NORTHWESTERN UNIVERSITY an Annotated Catalog of Marimba

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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

Anthony Joseph Calabrese

EVANSTON, ILLINOIS

June 2014 2

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.

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.

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.

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. 7

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 8

Recommendations for Further Research 148

References 150

Appendix: Publishing Companies and Composers 165

List of Figures and Graphs

1 Aqua Vitae Stage Setup 58

2 Newly Composed Marimba Concertos by Decade 141

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 11

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). 12

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 13

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 14 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). 15

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. 16

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 17 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 18 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 19 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 20 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 21 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. 22

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 23

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.

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 25

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

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 Yes percussionist? Technical Requirements: 4 mallets Range: 5.0 Cadenza: No Publisher: Unpublished Arrangements: Original instrumentation only Recordings: Streaming video at www.youtube.com/watch?v=YFgNcywM2gE Incipits:

Commission: None Premiere: April 2010, in Baumol’s graduate degree recital at The University of Delaware. Paul Robertson, marimba; Scott Lynch, bass; Doug Schwartz, trumpet; Tim Plimpton, trombone; Jennifer Barker, piano; and Adam Baumol, drums.

Adam Baumol became a percussionist after learning and performing on the clarinet, oboe, saxophone, guitar and piano. His main focus is drum set. He received his Bachelor of

Music in Percussion Performance and his M.M. in Theory and Composition, both from the

University of Delaware. He studied with Harvey Price and Jennifer Barker. In 2008 Adam 28 received Phi Kappa Lambda’s Composition Award at UD. He has taught classes and lessons in percussion.

Istvan Peter B’Racz: Concerto for Two Marimbas and Wind Ensemble

2. Istvan Peter B’Racz

Title: Concerto for Two Marimbas and Wind Ensemble Date: 1998 Instrumentation: Piccolo, 2 flutes, 2 oboes, 2 bassoons, 3 clarinets, bass clarinet, 4 horns, 2 trumpets, 2 trombones, bass trombone, tuba, timpani, 3 percussion. Percussion 1: tambourine, snare drum, tom-tom, cymbals, claves. Percussion 2: bass drum, tom-tom. Percussion 3: wind chimes, glockenspiel, staple gun, woodblock, shaker, bass drum, claves, hand drums (2).

Timing: 16:00 Score: Concert Pitch Translated Title: Is the composer a No percussionist? 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.

Istvan P. B’Racz is based in the New Haven, CT area. He studied composition, electronic music, and conducting at the Hartt School of Music, piano at the Yale School of Music and at the

Franz Liszt Academy of Music in Budapest Hungary (awarded a Fulbright Grant), and composition and piano at the Oberlin Conservatory. His works have been performed or played in many venues throughout the United States, in Europe, and on the airwaves. For him, the essence of composing is “the overseeing of large-scale blue-prints, then delighting in the details”(“Bio,”

2013). His influences range from electronic and avant-garde to orchestral and classical works, as well as popular music from 1900 to the present, folk music, pre- 1600 and ancient music, punk, and more.

He enjoys performing new works for the keyboard (and various controllers), mixing elements, traditions and influences. He taught piano, composition, and music technology at Central Connecticut State University and Southern Connecticut State University. Currently he teaches piano, composition and theory at Neighborhood Music School, piano at Southern

Connecticut State University, and composition at the Educational Center for the Arts. He also records, edits, and produces CD/DVDs and uploads of concerts and auditions through his company, BRACZsound.

Thomas Briggs: Concerto for Marimba and Wind Ensemble

3. Thomas Briggs

Title: Concerto for Marimba and Wind Ensemble Date: 1988 Instrumentation: Piccolo, 2 flutes, 2 oboes, Eb clarinet, 3 Bb clarinets, 2 bassoons, 2 alto saxophones, 10 saxophones, baritone saxophone, 2 trumpets, 4 horns, 3 trombones, bass trombone, 2 euphoniums, 2 tubas, string 31

bass, timpani. Percussion 1: snare drum, 2 tom-toms, suspended cymbal; Percussion 2: bass drum, suspended cymbal, crash cymbals; Percussion 3: xylophone, bells, suspended cymbal. Timing: 6:45 Score: Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 2 and 4 mallets Range: 4.3 (B2 - Ab6) Cadenza: Yes Publisher: C. Alan Publications Arrangements: Wind Ensemble, Piano Recordings: None Incipits:

Commission: Premiere:

Timothy Broege: Concerto for Marimba & Wind Orchestra

4. Timothy Broege

Title: Concerto for Marimba & Wind Orchestra Date: 1991 Instrumentation: 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 3 trumpets, 4 horns, 3 trombones, tuba, contrabass, timpani, 3 percussion Timing: 25:00 Score: Translated Title: n/a 32

Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 4.6 octaves (E2 - Bb6) Cadenza: Yes Publisher: Allaire Music Arrangements: Recordings: O-Zone Percussion Group: Whiplash (Klavier Records K11115) Incipits:

Commission: Premiere:

Gerard Brophy: Scenes from the Caucasus

5. Gerard Brophy

Title: Scenes from the Caucasus

Date: 2013 Instrumentation: 3 flutes, oboe/English horn, bassoon, 3 clarinets, bass clarinet, 2 alto saxophones, tenor sax, baritone sax, 4 horns, 3 trumpets, 3 trombones, euphonium, tuba, crotales, 2 vibraphones Timing: 20:00 Score: Transposed Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 2 and 4 mallets Range: 4.0 (G3 - Ab6) Cadenza: Cadenza Publisher: Composer Self-Published Arrangements: Wind Ensemble Recordings: Streaming Video at www.YouTube.com Incipits:

Commission: 2012, by University of Newcastle Master’s student David Lockeridge, with assistance from the Music Board of The Australia Council. Premiere: Sunday, Nov. 10, 2013, at 2:30pm, in Harold Lobb Concert Hall in Newcastle, Australia.University of Newcastle Wind Orchestra.

Gerard Brophy is an Australian composer born in 1953 who now divides his time between Brisbane and Calcutta. He began studying classical guitar at age twenty-two. In the late seventies he worked closely with Brazilian guitarist Turibio Santos and the Argentine composer 34

Mauricio Kagel before studying composition at the New South Wales State Conservatorium of

Music.

He has been commissioned and performed by ensembles around the world, including the

Melbourne, Queensland, Tasmanian, West Australian, Sydney and New Zealand Symphony

Orchestras, the Malaysian Philharmonic, the BBC Philharmonic and Symphony Orchestras, and others. He is a particularly active collaborator in the areas of ballet, dance and electronica.

Collaborations with musicians from other cultures include Senegalese master drummers, the

N’Diaye Rose family, and the timbila virtuoso Venancio Mbande from Mozambique.

Recent performances include the sell-out season of his ballet Yo Yai Pakebi, Man

Mai Yapobi choreographed by Regina van Berkel and performed by the Residentie

Orkest and the Nederlands Dans Theater; the premiere seasons of Semele and Halcyon as part of the Australian Ballet’s highly successful Interplay and Edge of Night programmes, and the Song Company's tour of Gethsemane, his contemporary passion play.

In his notes accompanying the recording on YouTube, Brophy describes his

Scenes from the Caucasus:

I. Davit Gareja: The isolation and the stunning location of the Davit Gareja

monastery overlooking the infinite expanses of the Azerbaijan steppe--a place

of timelessness and unparalleled serenity.

II. Kazbegi: The majesty of Mt Kazbegi towers over the Georgian pilgrim church

of the Holy Trinity deep in the heart of the Caucasus range.

III. Tbilisi: Not too far under the glittering and urbane surface of this engaging

city lays an ancient and mysterious soul. (Brophy, 2013b) 35

“My ambitions in this work were twofold,” Brophy says. “Firstly I was keen to exploit the familiar pyro-technical possibilities of the marimba in all their dazzling splendour. But I also wanted to feature its lyrical qualities, which demand a somewhat more understated yet no less exacting virtuosity” (Brophy, 2013b). The movements’ durations are six minutes, seven minutes, thirty-five seconds, and six minutes, forty seconds, respectively.

Brophy has written several works for percussion ensemble, including Two Views from

Here (quartet, 2009), Luminoso (quartet, 2007), Songo (quintet, 2002), Trash (quartet, 1995),

Umbigada, Obrigado! (quartet, 1995), Glint (sextet, 1992), Hydra (trio, 1980), plus many more mixed chamber ensembles. Brophy’s music is available from the Australian Music

Centre.

David Carey: Suite for Marimba and Woodwinds

6. David Carey

Title: Suite for Marimba and Woodwinds Date: 1980 Instrumentation: Woodwind Quintet Timing: Score: Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: Range: Cadenza: Publisher: Arrangements: Recordings: Incipits:

Commission: Premiere: 21 January 1980, Rochland Center for the Arts, Nyack, New York, 36

with the Springstead Woodwind Quintet and the composer on marimba (Siwe, 1995, p. 61).

Benoît Chantry: Two Marimba Reflections

7. Benoît Chantry

Title: Two Marimba Reflections

Date: 2012 Instrumentation: 2 flutes, oboe, bassoon, Eb clarinet, 3 Bb clarinets, bass clarinet, alto saxophone, tenor saxophone, baritone saxophone, 3 Bb trumpets, 3 French horns, 3 trombones, euphonium, Bb euphonium in treble clef, basses, string bass, drum set, timpani, mallets and percussion, mallet percussion, timpani, and drum set. Alternate parts are available for Eb horn, Bb trombones in bass clef, Bb euphonium in bass clef, Eb bass and Bb bass, in treble or bass clef. Timing: 7:30 Score: Transposed Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 4 Mallets Range: 4.5 octaves (G2 - E6). There is only a single note on G2, marked “optional.” Therefore the work is playable on a 4.3-octave instrument as well. Cadenza: No Publisher: Tierloff Muziekcentrale Arrangements: Wind Ensemble, Piano Recordings: The Hageland Wind Orchestra guest conducted by Evan Feldman. The disc is entitled Two Marimba Reflections: Tierolff for Band No. 28 (Tierloff Muziekcentrale) Incipits:

Commission: Premiere: The Hageland Wind Orchestra with the Belgian soloist Kelly Helsen, on April 14th, 2012, at Den Egger in Scherpenheuvel, Belgium, conducted by Kah Chun Wong.

Benoît Chantry is a Belgian percussionist and composer who began his musical study at the Doornik Conservatory, Belgium, where he studied piano, violin, saxophone and percussion.

He continued his percussion studies at the Royal Conservatory in Brussels, where he studied orchestral conducting, chamber music, jazz and composition. He composes for musical theatre but also arranges for jazz and folk artists. In the biography preceding the score of Two Marimba

Reflections, Chantry describes his style as: “characterized by…attempts to combine various, often very different, styles” (Chantry, 2012). He conducts chamber music ensembles and symphony orchestras, at events such as the opening of the Musical Instruments Museum in

Brussels. He has been conducting wind bands since the age of seventeen.

Chantry is the conductor of the wind band La Concorde at Péronnes, and of the wind band of the Doornik Conservatory. He is also a professor at the Doornik Conservatory and the

Brussels Royal Conservatory. In 1999 he was awarded the Composition Prize at the SABAM

European Jazz Contest and in 2007, and he was also awarded the Prize of the Music Federation of the Province of Henegouwen. He is published by HaFaBra Music, Percussion Music Europe, and Tierloff Muziekcentrale. He has conducted the Hageland Wind Orchestra on two recordings for Tierloff.

