bassoons, contrabassoon, soprano saxophone, alto
saxophone, 2 trumpets, flugelhorn (trumpet 3), 4 horns, 2 trombones,
bass trombone, euphonium, tuba, piano, celeste, timpani, 3
percussion (medium and small suspended cymbals, bass drum, 3 tom-
toms, triangle, vibraphone, bells)
Timing: 19:00
Score: Concert Pitch
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 2 and 4 mallets
Range: Marimba 1: 4.6 octaves (E2 - B6), Marimba 2: 5.0 octaves (D2 - D6)
Cadenza: Yes
Publisher: Keyboard Percussion Publications
Arrangements: Wind Ensemble
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Recordings: “Air Mosaic” recorded by The Lawrence University Wind Ensemble,
Robert Levy, conductor, Dane Richeson and Gordon Stout, soloists.
Mark Custom Recording Service, Inc. 5341-MCD
Downloadable at http://www.gordonstout.net/music-8.html
Incipits:
© Property of Marimba Productions, Inc. All rights reserved including recording and public
performance. Reprinted with permission.
Commission:
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Premiere: April, 1996, at Ithaca College, Ithaca NY.
Rodney Winther, conductor, Gordon Stout and Ted Rounds, soloists.
This difficult work is a theme and five variations. It explores different musical and
textural relationships between the two marimbists and the wind ensemble. It requires two
advanced marimbists and an excellent wind ensemble.
Gordon Stout: Three Movements for Marimba and Wind Ensemble
39. Gordon Stout
Title: Three Movements for Marimba and Wind Ensemble
Date: 1974
Instrumentation: Piccolo, 3 flutes, 2 oboes, English horn, 3 clarinets, alto clarinet, bass
clarinet, contrabass clarinet, 2 bassoons, contrabassoon, alto
saxophone, 4 horns, 3 trumpet, 2 trombones, bass trombone,
euphonium, tuba, celeste, piano, 2 harps, timpani (5 drums), 4
percussion
Timing:
Score: Concert Pitch
Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 4 mallets
Range: 4.0 octaves (C3 - Bb6)
Cadenza: Mvt II for unaccompanied marimba
Publisher: Not Published
Arrangements: Wind Ensemble
Recordings: None
Incipits:
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Commission: Written in partial fulfillment of the requirements for the Eastman
Performer’s Certificate.
Premiere: 1974, by The Eastman Wind Ensemble. Donald Hunsberger,
conductor (Dancy, 2008, p. 21).
Composer Bio: see Stout: Duo Concertante
Larry Stukenholtz: Expansions for Marimba and Wind Ensemble
40. Larry Stukenholtz
Title: Expansions for Marimba and Wind Ensemble
Date: 1988
Instrumentation: 2 piccolo, 4 flutes, 2 oboes, 4 clarinets (2 players), bass clarinet, 2
bassoons, 2 alto saxophones, 2 tenor saxophones, baritone
saxophones, 4 horns, 4 trumpets, 4 trombones, tuba, piano, 4
percussion. Percussion 1: vibraphone, 3 tam-tams, snare drum,
wooden wind chimes, suspended cymbal, finger cymbals, and
tambourine. Percussion 2: vibraphone, triangle, tubular bells,
xylophone, bass drum, temple blocks, and two gongs. Percussion 3:
glockenspiel, snare drum, 4 wood blocks, low-pitched gong,
tambourine, maracas, triangle, suspended cymbal, and four roto-toms.
Percussion 4: crotales, 4 timpani, bass drum, and 4 pitched log drums.
Timing: 11:00
Score: Concert Pitch
Translated Title: n/a
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Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 4.3 octaves (B2 - B6)
Cadenza: No
Publisher: Permanently out of print
Arrangements: Wind Ensemble
Recordings: None
Incipits:
Commission:
Premiere:
Score Notes: “Expansions, a composition for marimba soloist and band, is
constructed entirely from one chord (C-Eb-D-F-B) expanded and
transposed to generate both melodic and harmonic content. The
intent was to utilize a type of minimalist harmonic structure which
takes shape and form through transposition and romantic gesture.
Structural tension is generated by contrasting harmonically static
sections of eighth-note rhythmic patterns with sweeping runs in the
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winds or by references back to earlier ideas. The chord goes through
many transpositions, overlaps itself at the interval of the tritone in
measure 151, and returns in its original form at the end”
(Stukenholtz, 1988).
Larry L. Stukenholtz was educated first at Wichita State University (Patton, 1994) and
then completed his Master of Music and Doctor of Musical Arts degrees at the University of
Michigan in 1983 and 1989, respectively (“Alumni News,” 1989).
Stukenholtz has held a position at Cerritos College in Norwalk, and served as director of
music at St. Juliana Falconieri in Fullerton, CA, St. Louis Community College at Meramec in St.
Louis, MO, as a choir director, and as a teacher at Mater Dei High School Santa Ana, CA.
Stukenholtz served as a delegate to the Second International Congress for Church Choir directors
in Rome. He received a Charles Ives Scholarship in 1984, granted by the academy of arts and
letters and funded by charitable contributions of Mr. Ives’ widow, on behalf of the late
composer’s estate (“The Charles Ives Awards”, n.d.).
Though the Percussive Arts Society holds no articles or review of the work, Expansions
appears on a list of marimba concerto repertoire at www.marimba.org, the compilation of which
has been accredited to William Moersch. The information there suggests the work originated in
1988. Given that the composer completed his doctoral degree in 1989, this concerto may have
been composed as a dissertation project. It was written for Larry Kaptain (D.M.A. University of
Michigan, 1986) and has been performed at West Texas State, Stephen F. Austin, and Ball
Universities. The duration of the work is approximately eleven minutes (Moersch, n.d.).
The score, which as of 2013 is permanently out of print, is written in concert pitch
(except for instruments sounding one or two octaves higher than written).
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The solo marimba part ranges in pitch from Cb 3 to C7, fitting a standard, 4.3-octave
instrument. There is no formal solo cadenza.
Stukenholtz has written several other compositions for solo, chamber, and liturgical
settings.
Satoshi Takeshima: Sky High for Wind Orchestra and Solo Marimba
41. Satoshi Takeshima
Title: Sky High for Wind Orchestra and Solo Marimba
Date: 2009
Instrumentation: Piccolo, 2 flutes, oboe, English horn, Eb clarinet, 3 B
b clarinets, alto
clarinet, bass clarinet, bassoon, soprano saxophone, 2 alto
saxophones, tenor saxophone, baritone saxophone, 4 horns, 3
trumpets, 2 cornets, 3 trombones, bass trombone, euphonium, tuba,
string bass, timpani, and 6 percussion (bass drum, cymbals,
suspended cymbal, snare drum, triangle, tambourine, tubular bells).
Timing: 18:00
Score: Transposed
Translated Title:
Is the composer a
percussionist?
Yes
Technical Requirements: 4 mallets
Range: 5.5 octaves (C2 – F7)
Cadenza: Yes
Publisher: Not Published
Arrangements: Wind Ensemble
Recordings: Kyo-En XV: Prosperous Future for Bands into the 21st Century
(Bravo Music BOCD-7490)
Incipits:
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Commission: Mutsuko Fujii
Premiere:
Satoshi Takeshima was born in Kanagawa Prefecture, Japan, in 1976. He studied piano,
composition and electronic organ at the Yamaha Music School and graduated from the Tokyo
National University of Fine Arts and Music with a degree in percussion. At age 16 Takeshima
was already composing and had an active performing career in Japan and abroad. He won second
place in the 13th
Japan Percussion Competition, and has made solo appearances with NHK
Symphony Orchestra, Tokyo Philharmonic Orchestra, Gunma Symphony Orchestra, Orchestra
Ensemble Kanazawa, Osaka Century Orchestra, and Central Aichi Symphony Orchestra.
Currently he is a percussionist in the NHK Symphony Orchestra in Tokyo, and a lecturer at
Senzoku College of Music. Takeshima began his own recital series he calls “Sound Garden” in
2006, and has also been active in performing Jazz and contemporary music, both as a
percussionist and as a pianist (Iwatsuki, 2011).
Sky High for Wind Orchestra and Solo Marimba was commissioned in 2009 by
prominent Japanese marimbist Mutsuko Fujii. The solo marimba part requires an extended range
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of 5.5 octaves, from C2 to F7. Instruments of this range have only recently begun to be
produced. The passages using the uppermost pitches are written in rapid sixteenth notes, and no
ossia options are included. A soloist with a 5.0-octave instrument would need to strategically
displace octaves in order to maintain the musical tension created by the pitch contour and
register of those passages.
The piece is recorded on the Brain Music label. The disc is entitled Kyo-En XV:
Prosperous Future for Band Into the 21st Century, (volume 15 in a series), featuring the
Kanagawa University Symphonic Band and Mutsuko Fujii, with a duration of 17 minutes 40
seconds. The piece is not published, but was provided by the composer for the purpose of this
study.
Terumichi Tanaka: Musik für Marimba Solo und Bläserorchester
42. Terumichi Tanaka
Title: Musik für Marimba Solo und Bläserorchester
Date: 1974
Instrumentation: Piccolo (doubling on flute), oboe, clarinet, bassoon, trumpet, 2 horns,
2 trombones, 2 percussion, piano, double bass
Timing: 20:00
Score: Concert Pitch
Translated Title: Music for Solo Marimba and Wind Orchestra
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 4.0 octaves (C3 - Ab6)
Cadenza: No
Publisher: Not Published
Arrangements: Original instrumentation only
Recordings: None
Incipits:
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Commission:
Premiere: February 20, 1974, Shimane University. Sigeko Miwa, soloist.
Terumichi Tanaka was educated at Shimane University in Japan. His Music for Solo
Marimba and Wind Orchestra was premiered in 1974 for graduation proceedings of Shimane
University, which take place upon the completion of a one-year course of study. This work was
premiered on February 20, 1974 by soloist Sigeko Miwa, a classmate of the composer (T.
Tanaka, personal communication, September 11, 2013). The accompanying ensemble was a
group of university players organized for performing this piece.
This is the earliest known work from outside the United States in the genre. (The earliest
American work is Three Movements for Marimba and Wind Ensemble, written in the same year
by percussionist-composer Gordon Stout.) Tanaka’s work facilitates balance between soloist and
accompaniment because the ensemble is of moderate size. In recent years, smaller
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accompaniment setups have been trending. By reducing the number of personnel needed,
ensembles can be more easily assembled, and not deter soloists from choosing a work. Tanaka’s
work involves no other percussion besides the soloist, making rehearsal setup as easy as moving
a four-octave marimba.
In this serial piece, Tanaka calls for many extended techniques. (His notes are in
German.) Woodwind players are required to vary pitch by quarter-tone or three-quarter-tone, and
to use key noise rhythmically. Brass players are required to use air sound. The pianist uses a
xylophone mallet on the lid of the piano, and plucks the strings with a finger. The bassist uses the
hand and bow to hit the body of the instrument or the strings. The soloist uses two-tone, soft and
hard mallets, brushes and metal (triangle) beater. The soloist’s part is metered only by
indications of seconds. The accompaniment parts are notated metrically. The density of notes
and texture increase, and the climax is expressed partly through this density, where the
aforementioned aleatoric pitch groups occur in the woodwinds and brass. In the last four minutes
of the work, the texture gradually returns to where it began: with the soloist playing pointillistic
gestures, unaccompanied.
