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Composer Composition Publisher Dimensions (in.) Num of Copies (1 unless noted otherwise) Cover (Paper unless noted otherwise) Minor Damage
1 Auber Fra Diavolo – Overture Southern Music 7.5 x 10.5
2 Bach, C.P.E Concerto for Orchestra in D major Broude Bros. 7.5 x 10.5
3 Bach, J.S. 6 Brandenburg Concertos Vols. 1 and 2 Lea Pocket Scores 5 x 6.5
4 Bach, J.S. 185 4-Part Chorales Lea Pocket Scores 5 x 6.5 3
5 Bach, J.S. 371 4-Part Chorales – Vol 1 – Nos. 1-198 Kalmus 14 x 9
6 Bach, J.S. Art of the Fugue Kalmus 8 x 11
7 Bach, J.S. Cantata No.21 Broude Bros. 5.5 x 7.5 Board
8 Bach, J.S. Cantata No.39 Broude Bros. 5.5 x 7.5
9 Bach, J.S. Cappriccio in Bb Major on the Departure to Distant Climes of His Dearly Beloved Brother Kalmus 10 x 13.5
10 Bach, J.S. Goldberg Variations (Ed. Hans Bischoff) Kalmus 10 x 13.5
11 Bach, J.S. Italian Concerto (Ed. Hans Bischoff) Kalmus 10 x 13.5
12 Bach, J.S. Mass in B Minor (The High Mass) Ernst Eulenburg 5.5 x 7.5
13 Bach, J.S. The St. Matthew Passion Dover 6.5 x 8.5
14 Bartok Contrasts for Violin, Clarinet and Piano Boosey and Hawkes 5.5 x 7.5 Board
15 Bartok First Rhapsody (Folk Dances) for Violin and Orchestra Boosey and Hawkes 5.5 x 7.5 Board
16 Bartok Piano Concerto No.1 Boosey and Hawkes 5.5 x 7.5
17 Bartok Piano Concerto No.3 Boosey and Hawkes 5.5 x 7.5 Board
18 Bartok Sonata for 2 Pianos and Percussion Boosey and Hawkes 5.5 x 7.5 Board
19 Bartok Violin Concerto Boosey and Hawkes 5.5 x 7.5 Board
20 Beethoven 17 String Quartets Vol.3 – Op.74, 95, 127, 130. Lea Pocket Scores 5 x 6.5
21 Beethoven 17 String Quartets Vol.4 – Op.131, 132, 135, 133. Lea Pocket Scores 5 x 6.5
22 Beethoven Fantasy for Piano, Chorus and Orchestra Ernst Eulenburg 5.5 x 7.5
23 Beethoven Overtures: Coriolan; Egmont; Fidelio; Leonore 1, 2, 3; Prometheus. Edward B. Marks 9 x 12
24 Beethoven Piano Concerto No.1 Boosey and Hawkes 5.5 x 7.5
25 Beethoven Piano Concerto No.2 Boosey and Hawkes 5.5 x 7.5
26 Beethoven Piano Concerto No.3 Boosey and Hawkes 5.5 x 7.5
23 Beethoven Piano Concerto No.4 Ernst Eulenburg 5.5 x 7.5
29 Beethoven Piano Concerto No.5 Boosey and Hawkes 5.5 x 7.5
30 Beethoven Symphony No.1 Ernst Eulenburg 5.5 x 7.5
31 Beethoven Symphony No.1 Penguin 8 x 5 *
32 Beethoven Symphony No.2 Ernst Eulenburg 5.5 x 7.5
33 Beethoven Symphony No.3 Heugel and Co. 5.5 x 7.5
34 Beethoven Symphony No.4 Ernst Eulenburg 5.5 x 7.5
35 Beethoven Symphony No.5 Ernst Eulenburg 5.5 x 7.5
36 Beethoven Symphony No.5 Penguin 8 x 5 *
37 Beethoven Symphony No.6 Ernst Eulenburg 5.5 x 7.5 Board
38 Beethoven Symphony No.7 Ernst Eulenburg 5.5 x 7.5 Board
39 Beethoven Symphony No.8 Ernst Eulenburg 5.5 x 7.5 Board
40 Beethoven Symphony No.9 Ernst Eulenburg 5.5 x 7.5
41 Beethoven Violin Concerto Boosey and Hawkes 5.5 x 7.5
42 Berg 3 Orchestra Pieces, Op.6. Philharmonia 5.5 x 7.5
43 Berlioz Damnation of Faust Heugel and Co. 5.5 x 7.5
44 Berlioz Harold in Italien Ernst Eulenburg 5.5 x 7.5