Two Marimba Reflections consists of two movements: the first, North, is described by

Chantry in the program notes as “lyrical and romantic,” while the second, South, “has more modern characteristics and quickly progresses to a more jazzy style with an incredible 38 accompaniment from the band” (Chantry, 2012). The degree of difficulty is graded four for the ensemble, five for the soloist.

Yiu-Kwong Chung: Concerto for Marimba and Wind Ensemble

8. Yiu-Kwong Chung

Title: Concerto for Marimba and Wind Ensemble

Date: 2006 Instrumentation: Piccolo, 2 flutes, 2 oboes, 2 bassoons, 3 clarinets, bass clarinet, 2 alto saxophones, tenor sax, baritone sax, 4 horns, 3 trumpets, 2 trombones, bass trombone, euphonium, baritone in tenor clef, tuba, string bass, timpani, 4 percussion. Timing: 15:30 Score: Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 4 mallets Range: 5.0 (C2 - C7) Cadenza: Yes Publisher: C. Alan Publications Arrangements: Wind Ensemble, Piano Recordings: Streaming audio at www.c-alanpublications.com Incipits:

Commission: Premiere: 39

Niel DePonte: Concertino for Marimba and Wind Ensemble

9. Niel DePonte

Title: Concertino for Marimba and Wind Ensemble Date: 1976, revised in 1983 b Instrumentation: Piccolo, 3 flutes (flute 1 minimum 2 players), 2 oboes, 3 B clarinets (clarinet 1 minimum 2 players), bass clarinet, 2 bassoons (if only one available, play lower part), alto saxophone, tenor saxophone, baritone saxophone, 4 horns in F, 4 trumpets, 4 trombones, 2 tubas (if only one available, play lower part), timpani (5 drums, reducible to 4), 3 percussion. Percussion 1: vibraphone (no motor), bass drum and mounted cymbal, medium suspended cymbal, crash cymbal, mounted tambourine, medium triangle, high suspended cymbal. Percussion 2: xylophone, bass drum (shared with perc 1), large tam-tam, tambourine, bass drum with mounted cymbal (shared with perc 1). Percussion 3: large crash cymbal, bells, 2 bongos, snare drum (5”).

One player on a part, except where indicated. Timing: 10:30 (see link to streaming video) Score: Transposed Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 2 and 4 mallets Range: 4.3 Cadenza: Yes Publisher: Marimba Productions, Inc. Arrangements: Wind Ensemble, Orchestra, Piano Recordings: Streaming video at http://www.youtube.com/watch?v=CTMOb3ABkh8 Incipits: 40

© Property of Marimba Productions, Inc. All rights reserved including recording and public performance. Reprinted with permission. Commission: For Gordon Stout Premiere: Premiered with piano in 1976 at Interlochen, MI, with Christine Smith, piano, and Niel DePonte, soloist. Wind ensemble premiere on July 20, 1977 at Interlochen, MI, The University of Michigan Wind Ensemble, Dr. Richard Strange, conductor, Niel DePonte, soloist. The (revised) orchestral arrangement world premiere took place on January 15, 1984 in Portland, OR. The Oregon Symphony Orchestra, Neal Gittleman, conductor, Niel DePonte, soloist. Revised wind ensemble arrangement was premiered May 3rd, 1987 by The Eastman Wind Ensemble in Rochester, NY, Dr. Donald Hunsberger, conductor, Luanne Warner, soloist.

Niel DePonte was born on May 3, 1953 in New York City. He studied percussion (with

Ted Frazeur) and education at The State University of New York at Fredonia (1974), and the

Eastman School of Music with John Beck (M.M, Performer’s Certificate, 1976). Fred Hinger was also one of his former teachers. In 1977, at the age of 24, DePonte was appointed principal percussionist of the Oregon Symphony. Niel DePonte was one of 2003’s five Grammy Award nominees for Best Instrumental Soloist Performance with Orchestra for his recording of Oregon 41 composer Tomas Svoboda’s Concerto for Marimba and Orchestra conducted by James DePreist and performed by the Oregon Symphony on Albany Records. DePonte studied conducting with

Leonard Bernstein, David Effron, and others, and has appeared as guest conductor with numerous American symphonies and at various music festivals throughout the U.S. and abroad, particularly in Russia. DePonte directed the Bel Canto Northwest vocal Institute for three seasons. He is an advocate for music in schools, and directs youth programs and competitions in

Portland, OR, where he is currently based.

Udo Diegelmann: Treffpunkt 4/4/3

10. Diegelmann, Udo

Title: Treffpunkt 4/4/3 für Marimbaphon ad libitum und Blasorchester

Date: 2005 Instrumentation: Piccolo, 2 flutes, 2 oboes, 2 bassoons, Eb clarinet, 3 Bb clarinets, bass clarinet, 2 alto saxophones, tenor sax, baritone sax, 2 French horns, 2 cornets, 3 trumpets, 3 trombones, 3 tenor horns, baritone, tuba, F tuba, timpani, triangle, bongos, conga, bass drum, drum set Timing: 15:00

Score: Concert Pitch

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

Is the composer a Yes percussionist? Technical Requirements: 2 and 4 mallets

Range: E2 to Gb6

Cadenza: Yes

Publisher: 2005 Hubert Hoche-Musikverlag 42

Arrangements: see “Other Information” below

Recordings:

Incipits:

Commission: Hubert Hoche Premiere: November 2006, in Hammelburg, Germany. Stadtkapelle Hammelburg with Hubert Hoche, conductor, and Udo Diegelmann, soloist.

Novelty is the main objective of the piece. A role reversal occurs at the very beginning: brass players hit mouthpieces with their palms, woodwinds use ‘key flapping noise’, and percussionists use leaf blowers/hair dryers on their instruments. Players change positions on stage at indicated times. There is also a bit of visual comedy involving a leaf blower. Other extended techniques include hitting the trombone’s bell with a rubber mallet, and using a blow gun to hit drums with projectile peas. 43

This is definitely not an active or virtuosic marimba concerto. The first half of the piece requires the marimbist to “play” glissandi with a hair dryer. Measures 266 to 279 are labeled

“marimba solo,”, but still do not entail technical difficulty. A metered cadenza occurs at 281, the ensemble enters at 332, and solo line becomes no more than another ensemble part at 350.

The oboe and bassoon parts are optional. Select cues from these parts are included in the flute, clarinet or baritone saxophone parts.

The composer has indicated all solo marimba sections can be skipped if no marimba soloist is available.

Brendan Faegre: Concerto for Marimba and Chamber Winds

11. Brendan Faegre

Title: Concerto for Marimba and Chamber Winds

Date: 2007 Instrumentation: Piccolo, 2 flutes, oboe/English horn, clarinet, bass clarinet, bassoon, tenor saxophone, trumpet, 2 horns, trombone, tuba, piano, 3 percussion Timing: 19:30 Score: Transposed Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves Cadenza: Yes Publisher: 2007 Raven Feather Music Arrangements: Wind Ensemble Recordings: None Incipits: 44

Commission: Premiere: March 24, 2007, University of Puget Sound, (Tacoma, WA). Ad-hoc ensemble with Rickey Badua, conductor, Amy Putnam, soloist.

David Gillingham: Concerto No. 2. For Marimba and Wind Ensemble

12. David R. Gillingham

Title: Concerto No. 2. For Marimba and Wind Ensemble

Date: 2008 Instrumentation: Piccolo, 2 flutes, oboe/English horn, clarinet, bass clarinet, bassoon, tenor saxophone, trumpet, 2 horns, trombone, tuba, piano, timpani, 3 percussion. Timing: 23:00 Score: Transposed Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves (D2 - A6) Cadenza: Yes Publisher: C. Alan Publications, 2008 Arrangements: Wind Ensemble, Reduced Winds, Percussion Ensemble, Piano. Recordings: Downloadable at www.c-alanpublications.com Incipits: 45

Commission: By a consortium of schools and private individuals organized by Marc Wooldridge, including Air National Band of the Northeast, Milford, MA, Thomas Carmichael, Apple Valley High School, Apple Valley, MN, Eric Strom, Corey Desens Brigham Young University-Idaho, Rexburg, ID, David L. Taylor, Diane Soelberg, Christopher Dupuis California State University, Fresno, Gary P. Gilroy, Matthew Darling Central College, Pella, IA, Stanley E. Dahl, Evan Feldman, Mitchell B. Lutch Concordia College, Moorhead, MN, David P. Eyler, Scott Jones Community College of Southern Nevada, North Las Vegas, NV, Richard McGee Friends University, Wichita, KS, John W. Taylor, Matthew Maholland Gustavus Adolphus College, St. Peter, MN, Robert Adney, Douglas Nimmo Illinois State University, Normal, Illinois, Stephen K. Steele Iowa State University, Ames, Iowa, Barry Larkin, Michael Golemo Kansas State University, Manhattan, KS, Frank Tracz Knightwind Ensemble, Milwaukee, WI, John Steinke Michael C. Muncher, Birmingham, AL Middle Tennessee State University, Murfreesboro, TN, Reed Thomas Mississippi State University, Mississippi State, MS, Elva Kaye Lance Missouri Western State University, St. Joseph, MO, Jeffrey Hinton Morehead State University, Morehead, KY, Richard Miles Northwestern College, Orange City, IA, Marc Wooldridge, Timothy McGarvey Purdue University, West Lafayette, IN, Pamela J. Nave, Diana Day Raymond Dandurand, Somers, CT Southwestern Oklahoma State University, Weatherford, OK, James South, David Bessinger 46

The University of Akron, Akron, OH, Robert D. Jorgensen, Larry Snider The University of Alabama at Birmingham, Birmingham, Alabama, Gene Fambrough, Sue Samuels The University of North Carolina at Pembroke, Pembroke, NC, Tracy Wiggins, Timothy Altman The University of South Dakota, Vermillion, SD, Darin Wadley, Stephen Sudduth Premiere: Nov 10, 2006 by the Northwestern College Symphonic Band (IA). Timothy McGarvey, conductor, Marc Wooldridge, soloist.

