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An Examination of David Maslanka's Marimba Concerti: Arcadia II For

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An Examination of David Maslanka's Marimba Concerti: Arcadia II For AN EXAMINATION OF DAVID MASLANKA’S MARIMBA CONCERTI: ARCADIA II FOR MARIMBA AND PERCUSSION ENSEMBLE AND CONCERTO FOR MARIMBA AND BAND, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS OF K. ABE, M. BURRITT, J. SERRY, AND OTHERS Michael L. Varner, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 1999 APPROVED: Thomas Clark, Major Professor Ron Fink, Major Professor John Michael Cooper, Minor Professor William V. May, Interim Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Varner, Michael L., An Examination of David Maslanka’s Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together with Three Recitals of Selected Works of K. Abe, M. Burritt, J. Serry, and Others. Doctor of Musical Arts (Performance), December 1999, 134 pp., 62 illustrations, bibliography, 40 titles. Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka’s growth as a composer. Maslanka’s traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka’s approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material. Tape recordings of all performances submitted as dissertation requirements are on deposit in the University of North Texas Library. ii ACKNOWLEDGEMENTS I wish to express my sincere appreciation to David Maslanka for his openness and willingness to help in the preparation of this study. I would also like to thank Dr. Thomas Clark for his advice and help in completing this document. Finally, I would like to express my deepest appreciation to my wife Marilyn and daughters, Devon and Allison. This project would not have been possible without their constant support and encouragement. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ................................................................................................. iii RECITAL PROGRAMS First Recital ............................................................................................................ vi Second Recital ...................................................................................................... vii Third Recital ........................................................................................................ viii Fourth Recital......................................................................................................... ix LIST OF EXAMPLES .........................................................................................................x Chapters 1. FACTORS AFFECTING MASLANKA’S COMPOSITIONS FOR PERCUSSION AND MARIMBA ...............................................................1 2. OVERVIEW OF WORKS FOR MARIMBA .............................................7 3. AN OVERVIEW OF ARCADIA II: CONCERTO FOR MARIMBA AND PERCUSSION ENSEMBLE .......................................................................18 4. MOVEMENT ONE ...................................................................................33 5. MOVEMENT TWO .................................................................................47 6. MOVEMENT THREE...............................................................................60 7. AN OVERVIEW OF CONCERTO FOR MARIMBA AND BAND ...........81 8. CONCERTO FOR MARIMBA AND BAND ...............................................93 9. CONCLUSIONS......................................................................................103 iv Appendices A. MARIMBA TECHNIQUE ..................................................................................106 B. INTERVIEWS .....................................................................................................111 BIBLIOGRAPHY ............................................................................................................131 v vi vii viii ix LIST OF EXAMPLES Page 1. "Mournful" theme ..................................................................................................27 2. Theme from Chopin’s Fantasie impromptu Op. 66 (transposed) ..........................27 3. "Kiss" theme ..........................................................................................................28 4. "Birdcall" theme .....................................................................................................28 5. "Aggressive" theme ...............................................................................................29 6. "Pastoral" theme .....................................................................................................29 7. "Rollicking" theme .................................................................................................29 8. "Funeral" theme .....................................................................................................36 9. First "mournful" theme ..........................................................................................36 10. M. 20 (movement one) ...........................................................................................38 11. Arpeggio figures ....................................................................................................39 12. M. 66 ......................................................................................................................40 13. M. 83 ......................................................................................................................40 14. Mm. 77-78..............................................................................................................41 15. M. 91 development ................................................................................................42 16. M. 99 ......................................................................................................................43 17. Mm. 113-114 "transitional" theme fragment .........................................................44 18. "Transitional" theme ..............................................................................................45 19. M. 173 ....................................................................................................................46 20. Mm. 14-16 (movement two) ..................................................................................49 x 21. Mm. 42-45..............................................................................................................52 22. Mm. 50-53..............................................................................................................53 23. Mm. 53-55..............................................................................................................54 24. Mm. 61-62..............................................................................................................55 25. Mm. 83-84..............................................................................................................56 26. Mm. 86-87..............................................................................................................56 27. Pointillistic "mournful" theme ...............................................................................57 28. "Half step/whole step" gesture ...............................................................................58 29. Final measure .........................................................................................................59 30. Interlocking arpeggios ...........................................................................................62 31. "Split member" chord ............................................................................................63 32. "Aggressive" theme ...............................................................................................64 33. "Pastoral" theme .....................................................................................................64
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