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

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

http://www.youtube.com/watch?v=YFgNcywM2gE

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

http://harttweb.hartford.edu/graduate/music/composition.aspx

http://music.yale.edu/

http://en.wikipedia.org/wiki/Franz_Liszt_Academy_of_Music

http://eca.state.gov/fulbright

http://new.oberlin.edu/conservatory/

http://www.southernct.edu/

http://new.oberlin.edu/conservatory/

http://www.aces.org/our-schools/?i=7&p=125

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:


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:


32

Is the composer a

percussionist?

No


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


Is the composer a

percussionist?

No


Range: 4.0 (G3 - Ab6)

Cadenza: Cadenza



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

http://www.youtube.com/

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:


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


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


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


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:


Is the composer a

percussionist?

Yes


Range: 5.0 (C2 - C7)

Cadenza: Yes



Recordings: Streaming audio at www.c-alanpublications.com

Incipits:

Commission:

Premiere:

http://www.c-alanpublications.com/

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


Is the composer a

percussionist?

Yes


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:

http://www.youtube.com/watch?v=CTMOb3ABkh8

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


Translated Title: Meeting Point 4/4/3 for Marimba ad lib and wind band

Is the composer a

percussionist?

Yes


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


Is the composer a

percussionist?

Yes


Range: 5.0 octaves

Cadenza: Yes

Publisher: 2007 Raven Feather Music


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


Is the composer a

percussionist?

No


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:

http://www.c-alanpublications.com/

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:


Is the composer a

percussionist?

Yes


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).



Is the composer a

percussionist?

Yes


Range: 5.0 octaves (C2 - B6)

Cadenza: Yes


Arrangements: Wind Quintet

Recordings: Streaming Video at

http://www.youtube.com/watch?v=CohkTaPGYeo

Incipits:

http://www.youtube.com/watch?v=CohkTaPGYeo

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

50

Score: Transposed


Is the composer a

percussionist?

No


Range: 4.3 octaves

Cadenza: No

Publisher: Keyboard Percussion Publications

Arrangements: Wind Ensemble Only


Incipits:



Commission: 2005 by the Lebanon Missouri Band Boosters.

Premiere:

Notes :

Dedicated to wife Carol Helble


51

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


Is the composer a

percussionist?

No


Range: 5.0 octaves (Eb2 - G6)

Cadenza: Yes

Publisher: DeHaske


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:

52

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

53

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


Is the composer a

percussionist?

No


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:

http://www.youtube.com/watch?v=e92Oi01SM20

http://www.youtube.com/watch?v=77Bzq-R0H_Q

http://www.youtube.com/watch?v=bNvUiqh6VnE

54

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

http://www.canadianband.ca/Programmes/spring2013.html

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



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


Incipits:

http://www.canadianband.ca/Programmes/spring2013.html


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

58

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,

59

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



Is the composer a

percussionist?

No


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

60

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.

61

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.

62

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


Is the composer a

percussionist?

Yes

63


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


64

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.

65

David Long: Concerto for Marimba and Wind Ensemble

21. David Long


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:


Is the composer a

percussionist?

No


Range: 4.3 octaves (A2 - Ab6)

Cadenza: Yesa


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

66

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



Cadenza: Yes

Publisher: Atelier M 2007


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:

67

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.

68

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

69

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.

70

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



Cadenza: Yes

Publisher: Aterlier M Inc. (since July, 2013)


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.

72

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



Is the composer a

percussionist?

No


Range: 5.0 octaves (C2 - D6)

Cadenza: Yes

Publisher: Carl Fischer c/o Theodore Presser Company


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


Is the composer a

percussionist?

No



Cadenza: No



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.

74

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



Is the composer a

percussionist?

No


Range: 5.0 octaves (C2 - Bb6)

Cadenza: No



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

75

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.

76

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



Is the composer a

percussionist?

No


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

77

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


Is the composer a

percussionist?

Yes


Range: 4.0 octaves

Cadenza: Yes



Recordings:

Incipits:

78



Commission:

Premiere:

About the Work:

Was performed at 1998 West Point Marimba Festival

79

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


Is the composer a

percussionist?

No


Range: 5.0 octaves (D2 - Ab6)

Cadenza: Yes

Publisher: 2010 Suburban Zombie Music


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

80

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).

81

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.

82

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


Is the composer a

percussionist?

