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A Performance Guide to Áskell Másson's Marimba Concerto

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A Performance Guide to Áskell Másson's Marimba Concerto A Performance Guide to Áskell Másson's Marimba Concerto Item Type text; Electronic Dissertation Authors Sammons, Mike Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 11/10/2021 07:42:54 Link to Item http://hdl.handle.net/10150/194541 A PERFORMANCE GUIDE TO ÁSKELL MÁSSON’S MARIMBA CONCERTO by J. Michael Sammons ___________________ Copyright © J. Michael Sammons 2010 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Michael Sammons entitled A Performance Guide to Áskell Másson’s Marimba Concerto and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts Date: 11/2/10 Norman Weinberg Date: 11/2/10 Gary Cook Date: 11/2/10 Kelland Thomas Date: 11/2/10 Moises Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Date: 11/2/10 Document Director: Norman Weinberg 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University of Arizona Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: J. Michael Sammons 4 ACKOWLEDGEMENTS This document, the accompanying lecture recital and all that it entails as well as the journey that has taken place during this time would not be possible without the love, guidance and support of many people. Foremost, to my wife Christine for her unwavering love and devotion throughout this entire endeavor. She deserves the doctoral designation every bit as much (if not more!). I am extremely grateful to my family, especially my father, Jim, and Priscilla for all of their support through the many years. Many thanks go to my Tucson parents, Bonnie and Tony, as well for the hours of conversation over dinners and nights invading their home, long after our days in Tucson. I am humbled for Áskell Másson’s support of this project. I am thankful for his incredible insight and contribution. A special thank you to Monty Musgrave for his role in the creation of the piano reduction of the orchestral score. Thanks go to my great friends and partners, Brandon Putzke, Aaron Emery and Mike Vercelli. Much appreciation goes to my Clemson University family, Paul Buyer, Mark Spede and Brian Sproul, for the opportunity of a lifetime and for the friendships that followed. A special thank you is in order for my colleagues at the University of South Alabama, in particular, Dr. Greg Gruner, Chair of the Department of Music; also to Matt Greenwood, a valued colleague. Finally, I would like to express my deep gratitude for the numerous teachers and mentors who helped shape and mold my identity as a teacher and performer. I would like to acknowledge Dr. Kenneth Broadway, University of Florida. To my committee members: Professor Gary Cook, Professor Gregg Hanson, Professor Jay Rees, Dr. Kelland Thomas and Dr. Norman Weinberg, I am grateful for the support and guidance through the degree process. Particular recognition is in order for my committee chairs, Dr. Norman Weinberg and Professor Cook, both of whom have forever influenced my life and career. I am deeply in debt to you and can only hope to someday repay what you have so generously and enthusiastically passed to me. To Bill Mann who gave me the start of a lifetime in music and drums and on whose teaching I consistently and constantly rely. Finally, to my parents, whom were my teachers growing up, for all of their knowledge and influence that I re-discover on a daily basis. For mom 5 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES..................................................................................... 6 LIST OF TABLES.............................................................................................................11 LIST OF DIAGRAMS.......................................................................................................12 LIST OF FIGURES ...........................................................................................................13 ABSTRACT.......................................................................................................................14 CHAPTER 1 INTRODUCTION .......................................................................................15 CHAPTER 2 ÁSKELL MÁSSON BIOGRAPHY............................................................16 CHAPTER 3 MARIMBA CONCERTO AN OVERVIEW ..............................................24 CHAPTER 4 MARIMBA CONCERTO ANALYSIS ......................................................32 CHAPTER 5 MARIMBA CONCERTO MOVEMENT ONE..........................................35 CHAPTER 6 MARIMBA CONCERTO CADENZA I.....................................................69 CHAPTER 7 MARIMBA CONCERTO MOVEMENT TWO.........................................87 CHAPTER 8 MARIMBA CONCERTO MOVEMENT THREE .....................................93 CHAPTER 9 INTERVIEW WITH ÁSKELL MÁSSON................................................117 CHAPTER 10 CONCLUSION .......................................................................................128 APPENDIX A ERRATA.................................................................................................129 APPENDIX B CATALOGUE OF WORKS ...................................................................131 APPENDIX C CATALOGUE OF WORKS FOR AND WITH PERCUSSION............144 APPENDIX D DISCOGRAPHY OF WORKS...............................................................147 APPENDIX E LETTER OF PERMISSION ...................................................................148 REFERENCES ................................................................................................................149 6 LIST OF MUSICAL EXAMPLES Musical Example 1 (Theme I, Marimba Concerto)...........................................................30 Musical Example 2 (Theme II, Marimba Concerto)..........................................................30 Musical Example 3 (“Nucleus Chord”, Marimba Concerto).............................................30 Musical Example 4 (Trill Figure, Marimba Concerto)......................................................31 Musical Example 5 (mm. 1-3 in movement one of the Marimba Concerto).....................36 Musical Example 6 (mm. 1-7 in movement one of the Marimba Concerto).....................36 Musical Example 7 (mm. 16-22 in movement one of the Marimba Concerto).................37 Musical Example 8 (mm. 23-29 in movement one of the Marimba Concerto).................38 Musical Example 9 (m. 29 in movement one of the Marimba Concerto) .........................39 Musical Example 10 (m. 29 in movement one of the Marimba Concerto) .......................39 Musical Example 11 (mm. 29-31 in movement one of the Marimba Concerto)...............40 Musical Example 12A (mm. 29-31 in movement one of the Marimba Concerto)............40 Musical Example 12B (mm. 29-31 in movement one of the Marimba Concerto) ............41 Musical Example 13 (mm. 32-46 in movement one of the Marimba Concerto)...............42 Musical Example 14 (Development Theme in movement one of the Marimba Concerto)44 Musical Example 15A (“Nucleus chord” in movement one of the Marimba Concerto)...44 Musical Example 15B (“Nucleus chord” inversion in movement one of the Marimba Concerto)............................................................................................................................44 7 LIST OF MUSICAL EXAMPLES - Continued Musical Example 16 (mm. 77-78 in movement one of the Marimba Concerto)...............45 Musical Example 17 (mm. 83-91 in movement one of the Marimba Concerto)...............46 Musical Example 18A (Theme II, sub-phrase four in movement one of the Marimba Concerto)............................................................................................................................46 Musical Example 18B (Theme II, sub-phrase four in movement one of the Marimba Concerto)............................................................................................................................46 Musical Example 19 (mm. 94-96 in movement one of the Marimba Concerto)...............48 Musical Example 20 (mm. 97-103 in movement one of the Marimba Concerto).............48 Musical Example 21 (mm. 117-123 in movement one of the Marimba Concerto)...........49 Musical Example 22 (mm. 127-141 in movement one of the Marimba Concerto)...........51 Musical Example 23 (mm.142-156 in movement one of the Marimba Concerto)............52 Musical
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