Mark Glentworth: Marimba Concerto No. 1

13. Mark Glentworth

Title: Marimba Concerto No. 1

Date: 2008 Instrumentation: Timing: Score: Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 4 mallets Range: 5.6 octaves (D2 - Gb7) Requires 8vb displacement/ossia Cadenza: Yes Publisher: Arrangements: Recordings: Incipits: 47

Commission: Premiere: Pedro Carneiro

Andreas Håkestad: Movements for Marimba and Wind Quintet

14. Andreas Håkestad (Andreas Haakestad)

Title: Movements for Marimba and Wind Quintet

Date: 2012 Instrumentation: Flute, oboe, A clarinet, F horn, bassoon Timing: The work’s duration is between 20 and 23 minutes (the former referring to the composer’s indication, the latter referring to a subsequent performance in Petrozavodsk, available on YouTube). Score: Concert Pitch Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 2 and 4 mallets Range: 5.0 octaves (C2 - B6) Cadenza: Yes Publisher: Composer Self-Published Arrangements: Wind Quintet Recordings: Streaming Video at http://www.youtube.com/watch?v=CohkTaPGYeo Incipits:

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 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) Timing: 10:00 50

Score: Transposed Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 Mallets Range: 4.3 octaves Cadenza: No Publisher: Keyboard Percussion Publications Arrangements: Wind Ensemble Only Recordings: Streaming Video at www.YouTube.com Incipits:

© Property of Marimba Productions, Inc. All rights reserved including recording and public performance. Reprinted with permission. Commission: 2005 by the Lebanon Missouri Band Boosters. Premiere: Notes :

 Dedicated to wife Carol Helble

Hayato Hirose: Fantasy for Marimba

16. Hayato Hirose

Title: Fantasy for Marimba Date: 2007 Instrumentation: 2 flutes, oboe, bassoon, 2 Bb clarinets, Bb bass clarinet, 2 alto saxophones, tenor saxophone, baritone saxophone, 3 Bb trumpets, 2 French horns in F, 3 trombones, euphonium, Bb euphonium in treble clef, bass, 4 timpani, and 2 percussion (triangle [written in timpani part], tambourine, glockenspiel, suspended cymbal, snare drum, crash cymbals). Additional parts for European ensembles are available as well, including horn in Eb, Bb trombones in either treble or bass clef, and Eb or Bb bass parts in treble or bass clef. Timing: 13:30 Score: Transposed Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves (Eb2 - G6) Cadenza: Yes Publisher: DeHaske Arrangements: Wind Ensemble, Piano Recordings: Published by DeHaske: From Ancient Times (catalog DHR 04-028- 3), a two disk set featuring marimbist Richard Dols, The Marine Band of the Royal Netherlands Navy, and conductor Major Harmen Cnossen. Incipits: 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 Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 2 and 4 mallets Range: 4.0 octaves (C3 - F6) Cadenza: Yes Publication: Composer Self-Published Versions: Wind Ensemble, Piano Recordings: Streaming Video at http://www.youtube.com/watch?v=e92Oi01SM20, http://www.youtube.com/watch?v=77Bzq-R0H_Q, and http://www.youtube.com/watch?v=bNvUiqh6VnE Incipits: 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 56 of Canada with Jonathan Dagenais conducting and marimba soloist D'Arcy Gray at Convocation

Hall, Mount Allison University, Sackville, New Brunswick.

Huang also wrote a solo marimba piece called Dance of Fireflies in 2012, premiered by

David Lockeridge at the Conservatorium of Music, University of Newcastle, Australia on

November 11 of that year (Huang, 2012a).

Eckhard Kopetzki: Marimba in the Wind

18. Eckhard Kopetzki

Title: Marimba in the Wind

Date: 2002 Instrumentation: 2 flutes, oboe, 2 clarinets, bass clarinet, bassoon, 2 alto saxophones, tenor sax, baritone sax, 2 trumpets, 2 horns, 3 trombones, baritone, tuba, 2 percussion (including 2 congas, drum set, and cowbell) Timing: 12:00 Score: Concert Pitch Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 4 Mallets. The solo marimba part, with a few running figures, mainly requires double lateral strokes in even sticking patterns, emphasizing the right hand voice with accents on the beat. Range: 4.0 octaves (C3 - C6) Cadenza: Yes Publication: Ineke-Busch Verlag, 2002 Versions: Wind Ensemble Recordings: Streaming Video at www.YouTube.com Incipits: 57

Commission: None cited Premiere: 2001, Blaskapelle Roding Oberpfalz (Bavaria). Christian Kühn, soloist

Eckhard Kopetzki was born in Hanover, Germany, on December 9, 1956 (Olson, 2011).

He studied percussion with Hans Kitschenberg and music theory with Walter Heise at the

University of Osnabrück. He continued at the Hermann Zilcher Conservatory in Würzburg, studying percussion with Joachim Sponsel, and theory with Hurbert Nordhoff. The last portion of his music training was completed at the University for Music in Würzburg, where he studied percussion with Axel Fries and Siegfried Fink.

Kopetzki’s career involves a combination of teaching and composing. His first positions were at music schools for young students (Olson, 2011). As a result, his works reflect varying levels of technical challenge to accommodate the needs of both young and seasoned percussionists. He has been teaching at a vocational school for music in Sulzbach-Rosenberg,

Germany, a position he has held since 1985.

As of 2011, Kopetzki had published at least 88 works for percussion, written for elementary through professional experience levels, through companies such as Southern Music

Company, HoneyRock, Norsk Musikforlag, Zimmermann, Ineke Busch Verlag, and his own 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 Score: Concert Pitch Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 4.3 octaves (A3 - C7). Cadenza: Yes Publication: Not published. A copy is housed in the special collections section at Sibley Music Library, Rochester, New York. Versions: Original version only Recordings: None Incipits:

Commission: None. Aqua Vitae was written as a master’s thesis for Levin’s degree at the Eastman School in 1987, and it is unpublished. The score is dedicated to Charles Owen who passed away in 1985. Premiere: None

Todd B. Levin was born in 1962 in Detroit. He earned a bachelor’s degree from the

University of Michigan, Ann Arbor, and a Master of Arts in Composition from the Eastman

School of Music, University of Rochester, in 1987. He studied with Robert D. Morris at the

Eastman School.

Levin has two recordings of his original music: DeLuxe and Ride The Planet, both on

Deutsche Grammaphon/Polygram Records (now Universal Music). Terms used to describe

Levin’s music include post-minimalist, post-modern, pop, and it is likened to the tape/phase 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.

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 Translated Title: n/a Is the composer a Yes percussionist? 63

Technical Requirements: 4 Mallets Range: 5.0 (C2 - C7) Cadenza: Yes Publisher: The original brass version is self-published by the composer. The Concertino was included as the third and final movement in the three-movement Concerto No. 1 with string orchestra accompaniment. This string version and its corresponding piano reduction are published through Editions Francois Dahlmann. Arrangements: Brass Band, Strings (Concertino included as mvt III), Piano Reduction (of string version). Recordings: Streaming video at www.YouTube.com Incipits:

Commission: Premiere: September 26th, 2009, at Desingel Blue Hall, Antwerp, Belgium. Kelly Helsen, marimba, with Brass Band Willebroek, conducted by Frans Vlolet. (C. Lin, personal communication, July 2, 2013) which premiered in the 2010-11 concert season. About the Work:

Marimba Concerto No. 1 One World, One Dream, One Love tells the name of each movement in its title. Lin characteristically uses the entire range of the five-octave marimba, from C2 to C7, and many of his works require agility to play runs across the full range of the marimba quickly.

Chin-Cheng “Jim” Lin was born in Taipei, Taiwan, in 1984, and studied at the Royal

Conservatory at Antwerp with Ludwig Alpert, where Lin earned his master’s degree with greatest distinctions (Lin, n.d.). At the time of this study, Lin was enrolled in a Doctor of 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.

David Long: Concerto for Marimba and Wind Ensemble

21. David Long

Title: Concerto for Marimba and Wind Ensemble Date: 1997 Instrumentation: 2 flutes, 2 oboes, English horn, 2 bassoons, 3 clarinets, bass clarinet, 2 alto saxophones, tenor sax, baritone sax, 3 trumpets, 2 horns, 2 trombones, tuba, timpani, 3 percussion (Percussion 1: xylophone, bells, chimes, suspended cymbal; Percussion 2: triangle, suspended cymbal, snare drum, tambourine; Percussion 3: crash cymbals, bass drum, woodblocks, tam-tam)

Orchestra Instrumentation: 2.2.2.2/ 2 trumpets, 4 horns, percussion, strings Timing: 30:00 Score: Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 4.3 octaves (A2 - Ab6) Cadenza: Yesa Publisher: C. Alan Publications Arrangements: Wind Ensemble, Orchestra, Piano Recordings: Spiral Passages (with orchestra.) (C. Alan code 05740) Incipits:

Commission: By Cort McClaren, University of North Carolina at Greensboro, Charles Murph, Greensboro Concert Band, Greensboro, NC, and Thomas Jenner, Enloe High School, Raleigh, NC. Premiere: Movement three was premiered in 1997 by The University North 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 Bb 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 No percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves (C2 - C7) Cadenza: Yes Publisher: Atelier M 2007 Arrangements: Wind Ensemble Recordings: Cafua Records: David R. Gillingham: With Heart and Voice, Recorded in Togane Cultural Center, Togane, Japan, on February 6 and 7, 2010, by the Toke Civic Wind Orchestra, and released in Spring 2010. Hiroyuki Kayo, conductor, Reina Iwami, soloist. item code CACG-0151 Incipits: 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.

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 No percussionist? Technical Requirements: 4 Mallets Range: 5.0 octaves (C2 - C7) Cadenza: Yes Publisher: Aterlier M Inc. (since July, 2013) Arrangements: Wind Ensemble Recordings: Bravo Music Kyo-En XII: Prosperous Future for Bands into the 21st Century (item BOCD-7484) Makoto Nakura, soloist. Incipits: 71

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 Score: Concert Pitch Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves (C2 - D6) Cadenza: Yes Publisher: Carl Fischer c/o Theodore Presser Company Arrangements: Wind Ensemble, Piano Recordings: Maslanka Concertos (Albany Records, code: TROY424) Incipits:

Commission: By The U.S. Air Force Band, Washington, D.C. 73

Premiere: November 8th, 1990, at The Percussive Arts Society Convention in Philadelphia, Pennsylvania. Steven Grimo, conductor, Randall Eyles, soloist.

Daniel McCarthy: Chamber Symphony for Marimba and Winds

25. Daniel McCarthy

Title: Chamber Symphony for Marimba and Winds Date: 1993 Instrumentation: Flute, oboe, clarinet, bass clarinet, bassoon, trumpet, horn, trombone, tuba, percussion (snare drum, tom-tom, wood block, temple block, claves, afuche, bongos, suspended cymbal, gong, castanets) Timing: 14:30 Score: Transposed Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves (C2 - C7) Cadenza: No Publisher: C. Alan Publications Arrangements: Wind Ensemble Recordings: 5.0 (C2 - C7) Incipits:

Commission: By Cort McClaren (C. Alan) and the school of music at The University of North Carolina at Greensboro. Premiere: At the Southeast chapter of the Music Educators National Conference, Raleigh, North Carolina. Michael Burritt, soloist. 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 Score: Concert Pitch Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves (C2 - Bb6) Cadenza: No Publisher: Composer Self-Published Arrangements: Wind Ensemble Recordings: Premiere Recording held at Moorpark College Music Dept. Incipits:

Commission: Written for Naoko Takada Premiere: December 15, 2013 by Moorpark College Wind Ensemble. Brendan McMullin, conductor, Naoko Takada, soloist

Brenden McMullin is a trombonist, professor, conductor, and vocalist in the Los Angeles and Ventura County areas. He has shared the stage and recorded with such artists as Duffy

Jackson, Barry Manilow, Eric Whitacre, Barbara Streisand, and Clyde Reasinger and has 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.