Peter Tanner: Concert Piece for Marimba and Wind Ensemble
43. Peter Tanner
Title: Concert Piece for Marimba and Wind Ensemble
Date: 1976
Instrumentation: Piccolo, 2 flutes, 2 oboes, 3 Bb clarinets, E
b alto clarinet, bass
clarinet, contrabass clarinet, bassoon, 2 alto saxophones, tenor
saxophone, baritone saxophone, 3 trumpets, 4 horns, 2 trombones,
bass trombone, euphonium, tuba, timpani, snare drum, bells,
xylophone, cymbal, bass drum, triangle, string bass.
Timing: 11:00
Score: Transposed
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Translated Title: n/a
Is the composer a
percussionist?
Yes
Technical Requirements: 2 and 4 mallets
Range: 4.0 octaves
Cadenza: Yes
Publisher: Colla Voce
Arrangements: Wind Ensemble, Piano
Recordings:
Incipits:
Commission:
Premiere:
Christopher Theofanidis: Concerto for Marimba and Wind Sinfonietta
44. Christopher Theofanidis
Title: Concerto for Marimba and Wind Sinfonietta
Date: 2013
Instrumentation: Piccolo, flutes, English horn, 2 clarinets, bass clarinets, bassoon,
contrabassoon, 2 horns, 2 trumpets, trombone, bass trombone,
euphonium, contrabass, 3 percussion, harp
Timing: 27:00
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Score:
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 4 mallets
Range: 5.0 octaves (C2 – F6)
Cadenza: Yes
Publisher: Bill Holab Music
Arrangements: Wind Ensemble
Recordings: Not Published (held at Univ. of Illinois)
Incipits:
Copyright © 2013 by Christopher Theofanidis (ASCAP).
All Rights Reserved. Used by Permission.
Commission: Consortium led by Robert Rumbelow and the University of Illinois.
Participants in the consortium were Cornell University and Cynthia
Johnston Turner, Eastman School of Music and Mark Scatterday,
Indiana State University and Roby George, University of South
Florida and John Carmichael, Peabody Conservatory of Music and
Harlan D. Parker, University of Florida and David Waybright, Texas
Tech University and Sarah McKoin, Florida State University and
Richard Clary, Keenesaw State University and David Kehler,
Dartmouth University and Matthew Marsit, Butler University and
Robert Grechesky, University of Central Florida and Scott Tobias,
University of Montana and James Smart, Baldwin-Wallace College
and Dwight Oltman, and Auburn University and Rick Good.
Premiere: Tuesday, April 30, 2013, at The Kannert Center for the Performing
Arts, University of Illinois Urbana-Champaign. The University of
Illinois Wind Symphony. Robert Rumbelow, conductor, William
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Moersch, soloist.
Christopher Theofanidis (born Dec. 18, 1967 in Dallas, Texas) has had performances by
many leading orchestras from around the world, including the London Symphony, the New York
Philharmonic, the Philadelphia Orchestra, the Moscow Soloists, the National, Atlanta, Baltimore,
St. Louis and Detroit Symphonies, and many others. He also has served as Composer of the Year
for the Pittsburgh Symphony during their 2006-2007 Season, for which he wrote a violin
concerto for Sarah Chang.
Mr. Theofanidis holds degrees from Yale, the Eastman School of Music, and the
University of Houston, and has been the recipient of the International Masterprize (hosted at the
Barbican Centre in London), the Rome Prize, a Guggenheim Fellowship, six ASCAP Gould
Prizes, a Fulbright Fellowship to France, a Tanglewood Fellowship, and the American Academy
of Arts and Letters' Charles Ives Fellowship. In 2007 he was nominated for a Grammy for best
composition for his chorus and orchestra work, The Here and Now, based on the poetry of Rumi.
His orchestral concert work, Rainbow Body, has been one of the most performed new orchestral
works of the last ten years, having been performed by over 100 orchestras internationally.
Mr. Theofanidis has recently written a ballet for the American Ballet Theatre, a work for
the Orpheus Chamber Orchestra as part of their “New Brandenburg” series, and he currently has
two separate opera commissions for the San Francisco and Houston Grand Opera companies. He
has a long-standing relationship with the Atlanta Symphony, and has just had his first symphony
premiered and recorded with that orchestra. He has served as a delegate to the US-Japan
Foundation's Leadership Program and is a former faculty member of the Peabody Conservatory
and the Juilliard School. He currently teaches at Yale University (Theofanidis, 2010).
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In a radio interview on Illinois Public Media’s program Live and Local, broadcast
Monday April 29 2013, host Kevin Kelly called Theofanidis’s music “remarkably melodic,” and
“unabashedly romantic,” descriptions to which the composer acquiesced, saying of himself, “I
think of myself as a melodist first.” He cites world music as a significant influence on his work
existing outside the classical (Kelly, 2013).
The score is dedicated to Robert Van Sice, who was the initially intended soloist for the
piece and was unable to complete the project for personal reasons (Kelly, 2013). The score is in
concert pitch, and includes piccolo, flute, English horn, two Bb clarinets, bass clarinet, alto
saxophone, bassoon, contrabassoon, two F horns, two Bb trumpets, trombone, bass trombone,
euphonium in treble clef, contrabass, harp, and three percussion (Player I: Chinese cymbal,
tambourine, triangle, vibraphone, sandblocks, vibraslap; Player II: suspended cymbal, cowbell,
splash cymbal, triangle, marimba, sizzle cymbal, woodblocks; and Player III: snare drum,
suspended cymbal, hi-hat, Chinese cymbal, tam-tam, triangle, woodblocks, egg shaker,
slapstick). The score is published by Bill Holab Music, and the work’s duration is 22 minutes.
Having worked with Theofanidis “at least” three previous times, conductor Robert
Rumbelow describes the piece as “delicate, colorful music… The clarity and simplicity of
accompaniment is genius. …A beautifully colorful, clear, voice. [The piece] …shows the great
diversity of sound that the wind ensemble is capable of creating” (Kelly, 2013). Robert Van Sice
worked with the composer on the solo part. The range of the solo part begins at F2 and ventures
high only at moments to F6, making use of the rich low and mid-range primarily. The focus of
Theofanidis’s work is quite obviously not technical demonstration (though Moersch did
comment that learning the work in just about one month was challenging), but rather the
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juxtaposition of pulse (or shifting pulse) and space, and enjoying the relationship between
melody, harmony, and color, in clear textures. This is not a “visceral” piece of music.
With 22 musicians rarely playing in tutti, this translates into a performing situation in
which, according to Rumbelow, there were no balance issues with the marimba. “I can’t
remember the last time I did a concerto that didn’t have a balance issue, regardless of what the
instrument was,” he remarked in the broadcast; “Omnipresent in all of his music is resonance—it
seems to be a big part of [his] language. …the way instruments leave and ‘leave space’… the
orchestrations are so clear that the space between instruments doesn’t clog up or get thick”
(Kelly, 2013). Theofanidis added: “I was hyper-aware of the volume, [and] potential for disaster.
We could ‘up’ the ensemble a bit here and there, rather than down” (Kelly, 2013).
Frode Thingnæs: Liten Konsert for Marimba og Korps
45. Frode Thingnæs
Title: Liten Konsert for Marimba og Korps
Date: 1989
Instrumentation:
Timing: 9:45
Score:
Translated Title: Concertino for Marimba and Band
Is the composer a
percussionist?
No
Technical Requirements: 2 and 4 mallets
Range: 4.0 octaves (C3 - G6)
Cadenza: No (transition added in recording)
Publisher: Norsk Musikvorlag
Arrangements: Wind Ensemble, Piano
Recordings: Not Published (held at Norsk Musikinformasjon / Music Information
Norway)
Incipits:
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Commission:
Premiere:
Born 1940, died Nov 15, 2012 (Staude, 2012).
Stephanie Webster: Concerto for Marimba and Winds
46. Stephanie Webster
Title: Concerto for Marimba and Winds
Date: 2013
Instrumentation: Piccolo, 2 flutes, 2 oboes, 3 clarinets, bass clarinet, bassoon, 2 alto
saxophone, tenor saxophone, baritone saxophone, 3 trumpets, 3
horns, 3 trombones, euphonium, tuba, timpani, 2 percussion
(unpitched and pitched, respectively).
Timing: 12:20
Score: Transposed
Translated Title: n/a
Is the composer a Yes
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percussionist?
Technical Requirements: 4 mallets
Range: 5.0 octaves (D2 - B6)
Cadenza: Yes
Publisher: Unpublished
Arrangements: Wind Ensemble, Percussion Ensemble, Piano
Recordings: Streaming Video at
http://www.youtube.com/watch?v=EyjUE-3B9U8
Incipits:
Commission: Diablo Wind Symphony. For Jack Van Geem
Premiere: The original work with wind ensemble was premiered on May 22nd
,
2013, by Diablo Wind Symphony, Jack Van Geem, soloist.
The percussion ensemble arrangement was premiered on March 1st,
2014.
Stephanie Webster is a San Francisco based composer and marimbist born in 1988. Ms.
Webster earned a Bachelor of Arts degree with an emphasis in composition from Saint Mary's
College of California in 2012. She is currently pursuing a Master of Music degree in
Composition and a Master of Music in Marimba Performance at the San Francisco Conservatory
of Music in the studios of Jack Van Geem (percussion) and Dan Becker (composition), she also
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studies percussion with Trey Wyatt. Ms. Webster's past private instruction has been under the
tutelage of Conrad Susa, Dr. Martin Rokeach and Dr. Frank La Rocca (composition), Artie
Storch (percussion), Terrie Knight (oboe) and Dr. Lino Rivera (piano) (personal communication
via electronic mail, May 15, 2014).
Ms. Webster teaches and tours with the Blue Devils Organization. She also teaches at
Carquinez Middle School and John Swett High School in Crockett, CA. Ms. Webster has been
commissioned by the Diablo Wind Symphony, Contra Costa Chamber Orchestra and various
percussion ensembles in the greater Bay Area. She has also had her works performed by
Composer's Inc., Jupiter Chamber Players and various members of the San Francisco Symphony
Orchestra and the San Francisco Opera Orchestra (personal communication via electronic mail,
May 15, 2014).
Concerto for Marimba and Winds was written for and premiered by Webster’s teacher
Jack Van Geem upon his retirement from the position of Principal Percussionist of the San
Fransisco Symphony. The work was commissioned by the Diablo Wind Symphony, a group of
60 to 80 musicians ages 14 to 21 (“About”, n.d.).
The Concerto is written in three movements, named “Asylum,” “Jack’s Lullaby,” and
“Run Wild.” The difficulty level of the ensemble parts is representative of the age range of the
Diablo Wind Symphony. The woodwinds are required to play undulating sextuplet figures, and
these are the most difficult figures in the ensemble's parts. The solo part, on the other hand,
opens with quick, bursting scales in sextuplets, which are not based on a pattern or ostinato as in
the ensemble. The soloist must have rehearsed well many unique sticking patterns to make this
concerto work, particularly in the first movement.
116
Satoshi Yagisawa: Marimba Concerto
47. Satoshi Yagisawa
Title: Marimba Concerto
Date: December 2008
Instrumentation: Piccolo, 2 flutes, oboe, bassoon, 3 bb clarinets, bass clarinet, 2 alto
saxophones, tenor saxophones, baritone saxophones, 3 bb trumpets, 4
horns, 3 trombones, 2 euphoniums, bass, double bass, mallet
percussion, timpani, 3 percussion
Timing: 13:00
Score: Transposed
Translated Title: n/a
Is the composer a
percussionist?