45 Berlioz Requiems of Mozart and Berlioz. Edward B. Marks 9 x 12
46 Berlioz Roman Carnival Overture
47 Berlioz Symphonie fantastique Ernst Eulenburg 5.5 x 7.5 Board
48 Bernstien Serenade for Solo Violin, String Orchestra, Harp and Percussion. G. Schirmer 7.5 x 10.5
49 Bernstien Symphony No.2 “The Age of Anxiety” for Piano and Orchestra G. Schirmer 7.5 x 10.5
50 Bizet L’Arlesienne. Suite No.2. Ernst Eulenburg 5.5 x 7.5
51 Bloch Schelomo G. Schirmer 7.5 x 10.5
52 Boulez, P. le marteaux sans maitre. Universal Edition 7 x 9.5 Some water damage on cover and title page.
53 Brahms Hungarian Dances Nos. 1, 3, 10. Kalmus 5.5 x 7
54 Brahms Symphony No.1. Ernst Eulenburg 5.5 x 7.5 Board
55 Brahms Symphony No.2 Boosey and Hawkes 5.5 x 7.5 Board
56 Brahms Symphony No.3 Boosey and Hawkes 5.5 x 7.5 Board
57 Brahms Symphony No.4 Ernst Eulenburg 5.5 x 7.5
58 Brahms Variations on a Theme by Haydn Boosey and Hawkes 5.5 x 7.5 Board
59 Brahms Violin Concerto in D Penguin 8 x 5
60 Bruch Violin Concerto, Op.26. Ernst Eulenburg 5.5 x 7.5 Board
61 Britten Four Sea Interludes Boosey and Hawkes 5.5 x 7.5
62 Britten Noye’s Fludde, Op.59. Boosey and Hawkes 5.5 x 7.5
63 Britten Serenade, Op.31 Boosey and Hawkes 5.5 x 7.5
64 Britten Soirees musicales Boosey and Hawkes 5.5 x 7.5
65 Chabrier Espana Ernst Eulenburg 5.5 x 7.5
66 Cherubini Requiem Ernst Eulenburg 5.5 x 7.5
67 Colgrass, M.
68 Copland Appalachian Spring (reduced) Boosey and Hawkes 5.5 x 7.5
69 Copland Appalachian Spring (full) Boosey and Hawkes 7 x 10.5
70 Debussy Afternoon of a Faun Kalmus 5.5 x 7
71 Debussy Iberia Durand and Co. 6 x 8.5
72 Debussy La Mer Ernst Eulenburg 5.5 x 7.5
73 Debussy Petite Suite Durand and Co. 6 x 8.5
74 Debussy Three Nocturnes Boosey and Hawkes 7 x 10
75 Dvorak Cello Concerto Statni Nakladatelstvi (Czech) 5.5 x 7.5 Board
76 Dvorak Piano Concerto in G minor Statni Nakladatelstvi (Czech) 5.5 x 7.5 Board
77 Dvorak Scherzo Capriccioso Statni Nakladatelstvi (Czech) 5.5 x 7.5 Board
78 Dvorak Symphony No.2/7 in D minor N. Simrock 5.5 x 7.5
79 Dvorak Symphony No.4 in G Ernst Eulenburg 5.5 x 7.5 Board
80 Dvorak Symphony No.9. “New World” Pro Art Publications 5.5 x 7.5
81 Dvorak Violin Concerto Ernst Eulenburg 5.5 x 7.5 Board
82 Elgar Enigma Variations Ernst Eulenburg 5.5 x 7.5
83 Franck Symphony in D minor Boosey and Hawkes 5.5 x 7.5 Board
84 Genzmer, H. Concerto for Flute and Orchestra Edition Schott 6 x 9 Cover stained
85 Gershwin Rhapsody in Blue (with Jazz Ensemble) (orch. Grofe) Salabert 5.5 x 7.5
86 Glazunov Violin Concerto M. P. Belaieff 5.5 x 7.5 Board
87 Glinka Russlan und Ludmila Ernst Eulenburg 5.5 x 7.5
88 Gluck Mozart and Gluck Overtures: Mozart: Abduction from the Seraglio; Cosi fan Tutti; Don Giovanni; Idomineo; The Impresario; Magic Flute; Marriage of Figaro; Clemenza di Tito. || Gluck: Alceste; Iphigenia in Aulis (ending by Mozart; Iphigenia in Aulis (arr. Wagner); Orpheus and Eurydice. Edward B. Marks 9 x 12