Thea Musgrave: Journey Through a Japanese Landscape

27. Thea Musgrave

Title: Journey Though A Japanese Landscape, for Marimba and Wind Ensemble Date: 1994 Instrumentation: piccolo, 2 flutes, 2 oboes, English horrn, 2 clarinets, bass clarinet, 2 bassoons, contrabasoon, 4 horns, 3 trumpets in c, 3 trombones, tuba, piano, harp, timpani, 2 percussion (percussion 1: bass drum, cymbal, med tam-tam, tenor drum, 2 woodblocks, tambourine, vibraphone, triangle, percussion 2: chimes, xylophone, crotales, side drum, 3 toms, 5 temple blocks, high tam-tam, cymbal, bass drum) Timing: 25:00 Score: Concert Pitch Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 Mallets Range: 5.0 octaves (ossias provided for 4.5-octave instruments) Cadenza: No Publisher: Novello & Company Limited (G. Schirmer) Arrangements: Wind Ensemble, Orchestra Recordings: Oriental Landscapes (orchestra accompaniment) (BIS Label) Incipits:

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 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). Timing: 9:30 Score: Transposed Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 2 and 4 mallets Range: 4.0 octaves Cadenza: Yes Publisher: Keyboard Percussion Publications Arrangements: Wind Ensemble, Piano Recordings: Incipits: 78

Was performed at 1998 West Point Marimba Festival

Jason K. Nitsch: Concerto No. 2 for Marimba and Wind Ensemble

29. Jason K. Nitsch

Title: Concerto No. 2 for Marimba and Wind Ensemble

Date: 2003 Instrumentation: 2 flutes, 2 oboes, 3 clarinets, bass clarinet, soprano saxophone, 2 alto sax, tenor sax, baritone sax, bassoon, 3 trumpets, 4 horns, 3 trombones, euphonium, tuba, timpani, 5 percussion Timing: 12:05 Score: Transposed Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 Mallets Range: 5.0 octaves (D2 - Ab6) Cadenza: Yes Publisher: 2010 Suburban Zombie Music Arrangements: Wind Ensemble Recordings: Streaming Video at composer’s website Incipits:

Commission: None. Written as a gift for Larry Vanlandingham Premiere: Not performed About the Work:

Jason K. Nitsch was born in Houston, Texas in 1977. He holds a Bachelor of Music

Education from Baylor Universtiy School of Music in Waco, TX, and a Master of Music 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 Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves (D2 - Eb6)

Cadenza: Yes Publisher: 2010 Suburban Zombie Music Arrangements: Wind Ensemble Recordings: Streaming Video at Suburban Zombie Music Incipits:

Commission: 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 Bb clarinets, bass clarinet, 2 alto saxophones, 2 tenor sax, baritone sax, 4 horns, 3 trumpet, 3 trombones, 2 flugelhorns, 2 euphonium, tuba, cello, bass, harp, timpani, 3 percussion bass drum, crash and suspended cymbals, snare drum, triangle, tam-tam, tambourine, xylophone. Timing: 12:00 Score: Concert Pitch 84

Translated Title: “Play the Balan” (Malinké) Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 4.3 octaves (Bb2 - F6) Cadenza: Yes Publisher: Tot per L'Aire Arrangements: Wind Ensemble, Piano Recordings: www.radiobanda.com Incipits:

Commission: Written for Alejandro Ortiz Gimeno Premiere: July 16th 2011, by Unió Musica de Llíria (“Union of Music of Lliria,” Valencia, Spain). Enrique Artiga, conductor, Francisco Inglés, marimba. Vicente Ortiz Gimeno is a clarinetist, conductor and composer. His father was his first teacher. Ortiz Gimeno played in concert bands and studied at conservatories in Valencia, Spain.

His musical upbringing included studies in clarinet, piano and cello. He earned a degree in clarinet from Castellón Conservatory, having also studied composition there. He attended several master classes in California, and in Boston he won the Berklee Composition Competition, where 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.

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 Bb clarinets, bass clarinet, 2 alto saxophones, tenor saxophone, baritone saxophone, 2 bassoons, 4 horns, 4 trumpets, 2 trombones, bass trombone, 2 euphoniums, tuba, timpani 5 percussion, piano, tape Timing: 17:45 Score: Concert Pitch Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 4.5 octaves (F#2 - C7) Cadenza: Yes Publisher: Composer self-published Arrangements: Wind Ensemble Recordings: Downloadable at wwwp.cord.edu/faculty/rpeters/russ.catalog.html Incipits: 87

Commission: Marc Wooldridge and Northwestern College (IA) Symphonic Band directed by Timothy McGarvey Premiere: Northwestern College Symphonic Band, Scott Hagen, conductor, Marc Wooldridge, soloist

Whitney Prince: Concertino for Marimba and Wind Ensemble

33. Whitney Prince

Title: Concertino for Marimba and Wind Ensemble Date: Completed in 2004 Instrumentation: 1 Piccolo, 2 1st Flutes, 2 2nd Flutes, Oboe 1, Oboe 2, 3 1st Bb Clarinets, 3 2nd Bb Clarinets, 3 3rd Bb Clarinets, 2 Bb Bass Clarinets, 1st Bassoon, 2nd Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, 2 1st Bb Trumpets, 2 2nd Bb Trumpets, 2 3rd Bb Trumpets, 2 1st Horns, 2 2nd Horns, 2 1st 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 Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 2 and 4 mallets (I: 4 mallets, II: 2 mallets) Range: 4.3 octaves (Bb2 - Bb6) Cadenza: Yes Publisher: Potenza Music (Piano Arrangement). Wind parts available directly from composer at [email protected] Arrangements: Wind Ensemble, Piano Recordings: None Incipits: 89

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, 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 Bb clarinets, Eb alto clarinet, bass clarinet, contrabass clarinet, 2 bassoons, 2 alto saxophones, tenor sax, baritone saxophone, 2 Bb cornets, 3 Bb trumpets, 4 horns, 3 trombones, baritone in tenor clef, baritone in bass clef, tuba, string bass, bass drum, snare drum, suspended cymbal, drum set, mallet percussion (bells, vibe,) timpani, harp Timing: 17:00 Score: Transposed Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets 91

Range: 4.3 octaves (Bb2 - F6) Cadenza: Yes Publisher: 1993 C.L. Barnhouse Music Publications Arrangements: Wind Ensemble, Piano Recordings: Reed in Recital (Bravo Music OSBR-21045, Reed, cond.); The Marimba Concertino (Kono, recorded Feb 1992, Kosei Publishing Co); Alfred Reed Live! (2000 Klavier) Incipits:

Commission: By Kazunori Momose, (timpanist of NHK Symphony) for Reiko Kono Premiere: May 3, 1992, at the Fourth Otonowa Concert, Otonowa Wind Sinfonica, Kazunori Momose, conductor, Reiko Kono, soloist.

The section percussion parts are somewhat flexible in that a single drum set player can cover the parts of snare drum, bass drum, and suspended cymbal.

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 Bb clarinets, bass clarinet, alto saxophone, tenor sax, baritone sax, 2 horns, 2 percussion Timing: 13:00 Score: Transposed Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 4.3 (A2 - Bb6) Cadenza: Yes Publisher: Canzona Music Arrangements: Wind Ensemble (1 soloist) Wind Ensemble (2 soloists) Piano (1 soloist) Recordings: None; a downloadable midi file can be found at www.freescores.com. Incipits:

Commission: Premiere: 93

John Serry: Concerto for Marimba and Wind Ensemble

36. John Serry

Title: Concerto for Marimba and Wind Ensemble Date: 1987 Instrumentation: Timing: Score: Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: Cadenza: Publisher: Not Published Arrangements: Wind Ensemble Recordings: None Incipits:

Commission: Leigh Howard Stevens and the University of Wisconsin and James Madison University. Dedicated to L.H. Stevens. Premiere: Spring 1987, University of Wisconsin, Whitewater, Thom Wubbenhorst, cond., L.H. Stevens, soloist.

Adam Silverman: Carbon Paper and Nitrogen Ink

37. Adam B. Silverman

Title: Carbon Paper and Nitrogen Ink

Date: 2013 Instrumentation: Piccolo, 4 flutes (players 2-4 double on piccolo), 2 oboe, English horn, Eb clarinet, 4 Bb clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 saxophones (soprano, alto, tenor, and baritone), 4 trumpets in Bb, (player 4 doubles on piccolo trumpet in Bb), 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 Score: Concert Pitch Translated Title: Same Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves (C2 - A6) Cadenza: No Publisher: 2013 Adam B. Silverman Music Publications (BMI) Arrangements: Wind ensemble, percussion ensemble, piano Recordings: Streaming Audio at composer’s and Sound Cloud websites Incipits:

Commission: By a consortium of University Wind Ensembles including: Arizona 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 Score: Concert Pitch Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 2 and 4 mallets Range: Marimba 1: 4.6 octaves (E2 - B6), Marimba 2: 5.0 octaves (D2 - D6) Cadenza: Yes Publisher: Keyboard Percussion Publications Arrangements: Wind Ensemble 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:

Premiere: April, 1996, at Ithaca College, Ithaca NY. Rodney Winther, conductor, Gordon Stout and Ted Rounds, soloists.

This difficult work is a theme and five variations. It explores different musical and textural relationships between the two marimbists and the wind ensemble. It requires two advanced marimbists and an excellent wind ensemble.

Gordon Stout: Three Movements for Marimba and Wind Ensemble

39. Gordon Stout

Title: Three Movements for Marimba and Wind Ensemble Date: 1974 Instrumentation: Piccolo, 3 flutes, 2 oboes, English horn, 3 clarinets, alto clarinet, bass clarinet, contrabass clarinet, 2 bassoons, contrabassoon, alto saxophone, 4 horns, 3 trumpet, 2 trombones, bass trombone, euphonium, tuba, celeste, piano, 2 harps, timpani (5 drums), 4 percussion Timing: Score: Concert Pitch Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 4 mallets Range: 4.0 octaves (C3 - Bb6) Cadenza: Mvt II for unaccompanied marimba Publisher: Not Published Arrangements: Wind Ensemble Recordings: None Incipits: 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 Score: Concert Pitch Translated Title: n/a 101

Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 4.3 octaves (B2 - B6) Cadenza: No Publisher: Permanently out of print Arrangements: Wind Ensemble Recordings: None Incipits:

Commission: Premiere: Score Notes: “Expansions, a composition for marimba soloist and band, is constructed entirely from one chord (C-Eb-D-F-B) expanded and transposed to generate both melodic and harmonic content. The intent was to utilize a type of minimalist harmonic structure which takes shape and form through transposition and romantic gesture. Structural tension is generated by contrasting harmonically static sections of eighth-note rhythmic patterns with sweeping runs in the 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 Bb 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 Yes percussionist? Technical Requirements: 4 mallets Range: 5.5 octaves (C2 – F7) Cadenza: Yes Publisher: Not Published Arrangements: Wind Ensemble Recordings: Kyo-En XV: Prosperous Future for Bands into the 21st Century (Bravo Music BOCD-7490) Incipits: 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 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 Score: Concert Pitch Translated Title: Music for Solo Marimba and Wind Orchestra Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 4.0 octaves (C3 - Ab6) Cadenza: No Publisher: Not Published 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, Eb 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

Translated Title: n/a Is the composer a Yes percussionist? Technical Requirements: 2 and 4 mallets Range: 4.0 octaves Cadenza: Yes Publisher: Colla Voce Arrangements: Wind Ensemble, Piano Recordings: Incipits:

Commission: Premiere:

Christopher Theofanidis: Concerto for Marimba and Wind Sinfonietta

44. Christopher Theofanidis

Title: Concerto for Marimba and Wind Sinfonietta Date: 2013 Instrumentation: Piccolo, flutes, English horn, 2 clarinets, bass clarinets, bassoon, contrabassoon, 2 horns, 2 trumpets, trombone, bass trombone, euphonium, contrabass, 3 percussion, harp Timing: 27:00 109

Score: Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves (C2 – F6) Cadenza: Yes Publisher: Bill Holab Music Arrangements: Wind Ensemble Recordings: Not Published (held at Univ. of Illinois) Incipits:

Copyright © 2013 by Christopher Theofanidis (ASCAP). All Rights Reserved. Used by Permission. Commission: Consortium led by Robert Rumbelow and the University of Illinois. Participants in the consortium were Cornell University and Cynthia Johnston Turner, Eastman School of Music and Mark Scatterday, Indiana State University and Roby George, University of South Florida and John Carmichael, Peabody Conservatory of Music and Harlan D. Parker, University of Florida and David Waybright, Texas Tech University and Sarah McKoin, Florida State University and Richard Clary, Keenesaw State University and David Kehler, Dartmouth University and Matthew Marsit, Butler University and Robert Grechesky, University of Central Florida and Scott Tobias, University of Montana and James Smart, Baldwin-Wallace College and Dwight Oltman, and Auburn University and Rick Good.