No
Technical Requirements: 2 and 4 mallets
Range: 4.6 octaves (E2 – C7)
Cadenza: Yes
Publisher: DeHaske
Arrangements: Wind Ensemble, Orchestra
Recordings: Symphonic Episode I: The Artistry of Satoshi Yagisawa (DeHaske)
Incipits:
Commission: Ryo Takada
117
Premiere: Bunkyo University Shonan Campus Wind Orchestra, Kawasaki City
Tachibana High School Wind Band, Kawasaki City Takatsu High
School Wind Band, Yutaka Kato, conductor, Ryo Takada, soloist.
Satoshi Yagisawa was born in Japan in 1975. He earned a master’s degree in composition
at Musashino Academia Musicae, and studied composition under Kenjiro Urata, Hitoshi Tanaka,
and Hidehiko Hagiwara. Yagisawa studied trumpet under Takeji Sekine and band instruction
under Masato Sato (Yagisawa, 2009).
Yagisawa composes for orchestra, chorus, and chamber settings in addition to band, and
his works have been performed outside Japan at events such as the World Association for
Symphonic Bands and Ensembles Twelfth International conference in Singapore, 2005. He
arranged theme music for the 54th
National Arbor Day event in Chiba Prefecture (Japan) in 2003,
and arranged music for the Japan Inter High School Athletic Meet in 2005. Yagisawa is active as
a competition judge, guest conductor, instructor, and writer for various magazines (Yagisawa,
2009).
The Marimba Concerto was composed in December 2008, commissioned by Japanese
marimbist Ryo Takada. It was first performed by Bunkyo University Shonan Campus Wind
Orchestra, Kawasaki City Tachibana High School wind Band, and Kawasaki City Takatsu High
School Wind Band, in December 2008.
The score, published in 2009, lists a grade 4 level of difficulty for band. The solo part,
which employs a 4.6-octave marimba range, from E2 to C7, is justly deemed a grade 5
(advanced). The work lasts twelve minutes, thirty seconds. The description in the first pages
states this work should be “considered a sequel” to other concertos by Yagisawa: Suite
118
Concertante for Piano and Wind Orchestra, Trumpet Concerto and Trombone Concerto. The
description continues:
The first movement contains elements of baroque and classical styles, which is
unusual in today’s wind music. The second movement, graceful in mood, captures
the composer’s characteristic chorale style. The third movement turns into a rapid
and exciting conclusion. The whole piece is played, without interruption, as a
single movement (Yagisawa, 2008).
The score is transposed, and the ensemble instrumentation includes: piccolo, two flutes, oboe,
bassoon, three Bb clarinets, B
b bass clarinet, two alto saxophones, tenor saxophone, baritone
saxophone, three trumpets, four French horns, three trombones, euphonium, Bb euphonium, bass,
double bass, mallet percussion (glockenspiel, vibraphone), timpani, and three percussion (snare
drum, bass drum, crash cymbals, triangle, suspended cymbal, tambourine). There are alternate
parts available for European ensembles: all four French horn parts in the key of Eb, trombone
parts one, two, and three in bass or treble clef, and bass parts in Eb or B
b, bass or treble clef.
The Marimba Concerto is recorded on Symphonic Episode I: The Artistry of Satoshi
Yagisawa on the DeHaske label, featuring Ryo Takada with the Nagoya Wind Symphony.
Works Currently Unavailable, Other Works
Certain works identifiable in various resources have proven still irretrievable. The first of
David Carey’s Suite for Marimba and Winds is listed in Tom Siwe’s catalog, but has not been
successfully retrieved for study. Other works for which no score was available were those held
by Keyboard Percussion Publications, including Raymond Helble’s The Dragon of Wyckham,
119
Clair Omar Musser’s Scherzo Caprice, Gordon Stout’s Duo Concertante, and Niel DePonte’s
Concertino. For these works, information was collected from resources such as Siwe’s catalog,
Percussive Arts Society reviews and literature, or from electronic mail directly from the
composer.
Peter Tanner’s Concert Piece for Marimba and Wind Ensemble is considered part of the
genre, though a review from 1977 by Linda Pimentel suggests that the first version of Tanner’s
concerto was originally written in a reduced score form, for piano accompaniment, and later
orchestrated for wind ensemble:
The piano accompaniment is comfortable and well-constructed and tends to
suggest the future scoring for a wind band. … Within the piano accompaniment,
the combinations of moving chord structures, gliding past each other and then
clashing in different registers, should eventually sound even more exciting when
voiced for wind instruments (1977, p. 41-42).
Thomas Siwe dates the work to 1976, nine years after Tanner finished his PhD at Catholic
University in his catalog Percussion Solo Literature. This suggests the work was not completed
as part of any degree requirement (Siwe, 1995, p. 375).
Mark Glentworth’s Marimba Concerto No. 1 is available in piano reduction form.
Attempts were made to contact the composer in order to locate a copy of the full wind score.
See Dancy’s document for more details on the works of Briggs, Broege, Chung, DePonte,
Faegre, Helble, Long, Maslanka, McCarthy, Musgrave, Peterson, Reed, Serry, Schoonenbeek,
Stout (Three Movements), Thingnæs, and Gillingham.
120
121
Works Arranged by Duration
Composer: Title Duration
Nitsch, Jason K.:
Forward! For Solo
Marimba and Wind
Ensemble
6:00
Helble, Raymond: The
Dragon of Wyckham 10:00
Briggs, Thomas:
Concerto for Marimba
and Wind Ensemble
6:45
DePonte, Niel:
Concertino for Marimba
and Wind Ensemble
10:30
Chantry, Benoît: Two
Marimba Reflections 7:30
Tanner, Peter: Concert
Piece for Marimba and
Wind Ensemble
11:00
Prince, Whitney:
Concertino for
Marimba and Wind
Ensemble
7:35
Stukenholtz, Larry:
Expansions for Marimba
and Wind Ensemble
11:00
Lin, Chin-Cheng:
Marimba Concertino
No. 1 ‘One Love’ for
Marimba and Brass
Band
8:00
Kopetzki, Eckhard:
Marimba in the Wind 11:30
Huang, Ssu-Yu:
Naluwan Concerto for
Marimba and Wind
Concert Band
8:40
Ortiz Gimeno, Vicente:
Balan fô Concerto for
Marimba and Wind
Ensemble
12:00
Baumol, Adam: Sten:
Concerto for Marimba
and “Funkestra”
9:05
Nitsch, Jason:
Concerto No. 2 for
Marimba and Wind
Ensemble
12:05
Musser, Clair Omar:
Scherzo Caprice 9:30
Webster, Stephanie:
Concerto for Marimba
and Winds
12:20
Thingnæs, Frode:
Liten Konsert for
Marimba og Korps
9:45
Schoonenbeek, Kees:
Concerto for Marimba
(or Two Marimbas)
and Wind Ensemble
13:00
122
Yagisawa, Satochi:
Marimba Concerto 13:00
Peterson, Russell:
The Life of King David:
Concerto for Marimba
and Band
17:45
Hirose, Hayato: Fantasy
for Marimba 13:25
Levin, Todd: Aqua Vitae
for Solo Marimba and 17
Instruments
18:00
McCarthy, Daniel:
Chamber Symphony for
Marimba and Winds
14:30
Mashima, Toshio: The
Song of a Great Tree
Concerto for Marimba
and Symphonic Band
18:00
Diegelmann, Udo:
Treffpunkt 4/4/3 15:00
Takeshima, Satoshi: Sky
High for Wind Orchestra
and Solo Marimba
18:00
McMullin, Brendan:
Suite for Marimba and
Wind Ensemble
15:00
Stout, Gordon: Duo
Concertante, for Two
Marimba Soloists and
Wind Ensemble
19:00
Chung, Yiu-Kwong:
Concerto for Marimba
and Wind Ensemble
15:30
Maslanka, David:
Concerto for Marimba
and Band
19:30
B'Racz, Istvan Peter:
Concerto for Two
Marimbas and Wind
Orchestra
16:00
Tanaka, Terumichi:
Music for Marimba and
Wind Ensemble
20:00
Reed, Alfred:
Concertino for Marimba
and Winds
17:00
Brophy, Gerard: Scenes
from the Caucasus 20:00
Mashima, Toshio:
Lotus Flower Concerto
for Marimba and Band
17:30
Faegre, Brendan:
Concerto for Marimba
and Chamber Winds
20:00
123
Silverman, Adam:
Carbon Paper and
Nitrogen Ink
20:20
Stout, Gordon: Three
Movements for Marimba
and Wind Ensemble
?
Glentworth, Mark:
Marimba Concerto No. 1 21:00
Serry, John: Concerto for
Marimba and Wind
Ensemble
?
Håkestad, Andreas:
Movements for Marimba
and Wind Quintet
23:00
or
18:304
Carey, David: Suite for
Marimba and Woodwinds ?
Gillingham, David R.:
Concerto No. 2 for
Marimba and Wind
Ensemble
23:00
Broege, Timothy:
Concerto for Marimba &
Wind Orchestra
25:00
Musgrave, Thea: Journey
Though A Japanese
Landscape, for Marimba
and Wind Ensemble
25:00
Theofanidis, Christopher:
Concerto for Marimba
and Wind Sinfonietta
27:00
Long, David: Concerto
for Marimba and Wind
Ensemble
30:00
4 The composer suggests omitting movements IV and VI for an overall duration of 18:30.
124
Works Arranged by Marimba Range
Composer: Title Range
Works with alternate, “ossia” ranges
are listed twice.