89 Grieg Peer Gynt. Suite No.1. Kalmus 5.5 x 7.5
90 Handel 16 Concerti for Organ and Orchestra Vol.1, Nos.1-8. Lea Pocket Scores 5 x 6.5
91 Handel Ode for St. Cecilia’s Day (1739). Praise of Harmony. Lea Pocket Scores 5 x 6.5
Handel Der Messias Edition Peters – Leipzig 5.5 x 7.5
92 Handel The Messiah (Vocal Score) G. Schirmer 7 x 10.5
93 Handel The Water Music Ernst Eulenburg 5.5 x 7.5
94 Haydn Cello Concerto in D, Op.101. Broude Bros. 7.5 x 11
95 Haydn The Creation (Die Schopfung). Breitkopf and Hartel 9 x 12 Hardcover Conductor’s Score – Inquire about price.
96 Haydn The Seasons (Die Jahreszeiten). Breitkopf and Hartel 9 x 12 Hardcover Conductor’s Score – Inquire about price.
97 Haydn Symphony in D. “La Chasse” (Full score w/ pno reduction (2 hands)) Southern Music 7.5 x 11
98 Haydn Symphony No.4 (101) in D major. “The Clock” Boosey and Hawkes 5.5 x 7.5 Board
99 Haydn Symphony No.11 (100) in D major. “Military” Boosey and Hawkes 5.5 x 7.5 Board
100 Haydn Symphony No.16 (?). “Oxford” (Full score w/ pno reduction (2 hands)) Southern Music 7.5 x 11
101 Haydn Trumpet Concerto in Eb Boosey and Hawkes 5.5 x 7.5 Board
102 Henze Funf neapolitanische Lieder fur mittlere Stimme und Kammerorchester. Edition Schott 6 x 9
103 Hindemith Sinfonische Metamorphosen B. Schott’s Sohne/Mainz 5.5 x 7.5 Board
104 Hindemith Symphonie. Mathis der Maler. Edition Schott 5.5 x 7.5
105 Ives Piano Sonata No.2 “Concord, Mass; 1840-60” Kalmus 5 x 7
106 Ives Scherzo (Over the Pavements). For Chamber Orchestra. – Parts (marked in pencil) Peer International Corp. 9 x 12
107 Ives Symphony No.2. For Large Orchestra. Southern Music 9 x 12
108 Janacek Sinfonietta Philharmonia 5.5 x 7.5
109 Kabalevsky Colas Breugnon Leeds Music Corp. 5.5 x 8.5
110 Kabalevsky The Comedians Leeds Music Corp. 6 x 9
111 Khachaturian Cello Concerto – Piano Reduction and solo part (separate) Leeds Music Corp. 9 x 12
112 Khachaturian Gayne Ballet. Suite No.1. (Sabre Dance; Lullaby: Dance of the Rose Maidens.) Leeds Music Corp. 6 x 9
113 Kodaly Hary Janos Suite. Universal Edition 10.5 x 12 Cover taped; otherwise v.g.
114 Liszt Les Preludes Philharmonia 5.5 x 7.5
115 Liszt Piano Concerto No.1 Eb. “Le Triangle” : ) Ricordi 5.5 x 7.5
116 Mahler Symphony No.1 Ernst Eulenburg 5.5 x 7.5
117 Mahler Symphony No.2 Kalmus 7 x 10.5
118 Mahler Symphony No.3 Universal Edition 7 x 10
119 Mahler Symphony No.4 Kalmus 5.5 x 7.5