Premiere: Tuesday, April 30, 2013, at The Kannert Center for the Performing Arts, University of Illinois Urbana-Champaign. The University of Illinois Wind Symphony. Robert Rumbelow, conductor, William 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 No percussionist? Technical Requirements: 2 and 4 mallets Range: 4.0 octaves (C3 - G6) Cadenza: No (transition added in recording) Publisher: Norsk Musikvorlag Arrangements: Wind Ensemble, Piano Recordings: Not Published (held at Norsk Musikinformasjon / Music Information Norway) Incipits: 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 Translated Title: n/a Is the composer a Yes 114 percussionist? Technical Requirements: 4 mallets Range: 5.0 octaves (D2 - B6) Cadenza: Yes Publisher: Unpublished Arrangements: Wind Ensemble, Percussion Ensemble, Piano Recordings: Streaming Video at http://www.youtube.com/watch?v=EyjUE-3B9U8 Incipits:

Commission: Diablo Wind Symphony. For Jack Van Geem Premiere: The original work with wind ensemble was premiered on May 22nd, 2013, by Diablo Wind Symphony, Jack Van Geem, soloist. The percussion ensemble arrangement was premiered on March 1st, 2014.

Stephanie Webster is a San Francisco based composer and marimbist born in 1988. Ms.

Webster earned a Bachelor of Arts degree with an emphasis in composition from Saint Mary's

College of California in 2012. She is currently pursuing a Master of Music degree in

Composition and a Master of Music in Marimba Performance at the San Francisco Conservatory of Music in the studios of Jack Van Geem (percussion) and Dan Becker (composition), she also 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 Translated Title: n/a Is the composer a No percussionist? Technical Requirements: 2 and 4 mallets Range: 4.6 octaves (E2 – C7) Cadenza: Yes Publisher: DeHaske Arrangements: Wind Ensemble, Orchestra Recordings: Symphonic Episode I: The Artistry of Satoshi Yagisawa (DeHaske) Incipits:

Commission: Ryo Takada 117

Premiere: Bunkyo University Shonan Campus Wind Orchestra, Kawasaki City Tachibana High School Wind Band, Kawasaki City Takatsu High School Wind Band, Yutaka Kato, conductor, Ryo Takada, soloist.

Satoshi Yagisawa was born in Japan in 1975. He earned a master’s degree in composition at Musashino Academia Musicae, and studied composition under Kenjiro Urata, Hitoshi Tanaka, and Hidehiko Hagiwara. Yagisawa studied trumpet under Takeji Sekine and band instruction under Masato Sato (Yagisawa, 2009).

Yagisawa composes for orchestra, chorus, and chamber settings in addition to band, and his works have been performed outside Japan at events such as the World Association for

Symphonic Bands and Ensembles Twelfth International conference in Singapore, 2005. He arranged theme music for the 54th National Arbor Day event in Chiba Prefecture (Japan) in 2003, and arranged music for the Japan Inter High School Athletic Meet in 2005. Yagisawa is active as a competition judge, guest conductor, instructor, and writer for various magazines (Yagisawa,

2009).

The Marimba Concerto was composed in December 2008, commissioned by Japanese marimbist Ryo Takada. It was first performed by Bunkyo University Shonan Campus Wind

Orchestra, Kawasaki City Tachibana High School wind Band, and Kawasaki City Takatsu High

School Wind Band, in December 2008.

The score, published in 2009, lists a grade 4 level of difficulty for band. The solo part, which employs a 4.6-octave marimba range, from E2 to C7, is justly deemed a grade 5

(advanced). The work lasts twelve minutes, thirty seconds. The description in the first pages states this work should be “considered a sequel” to other concertos by Yagisawa: Suite 118

Concertante for Piano and Wind Orchestra, Trumpet Concerto and Trombone Concerto. The description continues:

The first movement contains elements of baroque and classical styles, which is

unusual in today’s wind music. The second movement, graceful in mood, captures

the composer’s characteristic chorale style. The third movement turns into a rapid

and exciting conclusion. The whole piece is played, without interruption, as a

single movement (Yagisawa, 2008).

The score is transposed, and the ensemble instrumentation includes: piccolo, two flutes, oboe, bassoon, three Bb clarinets, Bb 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 Bb, bass or treble clef.

The Marimba Concerto is recorded on Symphonic Episode I: The Artistry of Satoshi

Yagisawa on the DeHaske label, featuring Ryo Takada with the Nagoya Wind Symphony.

Works Currently Unavailable, Other Works

Certain works identifiable in various resources have proven still irretrievable. The first of

David Carey’s Suite for Marimba and Winds is listed in Tom Siwe’s catalog, but has not been successfully retrieved for study. Other works for which no score was available were those held by Keyboard Percussion Publications, including Raymond Helble’s The Dragon of Wyckham, 119

Clair Omar Musser’s Scherzo Caprice, Gordon Stout’s Duo Concertante, and Niel DePonte’s

Concertino. For these works, information was collected from resources such as Siwe’s catalog,

Percussive Arts Society reviews and literature, or from electronic mail directly from the composer.

Peter Tanner’s Concert Piece for Marimba and Wind Ensemble is considered part of the genre, though a review from 1977 by Linda Pimentel suggests that the first version of Tanner’s concerto was originally written in a reduced score form, for piano accompaniment, and later orchestrated for wind ensemble:

The piano accompaniment is comfortable and well-constructed and tends to

suggest the future scoring for a wind band. … Within the piano accompaniment,

the combinations of moving chord structures, gliding past each other and then

clashing in different registers, should eventually sound even more exciting when

voiced for wind instruments (1977, p. 41-42).

Thomas Siwe dates the work to 1976, nine years after Tanner finished his PhD at Catholic

University in his catalog Percussion Solo Literature. This suggests the work was not completed as part of any degree requirement (Siwe, 1995, p. 375).

Mark Glentworth’s Marimba Concerto No. 1 is available in piano reduction form.

Attempts were made to contact the composer in order to locate a copy of the full wind score.

See Dancy’s document for more details on the works of Briggs, Broege, Chung, DePonte,

Faegre, Helble, Long, Maslanka, McCarthy, Musgrave, Peterson, Reed, Serry, Schoonenbeek,

Stout (Three Movements), Thingnæs, and Gillingham.

120

121

Works Arranged by Duration

Composer: Title Duration

Nitsch, Jason K.: Forward! For Solo Helble, Raymond: The 6:00 10:00 Marimba and Wind Dragon of Wyckham Ensemble

Briggs, Thomas: DePonte, Niel: Concerto for Marimba 6:45 Concertino for Marimba 10:30 and Wind Ensemble and Wind Ensemble Tanner, Peter: Concert Chantry, Benoît: Two 7:30 Piece for Marimba and 11:00 Marimba Reflections Wind Ensemble

Prince, Whitney: Stukenholtz, Larry: Concertino for 7:35 Expansions for Marimba 11:00 Marimba and Wind and Wind Ensemble Ensemble Lin, Chin-Cheng: Marimba Concertino Kopetzki, Eckhard: No. 1 ‘One Love’ for 8:00 11:30 Marimba in the Wind Marimba and Brass Band Huang, Ssu-Yu: Ortiz Gimeno, Vicente: Naluwan Concerto for Balan fô Concerto for 8:40 12:00 Marimba and Wind Marimba and Wind Concert Band Ensemble Nitsch, Jason: Baumol, Adam: Sten: Concerto No. 2 for Concerto for Marimba 9:05 12:05 Marimba and Wind and “Funkestra” Ensemble

Webster, Stephanie: Musser, Clair Omar: 9:30 Concerto for Marimba 12:20 Scherzo Caprice and Winds Schoonenbeek, Kees: Thingnæs, Frode: Concerto for Marimba Liten Konsert for 9:45 13:00 (or Two Marimbas) Marimba og Korps and Wind Ensemble

122

Peterson, Russell: Yagisawa, Satochi: The Life of King David: 13:00 17:45 Marimba Concerto Concerto for Marimba and Band

Levin, Todd: Aqua Vitae Hirose, Hayato: Fantasy 13:25 for Solo Marimba and 17 18:00 for Marimba Instruments

Mashima, Toshio: The McCarthy, Daniel: Song of a Great Tree Chamber Symphony for 14:30 18:00 Concerto for Marimba Marimba and Winds and Symphonic Band

Takeshima, Satoshi: Sky Diegelmann, Udo: 15:00 High for Wind Orchestra 18:00 Treffpunkt 4/4/3 and Solo Marimba

Stout, Gordon: Duo McMullin, Brendan: Concertante, for Two Suite for Marimba and 15:00 19:00 Marimba Soloists and Wind Ensemble Wind Ensemble

Chung, Yiu-Kwong: Maslanka, David: Concerto for Marimba 15:30 Concerto for Marimba 19:30 and Wind Ensemble and Band

B'Racz, Istvan Peter: Tanaka, Terumichi: Concerto for Two 16:00 Music for Marimba and 20:00 Marimbas and Wind Wind Ensemble Orchestra

Reed, Alfred: Brophy, Gerard: Scenes Concertino for Marimba 17:00 20:00 from the Caucasus and Winds

Mashima, Toshio: Faegre, Brendan: Lotus Flower Concerto 17:30 Concerto for Marimba 20:00 for Marimba and Band and Chamber Winds

123

Silverman, Adam: Stout, Gordon: Three Carbon Paper and 20:20 Movements for Marimba ? Nitrogen Ink and Wind Ensemble

Serry, John: Concerto for Glentworth, Mark: 21:00 Marimba and Wind ? Marimba Concerto No. 1 Ensemble

Håkestad, Andreas: 23:00 Carey, David: Suite for Movements for Marimba or ? Marimba and Woodwinds and Wind Quintet 18:304

Gillingham, David R.: Concerto No. 2 for 23:00 Marimba and Wind Ensemble

Broege, Timothy: Concerto for Marimba & 25:00 Wind Orchestra

Musgrave, Thea: Journey Though A Japanese 25:00 Landscape, for Marimba and Wind Ensemble

Theofanidis, Christopher: Concerto for Marimba 27:00 and Wind Sinfonietta

Long, David: Concerto for Marimba and Wind 30:00 Ensemble

4 The composer suggests omitting movements IV and VI for an overall duration of 18:30. 124

Works Arranged by Marimba Range

Works with alternate, “ossia” ranges Composer: Title Range are listed twice.