Brophy, Gerard: Scenes
from the Caucasus
4.0
(G3 - Ab6)
Thingnæs, Frode:
Liten Konsert for
Marimba og Korps
4.0
(C3 - G6)
Håkestad, Andreas:
Movements for Marimba
and Wind Quintet
4.0
(C - C)
Briggs, Thomas:
Concerto for Marimba
and Wind Ensemble
4.3
(B2 - Ab6)
Huang, Ssu-Yu:
Naluwan Concerto for
Marimba and Wind
Concert Band
4.0
(C3 - A6)
Chantry, Benoît:
Two Marimba Reflections
4.5
(G2 - E6)
ossia 4.3
Kopetzki, Eckhard:
Marimba in the Wind
4.0
(C3 - C6)
DePonte, Niel:
Concertino for Marimba
and Wind Ensemble
4.3
Musser, Clair Omar:
Scherzo Caprice 4.0
Helble, Raymond:
The Dragon of Wyckham
4.3
(low A)
Stout, Gordon:
Three Movements for
Marimba and Wind
Ensemble
4.0
(C3 - Bb6)
Levin, Todd: Aqua Vitae
for Solo Marimba
and 17 Instruments
4.3
(A2 - C7)
Tanaka, Terumichi:
Music for Marimba
and Wind Ensemble
4.0
(C3 - Ab6)
Long, David: Concerto
for Marimba and
Wind Ensemble
4.3
(A2 - Ab6)
Tanner, Peter:
Concert Piece for
Marimba and Wind
Ensemble
4.0
Ortiz Gimeno, Vicente:
Balan fô Concerto
for Marimba and
Wind Ensemble
4.3
(Bb2 - F6)
125
Prince, Whitney:
Concertino for Marimba
and Wind Ensemble
4.3
(Bb2 - B
b6)
Diegelmann, Udo:
Treffpunkt 4/4/3 4.6
Reed, Alfred:
Concertino for
Marimba and Winds
4.3
(Bb2 - F6)
Yagisawa, Satochi:
Marimba Concerto
4.6
(E2 - C7)
Schoonenbeek, Kees:
Concerto for Marimba (or
Two Marimbas) and
Wind Ensemble
4.3
(A2 - Bb6)
B'Racz, Istvan Peter:
Concerto for
Two Marimbas
and Wind Orchestra
M.1: 5.0
M.2: 5.0
Stukenholtz, Larry:
Expansions for Marimba
and Wind Ensemble
4.3
(B2 - B6)
Chung, Yiu-Kwong:
Concerto for Marimba
and Wind Ensemble
5.0
(C2 - C7)
Chantry, Benoît:
Two Marimba Reflections
4.5
(G2 - E6)
ossia 4.3
Faegre, Brendan:
Concerto for Marimba
and Chamber Winds
5.0
Musgrave, Thea:
Journey Though A
Japanese Landscape,
for Marimba and
Wind Ensemble
5.0
(ossia 4.5)
Gillingham, David R.:
Concerto No. 2
for Marimba and
Wind Ensemble
5.0
(D2 - A6)
Peterson, Russell:
The Life of King David:
Concerto for Marimba
and Band
4.5
(F#2 - C7)
Hirose, Hayato:
Fantasy for Marimba
5.0
(Eb2 - G6)
Broege, Timothy:
Concerto for Marimba &
Wind Orchestra
4.6
(E2 - Bb6)
Theofanidis, Christopher:
Concerto for Marimba
and Wind Sinfonietta
5.0
(C2 - F6)
Lin, Chin-Cheng:
Marimba Concertino
No. 1 ‘One Love’ for
Marimba and Brass Band
5.0
(C2 - C7)
Mashima, Toshio:
The Song of a Great Tree
Concerto for Marimba
and Symphonic Band
5.0
(C2 - C7)
Mashima, Toshio:
Lotus Flower Concerto
for Marimba and Band
5.0
(D2 - C7)
Stout, Gordon:
Duo Concertante, for
Two Marimba Soloists
and Wind Ensemble
M1: 4.6
(E2 - B6)
M2: 5.0
(D2 - D6)
126
Baumol, Adam: Sten:
Concerto for Marimba
and “Funkestra”
5.0
Takeshima, Satoshi: Sky
High for Wind Orchestra
and Solo Marimba
5.5
(C2 - F7)
Maslanka, David:
Concerto for Marimba
and Band
5.0
(C2 - D6)
Glentworth, Mark:
Marimba Concerto No. 1
5.6
(D2 - Gb7)
McCarthy, Daniel:
Chamber Symphony for
Marimba and Winds
5.0
(C2 - C7)
Carey, David: Suite for
Marimba and Woodwinds ?
McMullin, Brendan:
Suite for Marimba and
Wind Ensemble
5.0
(C2 - Bb6)
Serry, John: Concerto for
Marimba and Wind
Ensemble
?
Musgrave, Thea: Journey
Though A Japanese
Landscape, for Marimba
and Wind Ensemble
5.0
(ossia 4.5)
Nitsch, Jason K.:
Concerto No. 2 for
Marimba and Wind
Ensemble
5.0
(D2 - Ab6)
Nitsch, Jason K.:
Forward! For Solo
Marimba and Wind
Ensemble
5.0
(D2 - Eb6)
Silverman, Adam:
Carbon Paper and
Nitrogen Ink
5
(C2 - A6)
Webster, Stephanie:
Concerto for Marimba
and Winds
5.0
(D2 - B6)
127
Works Arranged by Number of Ensemble Performers
Full wind ensemble and chamber arrangements (including brass band) are represented in the
table below.
Composer:
Title
Ensemble
Performe
rs
Instrumentation
Carey, David:
Suite for Marimba and Woodwinds 5
Woodwind Quintet
Håkestad, Andreas:
Movements for Marimba
and Wind Quintet
6
Fl, Ob., Cl, Eng. Horn, Bsn
McCarthy, Daniel:
Chamber Symphony for Marimba
and Winds
10
Fl, Ob., Cl, B. Cl, Bsn, Tpt, Hrn, Tbn,
Tba, Perc (SD, Tom, WB, Temple Blk,
Claves, Afuche, Bongos, Sus Cym, Gong,
cast)
Baumol, Adam:
Sten: Concerto for Marimba and
“Funkestra”
13
3 Trumpets, 2 Trombones, 3 Alto Sax,
Tenor Sax, Bari Sax, Piano, Bass Guitar,
Drums
Tanaka, Terumichi:
Music for Marimba and Wind
Ensemble
13
1 Picc/Fl, 1 Ob, 1 Cl, 1 Bsn, 1 Tpt, 2 Hns,
2 Tbn, 2 Perc, 1 Piano, 1 D. Bass
Schoonenbeek, Kees:
Concerto for Marimba and Wind
Ensemble,Concerto for Two
Marimbas and Wind Ensemble
15
Fl, Ob, Bsn, Eb Cl, 3 Bb Cls, B. Cl, Alto
Sax, Tenor Sax, Bari Sax, 2 Hrn, 2 Perc
Levin, Todd: Aqua Vitae for Solo
Marimba and 17 Instruments 17
Picc, Fl, Ob, Eng. Hrn, Cl, B. Cl, Bsn,
2 C Trpts, 2 Horns, 2 Trb, Tuba, 3 Perc
Faegre, Brendan: Concerto for
Marimba and Chamber Winds 17
Picc, 2 Fl, Ob/E Hrn, Cl, Bass Cl, Bsn,
Tenor Sax, Trpt, 2 Hrn, Trb, Tuba, Pno,
3 Perc
Gillingham, David R.: Concerto
No. 2 for Marimba and Wind
Ensemble
(Chamber Wind Arrangement)
18
Picc, 2 Fl, Ob/Eng.Hrn, Cl, B.Cl, Bsn,
Ten. Sax, Trpt, 2 Horns, Trb, Tuba, Pno.,
Timp, 3 Perc.
128
Theofanidis, Christopher: Concerto
for Marimba and Wind Sinfonietta 20
Picc, Fl, Eng. Hrn, 2 Cl, B. Cl, Bsn,
Cntrbsn, 2 Hrn, 2 Tpt, Tbn, B. Tbn, Euph,
Cntrbass, 3 Perc, Harp
Kopetzki, Eckhard:
Marimba in the Wind 22
2 Fl, Ob, 2 Cl, B. Cl, Bsn, 2 Alto, Ten,
Bari, 2 Tpt, 2 Hrn, 3 Tbn, Baritone, Tuba,
Perc, Dr Set
Lin, Chin-Cheng: Marimba
Concertino No. 1 ‘One Love’ for
Marimba and Brass Band
22
Sop. Cor Eb, 4 Cor Bb, 3 Hrn Eb, 2 Bari
(treb clef), 2 Tbn (treb clef), B. Tbn, 2
Euph (treb clef), 4 Basses (2 in treb clef),
Timp, 2 Perc
B'Racz, Istvan Peter: Concerto for
Two Marimbas and Wind Orchestra 25
Piccolo, 2 Flutes, 2 Oboes, 2 Bassoons, 3
Clarinets, Bass Clarinet, 4 Horns, 2
Trumpets, 2 Trombones, Bass Trombone,
Tuba, Timpani, 3 Percussion. Percussion
1: Tambourine, Snare Drum, Tom-tom,
Cymbals, Claves.
Percussion 2: Bass Drum, Tom-Tom.
Percussion 3: Wind Chimes,
Glockenspiel, Staple Gun, Woodblock,
Shaker, Bass Drum, Claves, Hand Drums
(2).
Hirose, Hayato:
Fantasy for Marimba 26
2 Fl, Ob, Bsn, 2 Cl, B Cl, 2 Alto Sax, Ten
Sax, Bari Sax, 3 Trpts, 2 Horns, 3 Trbs, 2
Euph, Bass, Timp, 2 Perc
Broege, Timothy: Concerto for
Marimba & Wind Orchestra 26
3 Fl, 2 Ob, 3 Cl, 2 Bsn, 3 Tpt, 4 Hrn, 3
Tbn, Tuba, Cntrbass, Timp, 3 Perc
Chantry, Benoit:
Two Marimba Reflections
(Fanfare Band Arrangement)
26
Soprano Sax, 2 Alto Saxes, Tenor Sax,
Bari Sax, 3 Flugelhorns, Eb Cornet, 3 Bb
Trumpets, 3 Horns, 3 Trombones, Bb
Baritone, Eb Bass, B
b Bass, String Bass, 4
Percussion (Timpani, Drumset,
Percussion, Mallets)
Brophy, Gerard: Scenes from the
Caucasus 27
3 Fl, Ob/Eng Hrn, Bsn, 3 Cl, Bass Cl, 2
Alto, Ten, Bari, 4 Hn, 3 Tpt, 3 Tb, Euph,
Tuba, Crotales, 2 Vibes
Webster, Stephanie:
Concerto for Marimba and Winds 28
Picc, 2 Fl, 2 Ob, 3 Cl, B Cl, Bsn, 2 Alto,
Ten, Bari, 3 Trpt, 3 Hrn, 3 Tb, Euph,
Tuba, Timp, Unpitched Perc, Pitched Perc
129
Musgrave, Thea: Journey Though A
Japanese Landscape, for Marimba
and Wind Ensemble
28
Picc, 2 Fl, 2 Ob, Eng. Hrn, 2 Cl, B. Cl, 2
Bsn, Ctrbsn, 4 Hrn, 3 Tpt in C, 3 Tbn,
Tba, Pno, Harp, Timp, 2 Perc (1: BD,
Cymbal, med tam-tam, Ten Dr, 2 WBs,
Tamb, Vibe, Tri) (Perc 2: Chimes, Xylo,
Crot, Side Dr, 3 Toms, 5 Temp blks, high
tam-tam, Cymbal, BD)
Long, David: Concerto for
Marimba and Wind Ensemble 29
2 Fl, 2 Ob, Eng. Hn, 2 Bsn, 3 Cl, B. cl, 2
Alto Sax, Ten Sax, Bari Sax, 3 Tpt, 2 Hn,
2 Tbn, Tuba, Timp, 3 Perc: (P1: Xylo,
Bells, Chimes, Sus cym, P2: Tri, Sus
Cym, SD, Tamb., P3: Crash Cyms, BD,
WB, Tam-Tam)
McMullin, Brendan: Suite for
Marimba and Wind Ensemble 29
Picc, 2 Fl, 2 Ob, 3 Cl, B Cl, 2 Bsn, Cbsn.,
2 Alto, Ten, Bari, 3 Trpt, 2 Hrn, 2 Tbn, B.
Tbn, Tba, Timp, 3 Perc
Huang, Ssu-Yu: Naluwan Concerto
for Marimba and Wind Concert
Band
30
Picc, Fl, Ob, 3 Cl, B. Cl, Bsn, Alto, Ten,
Bari, 3 Tpt, 4 Hrn, 3 Tbn, Euph, Tuba,
Dbl Bass, Timp, 2 Mallet Perc, 3 Perc
Musser, Clair Omar:
Scherzo Caprice 30
Piccolo, 2 Flutes, 2 Oboes, 2 Bassoons, Eb
Clarinet, 3 Bb Clarinets, Bass Clarinet, 2
Alto Saxophones, Tenor Saxophone,
Baritone Saxophone, 4 Horns, 3
Trumpets, 2 Trombones, Bass Trombone,
Euphonium, Tuba, Timpani, 1 Percussion
(bells, triangle).