No


Range: 5.0 octaves (D2 - Eb6)

Cadenza: Yes

Publisher: 2010 Suburban Zombie Music


Recordings: Streaming Video at Suburban Zombie Music

Incipits:

Commission:

83

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


84

Translated Title: “Play the Balan” (Malinké)

Is the composer a

percussionist?

No


Range: 4.3 octaves (Bb2 - F6)

Cadenza: Yes

Publisher: Tot per L'Aire


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

85

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.

86

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



Is the composer a

percussionist?

No


Range: 4.5 octaves (F#2 - C7)

Cadenza: Yes

Publisher: Composer self-published


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

88

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


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]


Recordings: None

Incipits:

mailto:[email protected]

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,

http://www.potenzamusic.com/

90

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


Is the composer a

percussionist?

No


91

Range: 4.3 octaves (Bb2 - F6)

Cadenza: Yes

Publisher: 1993 C.L. Barnhouse Music Publications


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.

92

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


Is the composer a

percussionist?

No


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:

93

John Serry: Concerto for Marimba and Wind Ensemble

36. John Serry


Date: 1987

Instrumentation:

Timing:

Score:


Is the composer a

percussionist?

No


Range:

Cadenza:

Publisher: Not Published


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)

94

Timing: 20:20


Translated Title: Same

Is the composer a

percussionist?

No


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

95

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.

96

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.

97

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



Is the composer a

percussionist?

Yes


Range: Marimba 1: 4.6 octaves (E2 - B6), Marimba 2: 5.0 octaves (D2 - D6)

Cadenza: Yes



98

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:



Commission:

http://www.gordonstout.net/music-8.html

99

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:



Is the composer a

percussionist?

Yes


Range: 4.0 octaves (C3 - Bb6)

Cadenza: Mvt II for unaccompanied marimba



Recordings: None

Incipits:

100

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



101

Is the composer a

percussionist?

No


Range: 4.3 octaves (B2 - B6)

Cadenza: No

Publisher: Permanently out of print


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

102

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).

103

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


Range: 5.5 octaves (C2 – F7)

Cadenza: Yes



Recordings: Kyo-En XV: Prosperous Future for Bands into the 21st Century

(Bravo Music BOCD-7490)

Incipits:

104

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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105

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


Translated Title: Music for Solo Marimba and Wind Orchestra

Is the composer a

percussionist?

No


Range: 4.0 octaves (C3 - Ab6)

Cadenza: No


Arrangements: Original instrumentation only

Recordings: None

Incipits:

106

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

107

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

108


Is the composer a

percussionist?

Yes


Range: 4.0 octaves

Cadenza: Yes

Publisher: Colla Voce


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

109

Score:


Is the composer a

percussionist?

No


Range: 5.0 octaves (C2 – F6)

Cadenza: Yes

Publisher: Bill Holab Music


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

110

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).

111

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

112

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


Range: 4.0 octaves (C3 - G6)

Cadenza: No (transition added in recording)

Publisher: Norsk Musikvorlag


Recordings: Not Published (held at Norsk Musikinformasjon / Music Information

Norway)

Incipits:

113

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


Is the composer a Yes

114

percussionist?


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

http://www.youtube.com/watch?v=EyjUE-3B9U8

115

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


Is the composer a

percussionist?

No


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.

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:


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:


and Winds

12:20

Thingnæs, Frode:

Liten Konsert for

Marimba og Korps

9:45

Schoonenbeek, Kees:


(or Two Marimbas)

and Wind Ensemble

13:00

122

Yagisawa, Satochi:

Marimba Concerto 13:00

Peterson, Russell:

The Life of King David:


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


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:


and Wind Ensemble

15:30

Maslanka, David:


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:


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:


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:


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:


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:


and Wind Quintet

4.0

(C - C)

Briggs, Thomas:


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:


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:


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)


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:


and Wind Ensemble

5.0

(C2 - C7)

Chantry, Benoît:


4.5

(G2 - E6)

ossia 4.3

Faegre, Brendan:


and Chamber Winds

5.0

Musgrave, Thea:

Journey Though A

Japanese Landscape,

for Marimba and

Wind Ensemble

5.0

(ossia 4.5)


Concerto No. 2

for Marimba and

Wind Ensemble

5.0

(D2 - A6)

Peterson, Russell:

The Life of King David:


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:


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


and Symphonic Band

5.0

(C2 - C7)

Mashima, Toshio:

Lotus Flower Concerto


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:


and “Funkestra”

5.0

Takeshima, Satoshi: Sky

High for Wind Orchestra

and Solo Marimba

5.5

(C2 - F7)

Maslanka, David:


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:


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:


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:


(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


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:


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:


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


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


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


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:


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


Serry, John:


Ensemble


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


Concerto for Two

Marimbas

and Wind Orchestra

Wind

Ens.