Thingnæs, Frode: Brophy, Gerard: Scenes 4.0 4.0 Liten Konsert for from the Caucasus (G3 - Ab6) (C3 - G6) Marimba og Korps

Håkestad, Andreas: Briggs, Thomas: 4.0 4.3 Movements for Marimba Concerto for Marimba (C - C) (B2 - Ab6) and Wind Quintet and Wind Ensemble

Huang, Ssu-Yu: 4.5 Naluwan Concerto for 4.0 Chantry, Benoît: (G2 - E6) Marimba and Wind (C3 - A6) Two Marimba Reflections ossia 4.3 Concert Band

DePonte, Niel: Kopetzki, Eckhard: 4.0 Concertino for Marimba 4.3 Marimba in the Wind (C3 - C6) and Wind Ensemble

Musser, Clair Omar: Helble, Raymond: 4.3 4.0 Scherzo Caprice The Dragon of Wyckham (low A)

Stout, Gordon: Levin, Todd: Aqua Vitae Three Movements for 4.0 4.3 for Solo Marimba Marimba and Wind (C3 - Bb6) (A2 - C7) and 17 Instruments Ensemble

Tanaka, Terumichi: Long, David: Concerto 4.0 4.3 Music for Marimba for Marimba and (C3 - Ab6) (A2 - Ab6) and Wind Ensemble Wind Ensemble

Tanner, Peter: Ortiz Gimeno, Vicente: Concert Piece for Balan fô Concerto 4.3 4.0 Marimba and Wind for Marimba and (Bb2 - F6) Ensemble Wind Ensemble

125

Prince, Whitney: 4.3 Diegelmann, Udo: Concertino for Marimba 4.6 (Bb2 - Bb6) Treffpunkt 4/4/3 and Wind Ensemble

Reed, Alfred: 4.3 Yagisawa, Satochi: 4.6 Concertino for (Bb2 - F6) Marimba Concerto (E2 - C7) Marimba and Winds Schoonenbeek, Kees: B'Racz, Istvan Peter: Concerto for Marimba (or 4.3 Concerto for M.1: 5.0 Two Marimbas) and (A2 - Bb6) Two Marimbas M.2: 5.0 Wind Ensemble and Wind Orchestra

Stukenholtz, Larry: Chung, Yiu-Kwong: 4.3 5.0 Expansions for Marimba Concerto for Marimba (B2 - B6) (C2 - C7) and Wind Ensemble and Wind Ensemble

4.5 Faegre, Brendan: Chantry, Benoît: (G2 - E6) Concerto for Marimba 5.0 Two Marimba Reflections ossia 4.3 and Chamber Winds

Musgrave, Thea: Gillingham, David R.: Journey Though A 5.0 Concerto No. 2 5.0 Japanese Landscape, (ossia 4.5) for Marimba and (D2 - A6) for Marimba and Wind Ensemble Wind Ensemble Peterson, Russell: 4.5 The Life of King David: # Hirose, Hayato: 5.0 Concerto for Marimba (F 2 - C7) Fantasy for Marimba (Eb2 - G6) and Band

Broege, Timothy: Theofanidis, Christopher: 4.6 5.0 Concerto for Marimba & Concerto for Marimba (E2 - Bb6) (C2 - F6) Wind Orchestra and Wind Sinfonietta

Lin, Chin-Cheng: Mashima, Toshio: Marimba Concertino 5.0 The Song of a Great Tree 5.0 No. 1 ‘One Love’ for (C2 - C7) Concerto for Marimba (C2 - C7) Marimba and Brass Band and Symphonic Band Stout, Gordon: M1: 4.6 Mashima, Toshio: 5.0 Duo Concertante, for (E2 - B6) Lotus Flower Concerto (D2 - C7) Two Marimba Soloists M2: 5.0 for Marimba and Band and Wind Ensemble (D2 - D6)

126

Baumol, Adam: Sten: Takeshima, Satoshi: Sky 5.5 Concerto for Marimba 5.0 High for Wind Orchestra (C2 - F7) and “Funkestra” and Solo Marimba

Maslanka, David: 5.0 Glentworth, Mark: 5.6 Concerto for Marimba (C2 - D6) Marimba Concerto No. 1 (D2 - Gb7) and Band

McCarthy, Daniel: 5.0 Carey, David: Suite for Chamber Symphony for ? (C2 - C7) Marimba and Woodwinds Marimba and Winds

McMullin, Brendan: Serry, John: Concerto for 5.0 Suite for Marimba and Marimba and Wind ? (C2 - Bb6) Wind Ensemble Ensemble

Musgrave, Thea: Journey Though A Japanese 5.0 Landscape, for Marimba (ossia 4.5) and Wind Ensemble Nitsch, Jason K.: Concerto No. 2 for 5.0 Marimba and Wind (D2 - Ab6) Ensemble Nitsch, Jason K.: Forward! For Solo 5.0 Marimba and Wind (D2 - Eb6) Ensemble

Silverman, Adam: 5 Carbon Paper and (C2 - A6) Nitrogen Ink

Webster, Stephanie: 5.0 Concerto for Marimba (D2 - B6) and Winds

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Works Arranged by Number of Ensemble Performers

Full wind ensemble and chamber arrangements (including brass band) are represented in the table below.

Ensemble Composer: Performe Instrumentation Title rs Carey, David: Woodwind Quintet 5 Suite for Marimba and Woodwinds Håkestad, Andreas: Fl, Ob., Cl, Eng. Horn, Bsn Movements for Marimba 6 and Wind Quintet Fl, Ob., Cl, B. Cl, Bsn, Tpt, Hrn, Tbn, McCarthy, Daniel: Tba, Perc (SD, Tom, WB, Temple Blk, Chamber Symphony for Marimba 10 Claves, Afuche, Bongos, Sus Cym, Gong, and Winds cast) Baumol, Adam: 3 Trumpets, 2 Trombones, 3 Alto Sax, Sten: Concerto for Marimba and 13 Tenor Sax, Bari Sax, Piano, Bass Guitar, “Funkestra” Drums Tanaka, Terumichi: 1 Picc/Fl, 1 Ob, 1 Cl, 1 Bsn, 1 Tpt, 2 Hns, Music for Marimba and Wind 13 2 Tbn, 2 Perc, 1 Piano, 1 D. Bass Ensemble b Schoonenbeek, Kees: Fl, Ob, Bsn, Eb Cl, 3 B Cls, B. Cl, Alto Concerto for Marimba and Wind Sax, Tenor Sax, Bari Sax, 2 Hrn, 2 Perc 15 Ensemble,Concerto for Two Marimbas and Wind Ensemble Levin, Todd: Aqua Vitae for Solo Picc, Fl, Ob, Eng. Hrn, Cl, B. Cl, Bsn, 17 Marimba and 17 Instruments 2 C Trpts, 2 Horns, 2 Trb, Tuba, 3 Perc Picc, 2 Fl, Ob/E Hrn, Cl, Bass Cl, Bsn, Faegre, Brendan: Concerto for 17 Tenor Sax, Trpt, 2 Hrn, Trb, Tuba, Pno, Marimba and Chamber Winds 3 Perc Gillingham, David R.: Concerto Picc, 2 Fl, Ob/Eng.Hrn, Cl, B.Cl, Bsn, No. 2 for Marimba and Wind Ten. Sax, Trpt, 2 Horns, Trb, Tuba, Pno., 18 Ensemble Timp, 3 Perc. (Chamber Wind Arrangement)

128

Picc, Fl, Eng. Hrn, 2 Cl, B. Cl, Bsn, Theofanidis, Christopher: Concerto 20 Cntrbsn, 2 Hrn, 2 Tpt, Tbn, B. Tbn, Euph, for Marimba and Wind Sinfonietta Cntrbass, 3 Perc, Harp 2 Fl, Ob, 2 Cl, B. Cl, Bsn, 2 Alto, Ten, Kopetzki, Eckhard: 22 Bari, 2 Tpt, 2 Hrn, 3 Tbn, Baritone, Tuba, Marimba in the Wind Perc, Dr Set Sop. Cor Eb, 4 Cor Bb, 3 Hrn Eb, 2 Bari Lin, Chin-Cheng: Marimba (treb clef), 2 Tbn (treb clef), B. Tbn, 2 Concertino No. 1 ‘One Love’ for 22 Euph (treb clef), 4 Basses (2 in treb clef), Marimba and Brass Band Timp, 2 Perc 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, B'Racz, Istvan Peter: Concerto for 25 Cymbals, Claves. Two Marimbas and Wind Orchestra Percussion 2: Bass Drum, Tom-Tom. Percussion 3: Wind Chimes, Glockenspiel, Staple Gun, Woodblock, Shaker, Bass Drum, Claves, Hand Drums (2). 2 Fl, Ob, Bsn, 2 Cl, B Cl, 2 Alto Sax, Ten Hirose, Hayato: 26 Sax, Bari Sax, 3 Trpts, 2 Horns, 3 Trbs, 2 Fantasy for Marimba Euph, Bass, Timp, 2 Perc Broege, Timothy: Concerto for 3 Fl, 2 Ob, 3 Cl, 2 Bsn, 3 Tpt, 4 Hrn, 3 26 Marimba & Wind Orchestra Tbn, Tuba, Cntrbass, Timp, 3 Perc Soprano Sax, 2 Alto Saxes, Tenor Sax, Bari Sax, 3 Flugelhorns, Eb Cornet, 3 Bb Chantry, Benoit: Trumpets, 3 Horns, 3 Trombones, Bb Two Marimba Reflections 26 Baritone, Eb Bass, Bb Bass, String Bass, 4 (Fanfare Band Arrangement) Percussion (Timpani, Drumset, Percussion, Mallets) 3 Fl, Ob/Eng Hrn, Bsn, 3 Cl, Bass Cl, 2 Brophy, Gerard: Scenes from the 27 Alto, Ten, Bari, 4 Hn, 3 Tpt, 3 Tb, Euph, Caucasus Tuba, Crotales, 2 Vibes Picc, 2 Fl, 2 Ob, 3 Cl, B Cl, Bsn, 2 Alto, Webster, Stephanie: 28 Ten, Bari, 3 Trpt, 3 Hrn, 3 Tb, Euph, Concerto for Marimba and Winds Tuba, Timp, Unpitched Perc, Pitched Perc 129