Chantry, Benoit: Two Marimba
Reflections 31
2 Fl, Ob, Bsn, Eb Cl, 3 Bb Cl, Alto Cl, B.
Cl, 2 Alto Sax, Ten. Sax, Bari Sax, 3 Tpt,
3 Hrn, 3 Tbn, C Euph, Bb Euph, Basses,
Str. Bass, 4 Perc (Dr Set, Perc, Timp,
Mallets)
Tanner, Peter:
Concert Piece for Marimba and
Wind Ensemble
31
Picc, 2 Fl, 2 Ob, 3 Bb Cl, Eb Alto Cl,
B/CntrB Cl, Bsn, 2 Alto, Ten, Bari, 3 Tpt,
4 Hrn,
2 TB, B TB, Euph, Tuba, Timp, SD,
Bells/Xylo, Cymbal, BD, Tri, Str. Bass (4
perc.)
Nitsch, Jason:
Forward! For Solo Marimba and
Wind Ensemble
31
2 Fl, 2 Ob, 3 Cl, B Cl, 2 alto Sax, Ten
Sax, Bari Sax, Bsn, 3 Tpt, 2 Hn, 3 Tbn,
Euph BC,
Euph TC, Tuba, Timp, 6 Perc (SD, BD,
Sus Cym, Cr Cym, Tri, Tamb, WBs,
Bongos)
130
Nitsch, Jason:
Concerto No. 2 for Marimba and
Wind Ensemble
32
2 Fl, 2 Ob, 3 Cl, B Cl, Sop. 2 Alto Sax,
Ten Sax, Bari Sax, Bsn, 3 Tpt, 4 Hns, 3
Tbn, Euph, Tuba, Timp, 5 Perc
Yagisawa, Satochi:
Marimba Concerto 32
Picc, 2 Fl, Ob, Bsn, 3 Bb Cls, B. Cl, 2 Alto
Sax, Ten S, Bari S, 3 Bb Trpt,
4 Horns, 3 Trb, 2 Euph, Bass, Dbl Bass,
Mallet Perc, Timp, 3 Perc
Gillingham, David R.: Concerto
No. 2 for Marimba and Wind
Ensemble
33
Full wind ensemble: Picc, 2 Fl, 2 Ob, 2
Bsn, 3 Bb Cl, Bass Cl, 2 Alto Sax, Ten
Sax, Bari Sax, 3 Trpt, 4 Horn, 2 Tbn, Bass
Tbn, Euph, Tuba, Ctrbass, Timp, 4 Perc
(P1: Bells, Brake Drum; P2: Vibe, Sus
Cym, Cr Cym, Xylo; P3: Brake Drum,
Tambourine, Sus Cym, Crash Cyms,
Tam-Tam; Perc 4: 4 Tom-Toms, BD)
Briggs, Thomas:
Concerto for Marimba and Wind
Ensemble
34
Picc, 2 Fl, 2 Ob, Eb Cl, 3 Bb Cl, 2 Bsn, 2
Alto Sax, Ten Sax, Bari Sax, 2 Tpt, 4 Hrn,
3 Tbn, B Tbn, 2 Euph, 2 Tba, Str. Bass,
Timp, Perc 1 (SD, 2 Toms, sus cym), Perc
2 (BD, Sus cym, crash cyms), Perc 3
(Xylo, bells, sus cym)
DePonte, Neil: Concertino for
Marimba and Wind Ensemble
35
(ossia 33
players)
Piccolo, 3 flutes (flute 1 minimum 2
players), 2 oboes, 3 Bb
clarinets (clarinet 1
minimum 2 players), bass clarinet, 2
bassoons (if only one available, play
lower part), alto saxophone, tenor
saxophone, baritone saxophone, 4 horns in
F, 4 trumpets, 4 trombones, 2 tubas (if
only one available, play lower part),
timpani (5 drums, reducible to 4), 3
percussion. Percussion 1: vibraphone (no
motor), bass drum and mounted cymbal,
medium suspended cymbal, crash cymbal,
mounted tambourine, medium triangle,
high suspended cymbal. Percussion 2:
xylophone, bass drum (shared with perc
1), large tam-tam, tambourine, bass drum
with mounted cymbal (shared with perc
1). Percussion 3: large crash cymbal,
bells, 2 bongos, snare drum (5”).
131
Chung, Yiu-Kwong:
Concerto for Marimba and Wind
Ensemble
34
Picc, 2Fl, 2 Ob, 2Bsn, 3 Cl, B.Cl, 2 Alto,
Tenor, Bari, 4 Horn, 3 Tpt, 2 Trb, B. Trb,
Euph, Bari T.C., Tuba, Str B, Timp, 4
Perc
Diegelmann, Udo:
Treffpunkt 4/4/3 35
Picc, 2 Fl, 2 Ob, 2 Bsn, Eb Cl, 3 Bb Cl,
Bass Cl, 2 Alto Sax, Ten Sax, Bari Sax, 2
F Horn, 2 Cornets, 3 Trpt, 3 Tbn, 3 Tenor
Horn, Bari, Tba, F Tba, Timpani, 1 Perc
(Tri, Bongos, Conga, BD), Drum Set
Mashima, Toshio:
Lotus Flower Concerto for
Marimba and Band
35
Picc, 2 Fl, Ob, Bsn, Eb Cl, 3 Bb Cl, Alto
Cl, B Cl, 2 Alto Sax, Ten Sax, Bari Sax, 3
Tpt, 4 Hrn, 2 Tbn, B Tbn, Euph, Tba, Str
Bass, Harp, Timp, 5 Perc, incl. SD, BD, 4
tom-toms, sus cym, claves, wind ch, tri,
shaker, and glock
Stout, Gordon:
Duo Concertante, for Two Marimba
Soloists and Wind Ensemble
36
Piccolo, 3 Flutes, Alto Flute, 2 Oboes,
English Horn, 4 Clarinets, Bass Clarinet, 2
Bassoons, Contrabassoon, Soprano
Saxophone, Alto Saxophone, 2 Trumpets,
Flugelhorn (Trumpet 3), 4 Horns, 2
Trombones, Bass Trombone, Euphonium,
Tuba, Piano, Celeste, Timpani, 3
Percussion (medium and small Suspended
Cymbals, Bass Drum, 3 tom-toms,
triangle, vibraphone, bells)
Stuckenholtz, Larry: Expansions for
Marimba and Wind Ensemble 36
2 Picc, 4 fl, 2 Ob, 4 Cl (2 players), B. Cl,
2 Bsn, 2 Alto Sax, 2 Ten Sax, Bari Sax, 4
Hn, 4 Tpt, 4 Tbn, Tuba, Piano, 4 Perc
Reed, Alfred:
Concertino for Marimba and Winds
37-40
(see Ch.2)
Picc, 2 Fl, 2 Ob, Eng Hn, Eb Cl, 3 Bb Cl,
Eb Alto Cl, B Cl, Ctrb Cl, 2 Bsn, 2 Alto
Sax, Ten Sax, Bari Sax, 2 Bb Cornets, 3
Bb Tpts, 4 Hn, 3 Tbn, Bari TC, Bari BC,
Tba, Str Bass, BD, SD, Sus Cym, Dr Set,
Mallet Perc. (Bells, Vibe,) Timp, Harp
Peterson, Russell:
The Life of King David: Concerto
for Marimba and Band
38
Picc, 2 Fl, 2 Ob, E. Hrn, Eb Cl, 3 Bb Cl, B
Cl, 2 Alto Sax, Ten Sax, Bari Sax,
2 Bsn, 4 Hrn, 4 Tpt, 2 Tbn, B Tbn, 2
Euph, Tba, Timp, 5 Perc, Piano, Tape
Ortiz Gimeno, Vicente: Balan fô
Concerto for Marimba and Wind
Ensemble
38
2 Fl, 2 Ob, 2 Bsn, Eb Cl, 3 Bb Cl, Bass Cl,
2 Alto Sax, 2 Ten Sax, Bari Sax, 4 Hrn, 3
Tpt, 3 Tbn, 2 Flghrn, 2 Euph, Tuba, Cello,
Bass, Harp, Timp, 3 Perc (BD, Crash and
Sys Cyms, SD, Tri, Tam-Tam, Tamb,
132
Xylo)
Mashima, Toshio: The Song of a
Great Tree Concerto for Marimba
and Symphonic Band
38
Picc, 2 Fl, 2 Ob, Eng. Hrn, Bsn, Ctrbsn, 3
Cl, B Cl, Alto Sax, 2 Ten Sax, Bari Sax, 3
Tpt, 4 Hrn, 3 Tpt, 3 Tbn, Euph, Tba, Str
Bass, Harp, Timp, 4 Perc
Stout, Gordon:
Three Movements for Marimba and
Wind Ensemble
38
Picc, 3 Fl, 2 Ob, Eng. Hn, 3 Cl, Alto Cl,
B. Cl, Cntrb Cl, 2 Bsn, Cntrbsn, Alto Sax,
4 Hn,
3 Tpt, 2 Tbn, B. Tbn, Euph, Tuba,
Celeste, Pno, 2 Harps, Timp (5 drs), 4
Perc
Takeshima, Satoshi:
Sky High for Wind Orchestra
and Solo Marimba
40
Picc, 2 fl, Ob, Eng. Hn, Eb Cl, 3 B
b Cl,
Alto Cl, B Cl, Bsn, Sop Sax, 2 Alto, Ten
Sax, Bari Sax, 4 Hrn, 3 tpt, 2 Cor, 3 Tbn,
B Tbn, Euph, Tuba, Str. Bass, Timp, 6
Perc (BD, Cymbs, Sus Cym, SD, Tri,
Tamb, Tublr Bells)
Helble, Raymond: The Dragon of
Wyckham 41
Piccolo, 2 Flutes, Oboe, Bassoon, Eb
Clarinet, 2 Bb Clarinets, Bass Clarinet,
Contrabass. Clarinet, 2 Alto Saxophones,
Tenor Sax, Baritone Sax, 3 Cornets, 2 Bb
Trumpets, 4 Horns, 2 Trombones, Bass
Trombone, 2 Baritones, 2 Tubas, Timpani,
and 9 Percussion parts divided as follows:
(Bells, Xylophone, Chimes, Snare Drum
& Tenor Drum, Tam-Tam & Bass Drum,
Cymbals, Anvil)
Maslanka, David:
Concerto for Marimba and Band 42
Picc, 3 Fl, 2 Ob (2nd
doubles on Eng
Horn), Eb Clar, 3 Clars, Bass Clar, B
b
Contrab Clar, 2 Bassoons, Cntrbassoon, 2
Alto Sax, Tenor Sax, Bari Sax, 3 Cors, 2
Trpts, 4 Horns, 2 Tbn, Bass Tbn, 2 Euph,
2 Tubas, Cello, Dbl Bass, Harp, Timp,
and 3 Perc
133
Prince, Whitney:
Concertino for Marimba
and Wind Ensemble
47
1 Piccolo, 2 1st Flutes, 2 2
nd Flutes, Oboe
1, Oboe 2, 3 1st B
b Clarinets, 3 2
nd B
b
Clarinets, 3 3rd
Bb Clarinets, 2 B
b Bass
Clarinets, 1st Bassoon, 2
nd Bassoon, E
b
Alto Saxophone 1, Eb Alto Saxophone 2,
Bb Tenor Saxophone, E
b Baritone
Saxophone, 2 1st B
b Trumpets, 2 2
nd B
b
Trumpets, 2 3rd
Bb Trumpets, 2 1
st Horns,
2 2nd
Horns, 2 1st Trombones, 2 2
nd
Trombones, 2 Euphoniums, 2 Tubas,
Timpani, 4 Percussion. Percussion 1:
Chimes, Orchestra Bells, Vibraphone,
Four Tom-toms (8, 12, 16, and 20”).
