HOHNER David Maslanka Instrumentation 3 Vibraphones. 3 Marimbas 4⅓ Oct. (Mba. 1). All Vibraphone and Marimba players 2 Marimbas 4½ Oct. (Mba. 2). have rattles or shakers of various sizes. 2 Marimbas 4½ Oct. (Mba. 3). 2 Marimbas 5 Oct. (Mba. 4). Piano, Maraca. Double Bass. Percussion 1: Timpani, Tam Tam. Percussion 2: Small Gong, Rain Stick, Orchestra Bells, Bell Plate (or Large Bell). Percussion 3: Medium Gong, Tam Tam, Chimes, Large Suspended Cymbal, Anvil. Percussion 4: Tam Tam, Small Snare Drum, Snare Drum. Percussion 5: SmallSmall andand LargeLarge SuspendedSuspended Cymbals,Cymbals, BassBass Drum,Drum, HandHand BellsBells , CrashCrash Cymbals.Cymbals. Percussion 6: SnareSnare DDrum,rum, LargeLarge SuspendedSuspended Cymbal,Cymbal, 2 Toms,Toms, TenorTenor Drum,Drum, BassBass Drum,Drum, Crotales.Crotales. Percussion 7: Timpani, Tam Tam. Duration: ca. 10” Program Note Bob Hohner was one of my closest friends and musical companions. He was one of the very few people I know who didn’t want a recording of music that he was to per- form. It was his joy to discover musical sound. It was his insistent and persistent eff ort with “Arcadia II: Concerto for Marimba and Percussion Ensemble” that rescued this “failed” piece from oblivion, and started a long collaboration between us. I wrote “Montana Music: Th ree Dances for Percussion” for him, and then “In Lonely Fields” for Percussion and Orchestra. He recorded “Arcadia II,” “Montana Music,” and “Crown of Th orns,” and we were started on yet another composing project when he died. Th at project was to have been a “Symphony for Percussion.” I had a fl ash vision of a stage full of percussion, a large percussion orchestra—sections of marimbas and vibraphones—and lots of players, and I heard them playing a full-scale symphony. Th e project came to a halt with Bob’s death, but I decided for his memorial piece that I would write at least one movement of this work, using all of the percussion forces available at the time at Central Michigan University. It is off ered in memory of Bob, whose dedicated life as performer, teacher and friend touched, and continues to touch, many thousands of people —David Maslanka HOHNER in memoriam Robert Hohner David Maslanka 1 1 2 3 2 3 4 Vibraphones ff dim. pp All Vibe/Mba players: shakers or rattles of various sizes Marimba 1 ff dim. pp Marimba 2 ff dim. pp Marimba 3 ff dim. pp Marimba 4 ff dim. pp one Maraca, ball down, slowly stirred ad lib. Piano ff p fade ad lib. Take time to make a smooth dim. to pp pizz. Double Bass ff 1 2 q = 112 3 Tam Tam (T. Tam mallet) Timp. 1 l.v. ff ff Sm. Gong damp * l.v. 2 ff etc. ad. lib. dim. pp Med. Gong damp * l.v. 3 ff etc. ad. lib. dim. pp Tam Tam damp * l.v. Percussion 4 etc. ad. lib. dim. pp ff Sm. Sus. Cym. damp * l.v. 5 ff etc. ad. lib. dim. pp Lg. Sus. Cym. damp * l.v. 6 ff etc. ad. lib. dim. pp q = 112 Timp. Tam Tam (Chime mallets) 7 ff ff * Perc. 2-6: Bowed Gongs and Cymbals. Repeated bowings, rhythms ad lib. A raucous shriek. ©2004 David Maslanka 4 5 1 2 3 6 Vibes ff dim. Mar. 1 ff dim. Mar. 2 ff dim. Mar. 3 ff dim. Mar. 4 ff dim. (Maraca) p Pno. ff Db. ff 1 2 3 (T. Tam Tam Tam mallet) Timp. 1 l.v. ff ff (Sm. Gong) 2 ff dim. (Med. Gong) 3 ff dim. (Tam Tam) 4 dim. ff (Sm. Sus. Cym.) 5 ff dim. (Lg. Sus. Cym.) 6 ff dim. Tam Tam Timp. 7 ff ff 1 2 5 7 8 9 q = 68 let settle 10 q = 92 (not slow!) Vibes pp ff pp let settle Mar. 1 pp ff pp let settle Mar. 2 pp ff pp let settle Mar. 3 pp ff pp let settle Mar. 4 pp ff pp timp. mallets on lowest strings let settle fade Pno. ff pp f ALL SPEAK loud whisper . f Hoh - ner fade out (pizz.) arco let settle pizz. Db. ff pp f let settle 1 f ff pp damp let settle Field Dr. snares off l.v. l.v. 2 pp pp f Lg. Wooden damp let settle Wind Chimes l.v. l.v. 3 pp pp ff strike sharply with Sn. Dr. stk. Let clatter. l.v. damp let settle l.v. 4 pp pp Lg. Sus. Cym. l.v. damp let settle l.v. felt mall. 5 pp pp f damp let settle B. Dr. timp. mall. l.v. B. Dr. Lg. Sus. Cym. (bowed) l.v. 6 pp pp f ff Tam Tam (T. Tam mall.) Timp. let settle 7 ppp very smooth, no mallet sound ff slowing... 6 (q = 92) Very Small Shaker 11 12 1 player 13 14 15 q = ca. 52 16 17 Vibes f p no mallet noise Mar. 1 pp no mallet noise Mar. 2 pp no mallet noise Mar. 3 pp no mallet noise Mar. 4 pp Pno. mf p Db. mf p = ca. 52 (q = 92) q 1 mf p pp (Fld. Dr.) 2 mf p (Wind Chimes) 3 ( ff ) ( ff ) 4 (Lg. Sus. Cym.) l.v. 5 mf p pp (B. Dr.) 6 mf p 7 7 18 19 (all) mtr. off 20 21 22 23 24 Vibes pp P ad lib. for connection Mar. 1 (pp ) Mar. 2 (pp ) Mar. 3 (pp ) Mar. 4 (pp ) Pno. (mf ) mf Db. small waver 1 mf pp mf Rain stick slow 2 Tam Tam l.v. 3 p only 4 5 (B. Dr.) 6 pp mp mp 7 8 slowing... in tempo slowing 25 26 27 28 29 30 31 32 l.v. Vibes Mar. 1 Mar. 2 Mar. 3 Mar. 4 Pno. mf Db. 1 (R.S.) 2 Crotales bowed (l.v.) 3 p 4 Lg. Sus. Cym. brushes at edge 5 pp Crotales (l.v.) bowed 6 p 7 9 accel. Faster q = ca. 84 33 34 36 37 38 39 35 Vibes no break Mar. 1 mf pp no break Mar. 2 mf pp no break Mar. 3 mf pp no break Mar. 4 mf pp Pno. mf arco Db. pp sim. 1 p (mf ) 2 3 Tam Tam timp. mall. l.v. 4 pp mp only pp 5 T. Dr., B. Dr. muted Sn. Dr. stick sim. 6 p 7 mf p 10 40 41 42 43 44 45 Vibes (a bit louder) Mar. 1 p (a bit louder) Mar. 2 p (a bit louder) Mar. 3 p (a bit louder) Mar. 4 p Pno. mf Db. p (a bit louder) 1 2 3 (Tam Tam) 4 mp pp mp 5 (T. Dr., B. Dr.) 6 7 mf p mf 11 46 47 48 49 50 51 mtr. on 3:2 3:2 3:2 3:2 Vibes mf P ad lib. for connecting and sustaining 3:2 3:2 3:2 3:2 Mar. 1 mf 3:2 3:2 3:2 3:2 Mar. 2 mf 3:2 3:2 3:2 3:2 Mar. 3 mf 3:2 3:2 3:2 3:2 Mar. 4 .