Picc, 2 Fl, 2 Ob, Eng. Hrn, 2 Cl, B. Cl, 2 Bsn, Ctrbsn, 4 Hrn, 3 Tpt in C, 3 Tbn, Musgrave, Thea: Journey Though A Tba, Pno, Harp, Timp, 2 Perc (1: BD, Japanese Landscape, for Marimba 28 Cymbal, med tam-tam, Ten Dr, 2 WBs, and Wind Ensemble Tamb, Vibe, Tri) (Perc 2: Chimes, Xylo, Crot, Side Dr, 3 Toms, 5 Temp blks, high tam-tam, Cymbal, BD) 2 Fl, 2 Ob, Eng. Hn, 2 Bsn, 3 Cl, B. cl, 2 Alto Sax, Ten Sax, Bari Sax, 3 Tpt, 2 Hn, Long, David: Concerto for 2 Tbn, Tuba, Timp, 3 Perc: (P1: Xylo, 29 Marimba and Wind Ensemble Bells, Chimes, Sus cym, P2: Tri, Sus Cym, SD, Tamb., P3: Crash Cyms, BD, WB, Tam-Tam) Picc, 2 Fl, 2 Ob, 3 Cl, B Cl, 2 Bsn, Cbsn., McMullin, Brendan: Suite for 29 2 Alto, Ten, Bari, 3 Trpt, 2 Hrn, 2 Tbn, B. Marimba and Wind Ensemble Tbn, Tba, Timp, 3 Perc Huang, Ssu-Yu: Naluwan Concerto Picc, Fl, Ob, 3 Cl, B. Cl, Bsn, Alto, Ten, for Marimba and Wind Concert 30 Bari, 3 Tpt, 4 Hrn, 3 Tbn, Euph, Tuba, Band Dbl Bass, Timp, 2 Mallet Perc, 3 Perc Piccolo, 2 Flutes, 2 Oboes, 2 Bassoons, Eb Clarinet, 3 Bb Clarinets, Bass Clarinet, 2 Alto Saxophones, Tenor Saxophone, Musser, Clair Omar: 30 Baritone Saxophone, 4 Horns, 3 Scherzo Caprice Trumpets, 2 Trombones, Bass Trombone, Euphonium, Tuba, Timpani, 1 Percussion (bells, triangle). 2 Fl, Ob, Bsn, Eb Cl, 3 Bb Cl, Alto Cl, B. Cl, 2 Alto Sax, Ten. Sax, Bari Sax, 3 Tpt, Chantry, Benoit: Two Marimba 31 3 Hrn, 3 Tbn, C Euph, Bb Euph, Basses, Reflections Str. Bass, 4 Perc (Dr Set, Perc, Timp, Mallets) Picc, 2 Fl, 2 Ob, 3 Bb Cl, Eb Alto Cl, B/CntrB Cl, Bsn, 2 Alto, Ten, Bari, 3 Tpt, Tanner, Peter: 4 Hrn, Concert Piece for Marimba and 31 2 TB, B TB, Euph, Tuba, Timp, SD, Wind Ensemble Bells/Xylo, Cymbal, BD, Tri, Str. Bass (4 perc.) 2 Fl, 2 Ob, 3 Cl, B Cl, 2 alto Sax, Ten Sax, Bari Sax, Bsn, 3 Tpt, 2 Hn, 3 Tbn, Nitsch, Jason: Euph BC, Forward! For Solo Marimba and 31 Euph TC, Tuba, Timp, 6 Perc (SD, BD, Wind Ensemble Sus Cym, Cr Cym, Tri, Tamb, WBs, Bongos) 130

Nitsch, Jason: 2 Fl, 2 Ob, 3 Cl, B Cl, Sop. 2 Alto Sax, Concerto No. 2 for Marimba and 32 Ten Sax, Bari Sax, Bsn, 3 Tpt, 4 Hns, 3 Wind Ensemble Tbn, Euph, Tuba, Timp, 5 Perc Picc, 2 Fl, Ob, Bsn, 3 Bb Cls, B. Cl, 2 Alto Yagisawa, Satochi: Sax, Ten S, Bari S, 3 Bb Trpt, 32 Marimba Concerto 4 Horns, 3 Trb, 2 Euph, Bass, Dbl Bass, Mallet Perc, Timp, 3 Perc 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 Gillingham, David R.: Concerto Tbn, Euph, Tuba, Ctrbass, Timp, 4 Perc No. 2 for Marimba and Wind 33 (P1: Bells, Brake Drum; P2: Vibe, Sus Ensemble Cym, Cr Cym, Xylo; P3: Brake Drum, Tambourine, Sus Cym, Crash Cyms, Tam-Tam; Perc 4: 4 Tom-Toms, BD) Picc, 2 Fl, 2 Ob, Eb Cl, 3 Bb Cl, 2 Bsn, 2 Alto Sax, Ten Sax, Bari Sax, 2 Tpt, 4 Hrn, Briggs, Thomas: 3 Tbn, B Tbn, 2 Euph, 2 Tba, Str. Bass, Concerto for Marimba and Wind 34 Timp, Perc 1 (SD, 2 Toms, sus cym), Perc Ensemble 2 (BD, Sus cym, crash cyms), Perc 3 (Xylo, bells, sus cym) Piccolo, 3 flutes (flute 1 minimum 2 b players), 2 oboes, 3 B 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 35 DePonte, Neil: Concertino for (ossia 33 percussion. Percussion 1: vibraphone (no Marimba and Wind Ensemble players) 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

Picc, 2Fl, 2 Ob, 2Bsn, 3 Cl, B.Cl, 2 Alto, Chung, Yiu-Kwong: Tenor, Bari, 4 Horn, 3 Tpt, 2 Trb, B. Trb, Concerto for Marimba and Wind 34 Euph, Bari T.C., Tuba, Str B, Timp, 4 Ensemble Perc Picc, 2 Fl, 2 Ob, 2 Bsn, Eb Cl, 3 Bb Cl, Bass Cl, 2 Alto Sax, Ten Sax, Bari Sax, 2 Diegelmann, Udo: 35 F Horn, 2 Cornets, 3 Trpt, 3 Tbn, 3 Tenor Treffpunkt 4/4/3 Horn, Bari, Tba, F Tba, Timpani, 1 Perc (Tri, Bongos, Conga, BD), Drum Set Picc, 2 Fl, Ob, Bsn, Eb Cl, 3 Bb Cl, Alto Cl, B Cl, 2 Alto Sax, Ten Sax, Bari Sax, 3 Mashima, Toshio: Tpt, 4 Hrn, 2 Tbn, B Tbn, Euph, Tba, Str Lotus Flower Concerto for 35 Bass, Harp, Timp, 5 Perc, incl. SD, BD, 4 Marimba and Band tom-toms, sus cym, claves, wind ch, tri, shaker, and glock Piccolo, 3 Flutes, Alto Flute, 2 Oboes, English Horn, 4 Clarinets, Bass Clarinet, 2 Bassoons, Contrabassoon, Soprano Saxophone, Alto Saxophone, 2 Trumpets, Stout, Gordon: Flugelhorn (Trumpet 3), 4 Horns, 2 Duo Concertante, for Two Marimba 36 Trombones, Bass Trombone, Euphonium, Soloists and Wind Ensemble Tuba, Piano, Celeste, Timpani, 3 Percussion (medium and small Suspended Cymbals, Bass Drum, 3 tom-toms, triangle, vibraphone, bells) 2 Picc, 4 fl, 2 Ob, 4 Cl (2 players), B. Cl, Stuckenholtz, Larry: Expansions for 36 2 Bsn, 2 Alto Sax, 2 Ten Sax, Bari Sax, 4 Marimba and Wind Ensemble Hn, 4 Tpt, 4 Tbn, Tuba, Piano, 4 Perc Picc, 2 Fl, 2 Ob, Eng Hn, Eb Cl, 3 Bb Cl, Eb Alto Cl, B Cl, Ctrb Cl, 2 Bsn, 2 Alto Reed, Alfred: 37-40 Sax, Ten Sax, Bari Sax, 2 Bb Cornets, 3 Concertino for Marimba and Winds (see Ch.2) 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 Picc, 2 Fl, 2 Ob, E. Hrn, Eb Cl, 3 Bb Cl, B Peterson, Russell: Cl, 2 Alto Sax, Ten Sax, Bari Sax, The Life of King David: Concerto 38 2 Bsn, 4 Hrn, 4 Tpt, 2 Tbn, B Tbn, 2 for Marimba and Band Euph, Tba, Timp, 5 Perc, Piano, Tape 2 Fl, 2 Ob, 2 Bsn, Eb Cl, 3 Bb Cl, Bass Cl, Ortiz Gimeno, Vicente: Balan fô 2 Alto Sax, 2 Ten Sax, Bari Sax, 4 Hrn, 3 Concerto for Marimba and Wind 38 Tpt, 3 Tbn, 2 Flghrn, 2 Euph, Tuba, Cello, Ensemble Bass, Harp, Timp, 3 Perc (BD, Crash and Sys Cyms, SD, Tri, Tam-Tam, Tamb, 132

Xylo)

Picc, 2 Fl, 2 Ob, Eng. Hrn, Bsn, Ctrbsn, 3 Mashima, Toshio: The Song of a Cl, B Cl, Alto Sax, 2 Ten Sax, Bari Sax, 3 Great Tree Concerto for Marimba 38 Tpt, 4 Hrn, 3 Tpt, 3 Tbn, Euph, Tba, Str and Symphonic Band Bass, Harp, Timp, 4 Perc Picc, 3 Fl, 2 Ob, Eng. Hn, 3 Cl, Alto Cl, B. Cl, Cntrb Cl, 2 Bsn, Cntrbsn, Alto Sax, Stout, Gordon: 4 Hn, Three Movements for Marimba and 38 3 Tpt, 2 Tbn, B. Tbn, Euph, Tuba, Wind Ensemble Celeste, Pno, 2 Harps, Timp (5 drs), 4 Perc Picc, 2 fl, Ob, Eng. Hn, Eb Cl, 3 Bb Cl, Alto Cl, B Cl, Bsn, Sop Sax, 2 Alto, Ten Takeshima, Satoshi: Sax, Bari Sax, 4 Hrn, 3 tpt, 2 Cor, 3 Tbn, Sky High for Wind Orchestra 40 B Tbn, Euph, Tuba, Str. Bass, Timp, 6 and Solo Marimba Perc (BD, Cymbs, Sus Cym, SD, Tri, Tamb, Tublr Bells) 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 Helble, Raymond: The Dragon of Trumpets, 4 Horns, 2 Trombones, Bass 41 Wyckham 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) Picc, 3 Fl, 2 Ob (2nd doubles on Eng Horn), Eb Clar, 3 Clars, Bass Clar, Bb Contrab Clar, 2 Bassoons, Cntrbassoon, 2 Maslanka, David: Alto Sax, Tenor Sax, Bari Sax, 3 Cors, 2 42 Concerto for Marimba and Band Trpts, 4 Horns, 2 Tbn, Bass Tbn, 2 Euph, 2 Tubas, Cello, Dbl Bass, Harp, Timp, and 3 Perc 133

1 Piccolo, 2 1st Flutes, 2 2nd Flutes, Oboe 1, Oboe 2, 3 1st Bb Clarinets, 3 2nd Bb Clarinets, 3 3rd Bb Clarinets, 2 Bb Bass Clarinets, 1st Bassoon, 2nd Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, 2 1st Bb Trumpets, 2 2nd Bb Trumpets, 2 3rd Bb Trumpets, 2 1st Horns, 2 2nd Horns, 2 1st Trombones, 2 2nd Prince, Whitney: Concertino for Marimba 47 Trombones, 2 Euphoniums, 2 Tubas, and Wind Ensemble 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”)