Percussion 2: Snare Drum, Tambourine.
Percussion 3: Small Triangle (4”), Two
Crash Cymbals (16 and 20”), Three
Suspended Cymbals (14, 18 and 22”),
Large Tam-tam (40”). Percussion 4: Large
Triangle (6”), Bass Drum (36”)
Thingnæs, Frode:
Liten Konsert for Marimba og
Korps
(Concertino for Marimba and Band)
(Instrumentation N/A)
Glentworth, Mark:
Marimba Concerto No. 1
(Instrumentation N/A)
Serry, John:
Concerto for Marimba and Wind
Ensemble
(Instrumentation N/A)
134
Chart of Arrangements
Composer (Last, First):
Title
Wind
Ens.
Chamb.
Winds Piano Orch
Strings
or
Chamb.
Orch.
Perc.
Ens. Publisher
Baumol, Adam:
Sten: Concerto for
Marimba
and “Funkestra”
Wind
Ens. N/A
B'Racz, Istvan Peter:
Concerto for Two
Marimbas
and Wind Orchestra
Wind
Ens.
Chamb.
Orch.
Composer
Self-
Published
Briggs, Thomas:
Concerto for Marimba
and Wind Ensemble
Wind
Ens. Piano C. Alan
Broege, Timothy:
Concerto for Marimba
and Wind Orchestra
Wind
Ens.
Allaire
Music
Brophy, Gerard:
Scenes from the
Caucasus
Wind
Ens.
Composer
Self-
Published
Carey, David:
Suite for Marimba
and Woodwinds
?
Chantry, Benoît:
Two Marimba
Reflections
Wind
Ens.
Fanfare
Band
Tierolff
Muziekce
ntrale,
2012
Chung, Yiu-Kwong:
Concerto for Marimba
and Wind Ensemble
Wind
Ens. Piano C. Alan
DePonte, Niel:
Concertino for
Marimba
and Wind Ensemble
Wind
Ens. Piano Strings
Keyboard
Percussion
Publicatio
ns
Diegelmann, Udo:
Treffpunkt 4/4/3
Wind
Ens.
Harmonie-
muzik
135
Faegre, Brendan:
Concerto for Marimba
and Chamber Winds
Wind
Ens.
Self-
Published
www.bren
danfaegre.
com
Gillingham, David R.:
Concerto No. 2
for Marimba and
Wind Ensemble
Wind
Ens.
Chamb.
Winds Piano
Perc.
Ens. C. Alan
Glentworth, Mark:
Marimba Concerto
No. 1
Piano
Percussion
Music
Europe
Håkestad, Andreas:
Movements
for Marimba
and Wind Quintet
Chamb.
Winds
Self-
Published
www.andr
eashakesta
d.no
Helble, Raymond:
The Dragon of
Wyckham
Wind
Ens.
Keyboard
Percussion
Publicatio
ns
Hirose, Hayato:
Fantasy for Marimba
Wind
Ens. Piano DeHaske
Huang, Ssu-Yu:
Naluwan Concerto
for Marimba and
Wind Concert Band
Wind
Ens. Piano
Yu Music
Edition
(self-
Published)
Kopetzki, Eckhard:
Marimba in the Wind
Wind
Ens.
Ineke
Busch
Verlag
Levin, Todd:
Aqua Vitae
for Solo Marimba
and 17 Instruments
Wind
Ens.
Unpublish
ed. Held
at Sibley
Library,
non-
circulating
136
Lin, Chin-Cheng:
Marimba Concertino
No. 1 ‘One Love’
for Marimba and Brass
Band
Wind
Ens. Piano Strings
Brass:
Composer
Self-
Published.
Strings:
Francois
Dahlmann
Long, David:
Concerto for Marimba
and Wind Ensemble
Wind
Ens. Piano Orch C. Alan
Mashima, Toshio:
The Song of a Great
Tree Concerto for
Marimba
and Symphonic Band
Wind
Ens. Atelier M
Mashima, Toshio:
Lotus Flower
Concerto
for Marimba and Band
Wind
Ens. Atelier M
Maslanka, David:
Concerto
for Marimba and Band
Wind
Ens. Piano C. Alan
137
Peterson,
Russell: The
Life of King
David: Concerto
for Marimba and
Band
Wind
Ens. C. Alan
Prince, Whitney:
Concertino for
Marimba and
Wind Ensemble
Wind
Ens. Piano
Potenza Music
(Piano arr.) /
Wind parts
Self-Published
McMullin,
Brendan: Suite
for Marimba and
Wind Ensemble
Wind
Ens.
Composer
Self-Published
Musgrave, Thea:
Journey Though
A Japanese
Landscape, for
Marimba and
Wind Ensemble
Wind
Ens. Orch
Novello & Co
Ltd
Musser, Clair
Omar:
Scherzo Caprice
Wind
Ens. Piano Studio 4/KP3
Nitsch, Jason:
Forward! For
Solo Marimba
and Wind
Ensemble
Wind
Ens.
Suburban
Zombie Music
Nitsch, Jason:
Concerto No. 2
for Marimba
and Wind
Ensemble
Wind
Ens.
Suburban
Zombie Music
Ortiz Gimeno,
Vicente:
Balan fô
Concerto for
Marimba
and Wind
Ensemble
Wind
Ens. Piano Tot per L'Aire
138
Peterson,
Russell:
The Life of King
David:
Concerto for
Marimba and
Band
Wind
Ens.
Composer
Self-Published
Reed, Alfred:
Concertino
for Marimba and
Winds
Wind
Ens. Piano
C.L. Barnhouse
Music
Schoonenbeek,
Kees:
Concerto for
Marimba
and Wind
Ensemble,
Wind
Ens. Piano Canzona Music
Schoonenbeek,
Kees:
Concerto for
Two Marimbas
and Wind
Ensemble
Wind
Ens. Canzona Music
Serry, John:
Concerto for
Marimba
and Wind
Ensemble
Wind
Ens. Not Published
Silverman,
Adam:
Carbon Paper
and Nitrogen Ink
Wind
Ens. Piano
Perc
Ens
Adam B.
Silverman Music
Publications
(BMI)
Stout, Gordon:
Duo Concertante,
for Two
Marimba Soloists
and Wind
Ensemble
Wind
Ens.
Keyboard
Percussion
Publications
Stout, Gordon:
Three
Movements for
Marimba and
Wind Ensemble
Wind
Ens. Not Published
139
Stukenholtz,
Larry:Expansions
for Marimba and
Wind Ensemble
Wind
Ens. Out of Print
Takeshima,
Satoshi:
Sky High for
Wind Orchestra
and Solo
Marimba
Wind
Ens. Not Published
Tanaka,
Terumichi:
Music for
Marimba
and Wind
Ensemble
Wind
Ens. Not Published
Tanner, Peter:
Concert Piece for
Marimba
and Wind
Ensemble
Wind
Ens. Piano Colla Voce
Theofanidis,
Christopher:
Concerto for
Marimba
and Wind
Sinfonietta
Wind
Ens. Bill Holab Music
Thingnæs, Frode:
Liten Konsert
for Marimba og
Korps
(Concertino
for Marimba and
Band)
Wind
Ens. Piano
Norsk
Musikvorlag
Webster,
Stephanie:
Concerto for
Marimba
and Winds
Wind
Ens. Piano
Perc
Ens Unpublished
Yagisawa,
Satochi:
Marimba
Concerto
Wind
Ens. Orch
DeHaske/
HalLeonard
140
Chapter 3: Conclusions on the Genre and Recommendations for Further Research
Growth of the Genre: Number of Compositions by Decade
The following is an assessment of the number of marimba concertos known to have been
written, specifically comparing the number of new works with wind accompaniments to the body
of works with orchestral or string accompaniments. A double bar graph is shown incorporating
the research of American composer, percussionist, and educator Nathan Daughtrey, who found a
total of 89 concertos for marimba and orchestra or strings in existence between the years 1940
and 2002. To align with the purposes of the current study, one work on Daughtrey’s list requiring
solo vibraphone was omitted (from the 1980s).
Additional works were found and included in the data below to represent recent years. A
basic web search was conducted in the first week of January 2014, including personal sites of
professional artists, composers, publishers and distributors such as Steve Weiss Music Inc.
Below is a list of works written between 1991 and 2013 which do not appear in Daughtrey’s
study but are included in the data to follow. Works with unconfirmed dates of composition are
not graphed, but mentioned separately.
1991 Karl-Heinz Köper: Samba Classique for Two Marimbas, String Orchestra and
Percussion
1991 John Metcalf: Marimba Concerto
1991 Jeffrey Ryan: Two-by-Four Chamber Concerto for Marimba
1992 Teresa Procaccini: Three Dances for Marimba and String Orchestra
1993 Maurice Wright: Concertpiece for Marimba and Orchestra
1996 Mark Lanz Weiser: Concerto for Marimba and String Orchestra
141
1997 James Mobberley: Concerto for Marimba and Orchestra (8 Hands)
1998 Anders Nilsson: Concerto for Marimba and Orchestra
1999 Jason K. Nitsch: Concertino for Marimba and Orchestra
2001 Franghiz Ali-Zadeh: Concerto for Marimba and String Orchestra
2003 Noah D Taylor: Concerto No. 1 for Marimba
2004 Andrew Beall: Testament: Concerto for Marimba and Orchestra
2004 Ney Rosauro: Brazilian Fantasy for Two Marimbas and String Orchestra
2004 Slavko Shuklar: “Corridors” Concertino for Marimba and Symphony Orchestra
2005 Scott Blasco: Concerto for Marimba and Chamber Orchestra
2005 Marcin Blazewicz: 2nd
Concerto for Marimba and Orchestra
2005 Alice Ping Yee Ho: Evolving Elements for Marimba and Strings
2005 Pierre Jalbert: Concerto for Marimba and Orchestra
2005 William Thomas McKinley: Childhood Memories
2005 Ben Phelps: Marimba Concerto
2005 Emmanuel Séjourné: Concerto for Marimba and Strings
2005 Karl-Heinz Twill: Tangents for Marimba and Orchestra
2005 Jozef Wilkomirski: Suite Concertante for Marimba and Orchestra
2006 Erik Freitag: Concertino für Marimba und Streicher
2007 G. Bradley Bodine: Kaleidoscope Concerto for Marimba and Orchestra
2007 Michael Burritt: Concerto for Marimba and Chamber Ochestra
2007 Erik Ross: Concerto for Marimba and Orchestra
2007 Eric Sammut: Sugaria
142
2008 Kurt Schwertsik: Now You Hear Me, Now You Don't
2009 Igmar Alderete Acosta: Concerto No. 1 for Marimba and Orchestra
2009 Alexis Alrich: Marimba Concerto
2009 Andrew Beall: Fer Barre Kona Jeno: West African Concerto for Marimba and
Orchestra
2009 Casey Cangelosi: Concerto for Marimba and Orchestra No. 2
2009 Enrique Arturo Diemecke: Concierto Fiesta Otonal for Marimba and Orchestra
2009 Alexander Müllenbach: Concerto for Marimba and Strings
2009 John Psathas: Djinn
2009 Michael Torke: Mojave
2010 Igmar Alderete Acosta: Concerto No. 2 for Marimba and Orchestra
2010 Rihards Zalupe: Concertino for Marimba and Orchestra
2012 Mona A. Ahdab: Concerto for Marimba and Strings
2013 Peter Barcaba: Concerto for Marimba and String Orchestra
2013 Toshi Ichiyanagi: Concerto for Marimba
2013 Igor Lesnik: Water Sculpture
2013 Laurie San Martin: Lay/Overlay (duo concerto)
143
Figure 2:
Newly Composed Marimba Concertos by Decade
Other works, for which composition dates were not confirmed:
Claudio Santangelo: Concerto No. 1 for Marimba and Orchestra
Claudio Santangelo: Concerto No. 2 for Marimba and Orchestra
Kai Stensgaard: Concierto Mexicano for Marimba and Orchestra
Stephen Brown: Marimba Concerto 1
Ghenadie Ciobanu: The Breeze of South Latitudes Concerto for Marimba and Orchestra
2 3 6
12
22
42
34
7 5 6
9
16
10
0
5
10
15
20
25
30
35
40
45
Nu
mb
er
of
New
Co
nce
rto
s
Number of Newly Composed Marimba Concertos by Decade
New concertos with string or orchestral accompaniment
New concertos with wind accompaniment
144
Ernst Mahle: Concerto para Marimba e Orquestra
We can see the angle of curvature, or growth, in the wind genre shows similar growth as
compared to the orchestral. Although there are 132 known concertos for orchestra compared to
47 for wind ensemble (orchestra leading by roughly 2.8 times), the consistent upward trend of
wind accompaniment works acknowledges composers’ attention toward wind and brass
ensembles, and suggests that this idiom is equally viable in comparison. Data will follow in the
next section on how the two veins align and overlap.