Chamb.

Orch.

Composer

Self-

Published

Briggs, Thomas:


and Wind Ensemble

Wind

Ens. Piano C. Alan

Broege, Timothy:


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:


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:


and Chamber Winds

Wind

Ens.

Self-

Published

www.bren

danfaegre.

com


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

http://www.brendanfaegre.com/



http://www.andreashakestad.no/



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:


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


Wind

Ens. Atelier M

Maslanka, David:

Concerto


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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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.

http://c-alanpublications.com/%20Merchant2/merchant.mvc?Screen=PROD&Store_%20Code=CAPC&Product_Code=11850

http://c-alanpublications.com/%20Merchant2/merchant.mvc?Screen=PROD&Store_%20Code=CAPC&Product_Code=11850

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.

http://www.cord.edu/faculty/rpeters/russ.catalog.html

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

[email protected]

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)

[email protected]

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/

https://www.atelierm.net/contact/

https://www.atelierm.net/

http://www.timothybroege.com/Order_Form.html




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

[email protected]

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

[email protected]

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

[email protected]

Canadian Music Centre National Office 20 St. Joseph Street

Toronto, ON

M4Y 1J9






167

Tel: 416.961.6601


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

[email protected]

Chester Music and Novella & Co

14-15 Berners Street

London

W1T3LJ

Phone: 44 (0) 20 7612 7400

Fax: 44 (0) 20 7612 7545


Colla Voce Music, Inc.

4600 Sunset Avenue, #83

Indianapolis, IN 46208

Phone: (317) 466-0624

Fax: (317) 466-0638


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


UStID DE163382328

DeHaske Publishing House

Businesspark Friesland-West 15

8466 SL Heerenveen

Netherlands


http://carlfischer.com/Fischer/welcome.html





168

Tel: +31 513/653053

Fax: +31 513/653291

[email protected]

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

[email protected]

Editions François Dhalmann / P'hill Publications 10 rue de Bienne

67000 STRASBOURG

FRANCE

HoneyRock 396 Raystown Road

Everett, PA 15537

USA

[email protected]

http://www.honeyrock.net/

Ineke Busch Verlag

Amadeusweg 40

D-70563 Stuttgart

++49 0711 fon 2567883

0711 fax 2567884

[email protected]

www.ineke-busch-verlag.de

Klavier Music Productions

6403 W. Rogers Circle

Boca Raton, FL 33487




http://www.honeyrock.net/


http://www.ineke-busch-verlag.de/

169

Phone 800-434-6340 Outside Florida

561-241-6340 Florida

Fax 561-241-6347

[email protected]

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

[email protected]

http://www.listento.no/

Musicprint.nl - Geert Bruinsma Music

Groningerstraat 37 / A

9231CJ Surhuisterveen

Phone: 0512 364140

Fax: 0512 364670

[email protected]

Norsk Musikforlag A/S

Schweigaardsgate 34E & F, entrance Hollendergaten

PO Box (Postboks) 1499 Vika

0116 Oslo

[email protected]


http://www.klavier-records.com/index.htm


http://www.listento.no/



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


Promethean Editions Ltd PO Box 10143

Wellington

NEW ZEALAND

P +64 (0)4 473 5033

F +64 (0)4 473 5066

E [email protected]

SCHOTT MUSIC GmbH & Co KG Weihergarten 5

55116 Mainz

Germany

Phone: +49 6131 246-0

Fax: +49 6131 246-211


Studio 4 Music Productions

Post Office Box 467

Asbury Park, New Jersey 07712

USA

Phone: 1-732-774-0011

Fax: 1-732-774-0033

http://www.norskmusikkforlag.no/index.php?pg1-cid1.html

http://www.pmeurope.com/prestashop/



171


[email protected]

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


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

[email protected]

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]




http://www.studio-music.co.uk/


https://www.tierolff.nl/index.php?LC=en

http://www.wind-art.com/


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