(Instrumentation N/A) Thingnæs, Frode: Liten Konsert for Marimba og

Korps (Concertino for Marimba and Band)

Glentworth, Mark: (Instrumentation N/A)

Marimba Concerto No. 1 Serry, John: (Instrumentation N/A) Concerto for Marimba and Wind Ensemble

134

Chart of Arrangements

Strings Composer (Last, First): Wind Chamb. or Perc. Piano Orch Publisher Title Ens. Winds Chamb. Ens. Orch. Baumol, Adam: Sten: Concerto for Wind N/A Marimba Ens. and “Funkestra” B'Racz, Istvan Peter: Composer Concerto for Two Wind Chamb. Self- Marimbas Ens. Orch. Published and Wind Orchestra Briggs, Thomas: Wind Concerto for Marimba Piano C. Alan Ens. and Wind Ensemble Broege, Timothy: Wind Allaire Concerto for Marimba Ens. Music and Wind Orchestra Brophy, Gerard: Composer Wind Scenes from the Self- Ens. Caucasus Published Carey, David: Suite for Marimba ? and Woodwinds Tierolff Chantry, Benoît: Wind Fanfare Muziekce Two Marimba Ens. Band ntrale, Reflections 2012 Chung, Yiu-Kwong: Wind Concerto for Marimba Piano C. Alan Ens. and Wind Ensemble DePonte, Niel: Keyboard Concertino for Wind Percussion Piano Strings Marimba Ens. Publicatio and Wind Ensemble ns

Diegelmann, Udo: Wind Harmonie-

Treffpunkt 4/4/3 Ens. muzik 135

Self- Faegre, Brendan: Published Wind Concerto for Marimba www.bren Ens. and Chamber Winds danfaegre. com Gillingham, David R.: Concerto No. 2 Wind Chamb. Perc. Piano C. Alan for Marimba and Ens. Winds Ens. Wind Ensemble Glentworth, Mark: Percussion Marimba Concerto Piano Music No. 1 Europe Self- Håkestad, Andreas: Published Movements Chamb. www.andr for Marimba Winds eashakesta and Wind Quintet d.no Keyboard Helble, Raymond: Wind Percussion The Dragon of Ens. Publicatio Wyckham ns

Hirose, Hayato: Wind Piano DeHaske Fantasy for Marimba Ens.

Huang, Ssu-Yu: Yu Music Naluwan Concerto Wind Edition Piano for Marimba and Ens. (self- Wind Concert Band Published)

Ineke Kopetzki, Eckhard: Wind Busch Marimba in the Wind Ens. Verlag Unpublish Levin, Todd: ed. Held Aqua Vitae Wind at Sibley for Solo Marimba Ens. Library, and 17 Instruments non- circulating 136

Brass: Lin, Chin-Cheng: Composer Marimba Concertino Self- Wind No. 1 ‘One Love’ Piano Strings Published. Ens. for Marimba and Brass Strings: Band Francois Dahlmann

Long, David: Wind Concerto for Marimba Piano Orch C. Alan Ens. and Wind Ensemble Mashima, Toshio: The Song of a Great Wind Tree Concerto for Atelier M Ens. Marimba and Symphonic Band Mashima, Toshio: Lotus Flower Wind Atelier M Concerto Ens. for Marimba and Band Maslanka, David: Wind Concerto Piano C. Alan Ens. for Marimba and Band

137

Peterson, Russell: The Life of King Wind C. Alan David: Concerto Ens. for Marimba and Band Prince, Whitney: Potenza Music Concertino for Wind (Piano arr.) / Piano Marimba and Ens. Wind parts Wind Ensemble Self-Published McMullin, Brendan: Suite Wind Composer for Marimba and Ens. Self-Published Wind Ensemble Musgrave, Thea: Journey Though A Japanese Wind Novello & Co Orch Landscape, for Ens. Ltd Marimba and Wind Ensemble Musser, Clair Wind Omar: Piano Studio 4/KP3 Ens. Scherzo Caprice Nitsch, Jason: Forward! For Wind Suburban Solo Marimba Ens. Zombie Music and Wind Ensemble Nitsch, Jason: Concerto No. 2 Wind Suburban for Marimba Ens. Zombie Music and Wind Ensemble Ortiz Gimeno, Vicente: Balan fô Wind Concerto for Piano Tot per L'Aire Ens. Marimba and Wind Ensemble 138

Peterson, Russell: The Life of King Wind Composer David: Ens. Self-Published Concerto for Marimba and Band Reed, Alfred: Concertino Wind C.L. Barnhouse Piano for Marimba and Ens. Music Winds Schoonenbeek, Kees: Concerto for Wind Piano Canzona Music Marimba Ens. and Wind Ensemble, Schoonenbeek, Kees: Concerto for Wind Canzona Music Two Marimbas Ens. and Wind Ensemble Serry, John: Concerto for Wind Marimba Not Published Ens. and Wind Ensemble Silverman, Adam B. Adam: Wind Perc Silverman Music Piano Carbon Paper Ens. Ens Publications and Nitrogen Ink (BMI) Stout, Gordon: Duo Concertante, Keyboard for Two Wind Percussion Marimba Soloists Ens. Publications and Wind Ensemble Stout, Gordon: Three Wind Movements for Not Published Ens. Marimba and Wind Ensemble 139

Stukenholtz, Larry:Expansions Wind Out of Print for Marimba and Ens. Wind Ensemble Takeshima, Satoshi: Sky High for Wind Not Published Wind Orchestra Ens. and Solo Marimba Tanaka, Terumichi: Music for Wind Not Published Marimba Ens. and Wind Ensemble Tanner, Peter: Concert Piece for Wind Marimba Piano Colla Voce Ens. and Wind Ensemble Theofanidis, Christopher: Concerto for Wind Bill Holab Music Marimba Ens. and Wind Sinfonietta Thingnæs, Frode: Liten Konsert for Marimba og Wind Norsk Korps Piano Ens. Musikvorlag (Concertino for Marimba and Band) Webster, Stephanie: Wind Perc Concerto for Piano Unpublished Ens. Ens Marimba and Winds Yagisawa, Satochi: Wind DeHaske/ Orch Marimba Ens. HalLeonard Concerto

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

Number of Newly Composed Marimba Concertos by Decade New concertos with string or orchestral accompaniment New concertos with wind accompaniment

45 42

40 34 35 30 25 22 20 16 15 12 10 9 7 10 6 5 6

5 2 3 Number of New Concertos New of Number 0

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 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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Mashima, T. (2010). Lotus Flower Concerto for Marimba and Symphonic Band.[Recorded by

Toke Civic Wind Orchestra, Reina Iwami, and Hiroyuki Kage]. On David R. Gillingham:

With Heart and Voice [CD]. Chigasaki Shinsakae: Cafua Records.

Mashima, T. (2009). The Song of a Great Tree. [Recorded by Makoto Nakura]. On Kyo-En XII:

Prosperous future for Band into the 21st Century [CD]. Hiroshima: Brain Music Co., Ltd.

Musgrave, T. (2002). Journey Through a Japanese Landscape [Recorded by Evelyn Glennie and

Singapore Symphony Orchestra]. On Oriental Landscapes [CD]. Akersberga: BIS

Records. 164

Peterson, R. (2004). The Life of King David: Concerto for Marimba and Band [Marc Woolridge

and Northwestern College Symphonic Band]. Retrieved from

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

Reed, A. (1992). Concertino for Marimba and Winds [Recorded by Tokyo Kosei Wind

Orchestra]. On The Marimba Concertino [CD]. Tokyo: Kosei Publishing Company.

Reed, A. (2000). Marimba Concertino [recorded by Otonowa Wind Symphonica]. On Alfred

Reed live! Vol.2 Russian Christmas Music [CD]. Boca Raton: Klavier Records.

Takeshima, S. (2009). Sky High [ ]. On Kyo-En XV: Prosperous Future for Band Into the 21st

Century [CD]. Hiroshima: Brain Music Co., Ltd. (2012).

Thingnæs, Frode (n.d.). Konsert for Marimba og Korps (Concerto for Marimba and Band)

[recorded by Per R. Melsaether, Marimba, and the Staff Band of the Norwegian Armed

Forces. Mellemberg, Bjørn, cond.] On DAT, shelf mark DAT-356/7. Oslo: Norsk

musikkinformasjon (Music Norway).

Yagisawa, S. (2009). Marimba Concerto [Recorded by Nagoya University of Arts Wind

Orchestra]. On Symphonic Episode I, volume 1 [CD]. Heerenveen: DeHaske Publications.

165

Appendix: Publishing Companies and Composers

Atelier M Co., Ltd. 161-0032 Tokyo, Shinjuku-ku, Nakaochiai 2-5-31-202 Fax: 050-3156-3733 https://www.atelierm.net/contact/ https://www.atelierm.net

Allaire Music Publications http://www.timothybroege.com/

Alto Publications Newbridge, UK Tel. 020 3005 4921 [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/

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 Email: [email protected]

Carl Fischer Music 48 Wall Street, 28th Floor New York, NY 10005 Phone: 212-777-0900 Fax: 212-477-6996 http://carlfischer.com/Fischer/welcome.html [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 Email: [email protected]

Colla Voce Music, Inc. 4600 Sunset Avenue, #83 Indianapolis, IN 46208 Phone: (317) 466-0624 Fax: (317) 466-0638 Email: [email protected]

Christoph Dohr Sindorfer Straße 19 D-50127 Bergheim fon: +49 / (0) 2271/70 72 05 phone: +49 / (0) 2271/70 72 06 Fax: +49 / (0) 2271/70 72 07 e-mail: [email protected] UStID DE163382328

DeHaske Publishing House Businesspark Friesland-West 15 8466 SL Heerenveen Netherlands 168

Tel: +31 513/653053 Fax: +31 513/653291 [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 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] 170 http://www.norskmusikkforlag.no/index.php?pg1-cid1.html

Percussion Music Europe Langveld 6 3300 Tienen Belgium Phone: +3216782270 Fax: +3216780450 VAT: BE0446046382 http://www.pmeurope.com/prestashop/

Potenza Music Publishing 13040 Eastgate Park Way, Suite 108 Louisville, KY 40223 Fax: (502) 365-1431 Email: [email protected]

Promethean Editions Ltd PO Box 10143 Wellington NEW ZEALAND P +64 (0)4 473 5033 F +64 (0)4 473 5066 E [email protected]

SCHOTT MUSIC GmbH & Co KG Weihergarten 5 55116 Mainz Germany Phone: +49 6131 246-0 Fax: +49 6131 246-211 Email: [email protected]

Studio 4 Music Productions Post Office Box 467 Asbury Park, New Jersey 07712 USA Phone: 1-732-774-0011 Fax: 1-732-774-0033 171 http://www.mostlymarimba.com/ [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 e-mail: [email protected] www.studio-music.co.uk

Tierolff Muziekcentrale bv Markt 90-92 Roosendaal Post address: Postbus 18 NL-4700 AA Roosendaal Nederland - The Netherlands Phone: ++ 31 (0) 165 541255 Fax: ++ 31 (0) 165 558339 [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]