Wind accompaniments are available for several works from decades ago, such as those
by Paul Creston, and James Basta. Since the mid-1990s, composers and arrangers have been
producing two or more accompaniments of a single work (wind bands, orchestras or string
ensembles of various sizes, percussion ensembles, mixed chamber groups, or piano reductions).
Perhaps the most arranged work for accompanied solo marimba is Prism by Keiko Abe. It began
as an unaccompanied solo in 1986 and has (since 1995/96) been adapted as an unaccompanied
duet called Prism Rhapsody, and accompanied versions now exist for marimba solo with wind
ensemble, marimba and orchestra, two marimbas and wind ensemble, two marimbas and
orchestra, and two marimbas and percussion ensemble (two marimba versions are named Prism
Rhapsody II). Works by Ney Rosauro, Eric Ewazen, G. Bradley Bodine, Kai Stensgaard, and
Daniel Adams are also examples of this trend. Gillingham’s first marimba concerto, Gate to
Heaven, exists in wind ensemble, percussion ensemble, strings and percussion, and piano
accompaniment forms.
145
Summary of Trends
One unfortunate aspect of the concerto repertoire identified in this document’s
introduction was the issue of availability, particularly of older works. Thirty-seven of the 47
works in this catalog (80%) are available. Those works not yet published, out of print, or
otherwise unavailable for performance as of Spring 2014 are those by Baumol, Carey, Levin,
Serry, Stukenholtz, Takeshima, Tanaka, and Webster, and Stout’s Three Movements. The
following will refer to the entire body of musical works regardless of availability.
The majority of these works exist only in their original wind accompaniment form.
Eighteen of these works have a piano reduction available, six works have string, orchestra or
chamber orchestra arrangements, and two works (out of 47) have percussion ensemble
arrangements (Gillingham’s Concerto No. 2, and Webster’s Concerto for Marimba and Winds).
The Glentworth was only retrievable in piano reduction form. If there is a direct relationship
between the number of available arrangements and the number of performances a work receives,
Gillingham’s Concerto is best poised to prove this, as it exists in five forms (wind ensemble,
chamber winds and percussion, orchestra, percussion ensemble, and piano reduction).
Notice in Chapter Two, “Works Arranged by Number of Ensemble Players,” the diverse
numbers of musicians required for each work. These numbers do not form a trend, but their
variety benefits solo recitalists and large ensembles alike. Though balance between soloist and
accompaniment may at times be problematic for certain works with larger ensembles, ensemble
size alone does not equate balance challenges. There are some observable implications regarding
how ensemble size influences balance with the soloist. There is a statement to conductors printed
on the back cover of David Long’s piece, which requires 28 ensemble players: “In some
146
situations, it may be necessary to amplify the marimba. However, it is usually not necessary if a
reduced instrumentation is utilized” (Long, 1997). The note goes on to suggest the provision of
speakers and monitors for the ensemble, conductor, and soloist (and recommends two or three
“high quality microphones” for amplifying the marimba. The score does not dictate which
instruments should be employed in an ensemble of reduced size. This note is the closest
implication suggesting any threshold of ensemble size above which amplification might be
absolutely necessary.
Unfortunately there are no absolute truths regarding balance until rehearsals have begun,
as balance is naturally influenced by the performance space and the composer’s use of the
ensemble. Levin actually requires amplification in his directions, which is an important part of
his aesthetics and characteristic musical sound, not just for balance. Conversely, Masklanka’s
and Theofanidis’s works are two example works which do not need amplification, because they
do not often use the entire ensemble simultaneously. Refer to Chapter Two, “Works Arranged by
Number of Ensemble Players,” for information on the ensemble size of each work.
Regarding instrument range, this study has disproven a common assumption that larger
instruments are the standard. Conklin found that since 1940, concertos have trended toward
larger ranges. This trend was so clear, that “The works written in the final period [1987-2000]
rarely use the four-octave marimba and commonly exploit the entire range of the five-octave
marimba” (2004, p. 91). Twenty works in the current study require a five-octave instrument (or
larger, in the cases of Glentworth and Takeshima), while 18 other works need only 4.0 or 4.3-
octave ranges (Brophy, Håkestad, Helble, Huang, Kopetzki, and Ortiz Gimeno) decades after
five-octave marimbas were first available. Some composers have flexible ranges. Thea
147
Musgrave’s work can be played on a 5.0 or a 4.5. Benoît Chantry wrote only a single G2 in the
solo part of Two Marimba Reflections, and marked the note “optional”. His work is hence
playable on a 4.5 or a 4.3. A shorter range makes a work more accessible to performers who
have only smaller instruments. In addition to this convenience, Chantry was convinced via
electronic mail to create a piano reduction for this work sometime in the future, which will
encourage many recital performances.
Satoshi Takeshima’s Sky High pushes the field into the next era, using notes up to F7.
These notes are only recently being manufactured by major companies like Adams, Yamaha, and
Marimba One. The advent of such instruments and writing in this higher register will present
new challenges in the future regarding balance and mallet choice, especially at climactic
dynamic levels.
As for the writing of solo parts, there are no particular works that attempt to extend the
technical demands as compared to solo works since the 1990s. Some of the most athletic writing
is that of Chin-Cheng Lin, requiring the soloist to play rapidly from end to end of a five-octave
instrument. There are three works in the genre for two soloists (B’Racz, Schoonenbeek, and
Stout, though only the Schoonenbeek score was available for this study). Most works are
exclusively four-mallet oriented, and others have some passages manageable with two. This
genre does, however, provide technically accessible works for students and young professionals,
and perhaps for this reason alone, many of these works may be performed quite often in the
future.
Many opportunities for thematic concert programming are to be found in this genre.
Many works are inspired by narrative or imagery, some works imitate a historical instrument
148
(Ortiz Gimeno) or a national musical style, and others depict a certain place or landscape
(Musgrave, Brophy). In Peterson’s The Life of King David the listener can hear David swinging
his sling and striking Goliath. Faegre’s work is based on images of the characters of Norse
mythology. Huang’s Naluwan Concerto includes a battle scene of an ancient Taiwanese tribe.
Broege’s Concerto looks to a 1985 film for inspiration. Vicente Ortiz Gimeno’s work imitates a
“precursor to the current marimba” (Wind Repertory Project, 2013). Mashima’s The Song of a
Great Tree celebrates the relationship between Japan and Brazil, and Lotus Flower “draws” from
the art of Monet.
Recommendations for Further Research
Researchers may choose to investigate topics such as the calculation and graphing of the
number of performances each work in this genre has received. Similar to Daughtrey’s study of
orchestra-accompanied marimba concertos in 2004, a similar study on wind-accompanied works
might investigate certain conditions such as the increased funding capabilities of large
consortiums, musical accessibility as it relates to the “popularity” of a work (in as many ways as
popularity can be defined). A logical subsequent research topic would be to compare and
contrast works within the genre stylistically, to determine whether any correlation exists between
the number of performances each work has received and aspects such as form, accessibility,
melodic structure, ensemble size, any depictions or programmatic elements, etc.
Future projects might examine the marketing of concertos, and to what extent
publication, sale of scores and recordings, live performance, and presence on the Internet have
on the effective exposure of a concerto, either nationally or internationally.
149
Further research could focus within a single composer’s output, creating a more complete
understanding of that composer’s style, such as an analysis of The Song of a Great Tree, similar
to the current study, followed by investigating similarities and differences between the works. A
study might focus on the marketing of works by a single composer, considering the aspects of
marketing, style, exposure, and popularity mentioned above.
Another potential topic is the consideration of the percussion section as a prominent
voice, and the relationship between soloist (or two soloists), other percussion, and the
accompanying ensemble. This topic might describe works in both wind and orchestral genres,
dealing with Abe’s Prism Rhapsody II, a double concerto by Ludwig Alpert, or James
Mobberley’s Concerto for Marimba involving eight hands as potential examples.
Many works in the current catalog are inspired by national folk styles, and some
composers explore styles and sounds from nations other than their own (e.g. Musgrave vs. the
Japanese composers). Ascertaining the authenticity and application of folk influence in marimba
concertos could prove to be an illuminating topic and might have performance practice
implications. Do we see any globalization or cultural diffusion of structure, style, extra-musical
inspiration, or aesthetics?
Further investigation into the technical demands of the works contained herein may lead
to conclusions on the appropriateness of certain works for students of certain ages. Performance
guides, analyses or additional commentary from the percussionist’s perspective would promote
better understanding of these works and solutions to problems. The creation of other
arrangements, with permission from the respective publisher, would encourage more
performances in various settings.
150
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Alderete Acosta, I. (2009): Concerto No. 1 for Marimba and Orchestra. Oslo:
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Barcaba, P. (2013). Concerto for Marimba and String Orchestra. Oslo: Norskmusikforlag.
Beall, A. (2004). Testament: Concerto for Marimba and Orchestra. New York: Bachovich
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Beall, A. (2009): Fer Barre Kona Jeno: West African Concerto for Marimba and Orchestra.
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Blasco, S. (2005). Concerto for Marimba and Chamber Orchestra. Everett, PA: HoneyRock
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Blazewicz, M. (2008). 2nd
Concerto for Marimba and Orchestra. Copenhagen, Denmark: Edition
Svitzer.
Bodine, G. B. (2007). Kaleidoscope Concerto for Marimba and Orchestra. Everett, PA:
HoneyRock Publishing.
Briggs, T. (1988). Concerto for Marimba and Wind Ensemble. Greensborough, NC:
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158
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Chantry, B. (2012). Two Marimba Reflections. Roosendaal, Netherlands: Tierolff
Muziekcentrale.
Chung, Y.K. (2006). Concerto for Marimba and Chamber Winds. Greensboro, NC: C. Alan
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DePonte, N. (1976). Concertino for Marimba and Wind Ensemble. Asbury Park, NJ: Studio 4
Productions.
Diegelmann, U. (2005). Treffpunkt 4/4/3. Helmstadt, Germany: Hubert Hoche-Musikverlag.
Diemecke, E. (2009): Concierto Fiesta Otonal for Marimba and Orchestra. Unpublished.
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159
Hirose, H. (2010). Fantasy for Marimba. Heerenveen, Netherlands: DeHaske Publications.
Ho, A. (2005). Evolving Elements for Marimba and Strings. Unpublished.
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published).
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160
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L’Aire.
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161
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Schoonenbeek, K. (1994). Concerto for Marimba and Wind Ensemble. Dieren, Netherlands:
Canzona Music.
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Schwertsik, K. (2008): Now You Hear Me, Now You Don't. London: Boosey and Hawkes
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162
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Theofandis, C. (2013). Concerto for Marimba and Wind Sinfonietta. Brooklyn, NY: Bill Holab
Music.
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Torke, M. (2009). Mojave. Brooklyn, NY: Bill Holab Music.
Webster, S. (2012). Concerto for Marimba and Winds. (Unpublished).
Weiser, M.L. (1996). Concerto for Marimba and String Orchestra. Los Angeles: Alltheweiser
music (ASCAP).
Wilkomirski, J. (2005). Suite Concertante for Marimba and Orchestra. Oslo: Norsk
Musikforlag.
Wright, M. (1993). Concertpiece for Marimba and Orchestra. Everett, PA: HoneyRock
Publishing.
Yagisawa, S. (2009). Marimba Concerto. Heerenveen, Netherlands: DeHaske Publications.
Zalupe, R. (2010). Concertino for Marimba and Orchestra. Everett, PA: HoneyRock Publishing.
163
Discography:
Gillingham, D. (2007). Concerto No. 2 for Marimba and Wind Ensemble. [Recorded by She-e
Wu with the Middle Tennessee State University Wind Ensemble]. Retrieved March 1,
2014 from http://c-alanpublications.com/ Merchant2/merchant.mvc?Screen=PROD&Store_
Code=CAPC&Product_Code=11850
Hirose, H. (2010). Fantasy for Marimba.[Recorded by the Marine Band of the Royal Netherlands
Navy and Major Harmen Cnossen]. On From Ancient Times [CD]. Heerenveen: DeHaske
Records.
Levin, T. (1992). Ride the Planet [CD]. London: Decca Music Group Limited.
Levin, T. (1995). De Luxe [CD]. Berlin: Deutsche Grammaphon.
Long, D. (2001). Concerto for Marimba [Recorded by Nathan Daughtrey and Victoria Shively].
On Spiral Passages [CD]. Greensboro: C. Alan Publications.
Mashima, T. (1991). New Sounds in Brass vol. 1. Tokyo: EMI Music Japan Inc.
Mashima, T. (1999). New Sounds in Brass, vol. 2. Tokyo: EMI Music Japan Inc.
Mashima, T. (2010). Lotus Flower Concerto for Marimba and Symphonic Band.[Recorded by
Toke Civic Wind Orchestra, Reina Iwami, and Hiroyuki Kage]. On David R. Gillingham:
With Heart and Voice [CD]. Chigasaki Shinsakae: Cafua Records.
Mashima, T. (2009). The Song of a Great Tree. [Recorded by Makoto Nakura]. On Kyo-En XII:
Prosperous future for Band into the 21st Century [CD]. Hiroshima: Brain Music Co., Ltd.
Musgrave, T. (2002). Journey Through a Japanese Landscape [Recorded by Evelyn Glennie and
Singapore Symphony Orchestra]. On Oriental Landscapes [CD]. Akersberga: BIS
Records.
164
Peterson, R. (2004). The Life of King David: Concerto for Marimba and Band [Marc Woolridge
and Northwestern College Symphonic Band]. Retrieved from
http://www.cord.edu/faculty/rpeters/russ.catalog.html
Reed, A. (1992). Concertino for Marimba and Winds [Recorded by Tokyo Kosei Wind
Orchestra]. On The Marimba Concertino [CD]. Tokyo: Kosei Publishing Company.
Reed, A. (2000). Marimba Concertino [recorded by Otonowa Wind Symphonica]. On Alfred
Reed live! Vol.2 Russian Christmas Music [CD]. Boca Raton: Klavier Records.
Takeshima, S. (2009). Sky High [ ]. On Kyo-En XV: Prosperous Future for Band Into the 21st
Century [CD]. Hiroshima: Brain Music Co., Ltd. (2012).
Thingnæs, Frode (n.d.). Konsert for Marimba og Korps (Concerto for Marimba and Band)
[recorded by Per R. Melsaether, Marimba, and the Staff Band of the Norwegian Armed
Forces. Mellemberg, Bjørn, cond.] On DAT, shelf mark DAT-356/7. Oslo: Norsk
musikkinformasjon (Music Norway).
Yagisawa, S. (2009). Marimba Concerto [Recorded by Nagoya University of Arts Wind
Orchestra]. On Symphonic Episode I, volume 1 [CD]. Heerenveen: DeHaske Publications.
165
Appendix: Publishing Companies and Composers
Atelier M Co., Ltd.
161-0032
Tokyo, Shinjuku-ku, Nakaochiai 2-5-31-202
Fax: 050-3156-3733
https://www.atelierm.net/contact/
https://www.atelierm.net
Allaire Music Publications
http://www.timothybroege.com/
Alto Publications
Newbridge, UK
Tel. 020 3005 4921
Australian Music Centre
PO Box N690, Grosvenor Place, NSW 1220, AUSTRALIA
Delivery address: 16 Mountain St (APRA|AMCOS building)
Sydney NSW 2007, AUSTRALIA
Phone: +61 2 9935 7805 (from 8 May 2013)
Toll free: 1300 651 834
Fax: +61 2 9935 7702 (from 10 May 2013)
Bachovich Music Publications
PO Box 744
New York, NY 10040
email - [email protected]
Bill Holab Music 377 Sterling Place, No. 4
Brooklyn, NY 11238
(718) 499-3946
http://www.billholabmusic.com/store/index.php?main_page=contact_us http://www.billholabmusic.com/store/
166
BIS Records AB Stationsvägen 20
SE-184 50 Åkersberga
Sweden
Phone: +46-8-544 102-30
Fax: +46-8-544 102-40
Boosey and Hawkes
Tel. UK only: 0161 946 9335
Tel. US/International: (+44) 01619469335
+44 (0) 20 7054 7200.
Fax: +44 (0)161 946 1195
Email: [email protected]
U.S. office:
phone: 212.358.5300 ext. 7
the hire library phone:212.358.5300 ext. 2
e-mail: [email protected]
Bronsheim Music Boedapestlaan 217
3404 VC IJsselstein
Tel: +31 (0)30 265 7309
C-Alan Publications
P.O. Box 29323
Greensboro, NC 27429-9323
Shipping Address:
509-B South Edgeworth Street
Greensboro, NC 27401
Phone 336-272-3920
Fax: 336-272-3988
Canadian Music Centre National Office 20 St. Joseph Street
Toronto, ON
M4Y 1J9
167
Tel: 416.961.6601
Email: [email protected]
Carl Fischer Music
48 Wall Street, 28th
Floor
New York, NY 10005
Phone: 212-777-0900
Fax: 212-477-6996
http://carlfischer.com/Fischer/welcome.html
Chester Music and Novella & Co
14-15 Berners Street
London
W1T3LJ
Phone: 44 (0) 20 7612 7400
Fax: 44 (0) 20 7612 7545
Email: [email protected]
Colla Voce Music, Inc.
4600 Sunset Avenue, #83
Indianapolis, IN 46208
Phone: (317) 466-0624
Fax: (317) 466-0638
Email: [email protected]
Christoph Dohr
Sindorfer Straße 19
D-50127 Bergheim
fon: +49 / (0) 2271/70 72 05
phone: +49 / (0) 2271/70 72 06
Fax: +49 / (0) 2271/70 72 07
e-mail: [email protected]
UStID DE163382328
DeHaske Publishing House
Businesspark Friesland-West 15
8466 SL Heerenveen
Netherlands
168
Tel: +31 513/653053
Fax: +31 513/653291
Edipan Edizioni Musicali
Viale G. Mazzini, 6
00195 - Roma
tel. e fax (+39) 06 3223474
Edition Svitzer
Haraldsgade 28-30
2200 Copenhagen N
Denmark
Tel. +45 2579 7371
Editions François Dhalmann / P'hill Publications 10 rue de Bienne
67000 STRASBOURG
FRANCE
HoneyRock 396 Raystown Road
Everett, PA 15537
USA
http://www.honeyrock.net/
Ineke Busch Verlag
Amadeusweg 40
D-70563 Stuttgart
++49 0711 fon 2567883
0711 fax 2567884
www.ineke-busch-verlag.de
Klavier Music Productions
6403 W. Rogers Circle
Boca Raton, FL 33487
169
Phone 800-434-6340 Outside Florida
561-241-6340 Florida
Fax 561-241-6347
http://www.klavier-records.com/index.htm
Kosei Publishing Company
2-7-1 Wada
Suginami-ku
Tokyo 166-8535
+81-3-5385-2319
+81-3-5385-2331
Music Information Center Austria 1070 Vienna, Stiftgasse 29
Tel: +43 (1) 52104.0
Fax: 52104.59
mail: [email protected]
Music Information Centre Norway
P.O. Box 2674 Solli
N-0203 Oslo
Phone: +47 2327 6300
Fax: +47 2327 6301
http://www.listento.no/
Musicprint.nl - Geert Bruinsma Music
Groningerstraat 37 / A
9231CJ Surhuisterveen
Phone: 0512 364140
Fax: 0512 364670
Norsk Musikforlag A/S
Schweigaardsgate 34E & F, entrance Hollendergaten
PO Box (Postboks) 1499 Vika
0116 Oslo
170
http://www.norskmusikkforlag.no/index.php?pg1-cid1.html
Percussion Music Europe Langveld 6
3300 Tienen
Belgium
Phone: +3216782270
Fax: +3216780450
VAT: BE0446046382
http://www.pmeurope.com/prestashop/
Potenza Music Publishing
13040 Eastgate Park Way, Suite 108
Louisville, KY 40223
Fax: (502) 365-1431
Email: [email protected]
Promethean Editions Ltd PO Box 10143
Wellington
NEW ZEALAND
P +64 (0)4 473 5033
F +64 (0)4 473 5066
SCHOTT MUSIC GmbH & Co KG Weihergarten 5
55116 Mainz
Germany
Phone: +49 6131 246-0
Fax: +49 6131 246-211
Email: [email protected]
Studio 4 Music Productions
Post Office Box 467
Asbury Park, New Jersey 07712
USA
Phone: 1-732-774-0011
Fax: 1-732-774-0033
171
http://www.mostlymarimba.com/
STUDIO MUSIC
Cadence House
Eaton Green Road
Luton, Bedfordshire
LU2 9LD
Phone: +44 (0)1582 432139
Freephone (UK only): 0800 389 2484
Fax: +44 (0)1582 731989
e-mail: [email protected]
www.studio-music.co.uk
Tierolff Muziekcentrale bv
Markt 90-92 Roosendaal
Post address: Postbus 18
NL-4700 AA Roosendaal
Nederland - The Netherlands
Phone: ++ 31 (0) 165 541255
Fax: ++ 31 (0) 165 558339
https://www.tierolff.nl/index.php?LC=en
Wind Art
16-9-106 Koganekazusatyo-Matudo
Chiba-prf.2700015 JAPAN
http://www.wind-art.com [email protected]