120 Mahler Symphony No.5 Edition Peters 5.5 x 7.5
121 Mahler Symphony No.6 Ernst Eulenburg 5.5 x 7.5
122 Mahler Symphony No.7 Dover 8.5 x 11
123 Mahler Symphony No.9 Universal Edition 7 x 10
124 Mendelssohn A Midsummer Night’s Dream Ernst Eulenburg 5.5 x 7.5
125 Mendelssohn The Hebrides Overture Ernst Eulenburg 5.5 x 7.5
126 Mendelssohn Symphony No.4 in E. “Italian” Boosey and Hawkes 5.5 x 7.5 Board
127 Messiaen Oiseaux exotiques Universal Edition 7 x 9.5
128 Messiaen Quartet for the End of Time Editions Durand et Cie. 6 x 8.5
129 Milhaud La Creation du Monde Durand and Co. 7 x 9
130 Milhaud Suite francaise MCA Music 6 x 9
131 Mozart Don Giovanni (full score) Ernst Eulenburg 5.5 x 7.5
132 Mozart Mozart and Gluck Overtures: Mozart: Abduction from the Seraglio; Cosi fan Tutti; Don Giovanni; Idomineo; The Impresario; Magic Flute; Marriage of Figaro; Clemenza di Tito. || Gluck: Alceste; Iphigenia in Aulis (ending by Mozart; Iphigenia in Aulis (arr. Wagner); Orpheus and Eurydice. Edward B. Marks 9 x 12
133 Mozart Piano Concerto in Eb major, K.482. Heugel and Co. 5.5 x 7.5
134 Mozart Piano Concerto No.11 in F major. Broude Bros. 8 x 10.5
135 Mozart Piano Concerto No.21 in C major. Broude Bros. 8 x 10.5
136 Mozart Piano Sonatas and Fantasies, Vol.2 – K.331, 332, 333, 475, 457, 545, 570, 576, 394, 396, 397, 533, 494. Lea Pocket Scores 5 x 6.5
137 Mozart Requiems of Mozart and Berlioz. Edward B. Marks 9 x 12
138 Mozart Symphony in D without Menuet, K.504. Ernst Eulenburg 5.5 x 7.5 Board
139 Mozart Symphony No.35 in D. “Haffner” Boosey and Hawkes 5.5 x 7.5 Board
140 Mozart Symphony No.39 in Eb. Penguin 8 x 5
141 Mozart Symphony No.40 in G minor Kalmus 5.5 x 7.5 Board
142 Mozart Symphony No.41. Broude Bros. 8 x 10.5
143 Mussorgsky Night On the Bare Mountain Ernst Eulenburg 5.5 x 7.5
144 Mussorgsky Picture at an Exhibition (orch: Ravel) Edition Russe de Musique 5.5 x 7.5 Board
145 Nielsen Clarinet Concerto Samfundet…Dansk Musik 6 x 9 Slight water damage on upper border
146 Nielsen Symphony No.5 Skandinavisk Musikforlag 5.5 x 7.5
147 Nielsen Symphony No.6 Samfundet…Dansk Musik 6 x 8
148 Orff Die Bernauerin [solo tenor, solo soprano, chorus, large orch and large percussion section] B. Schott’s Sohne/Mainz 9 x 12
149 Prokofiev Ala et Lolly (Scythian Suite), Op.20. Boosey and Hawkes 5.5 x 7.5 Board
150 Prokofiev Alexander Nevsky (Cantata for Chorus and Orchestra) Leeds Music Corp. 5.5 x 8.5
151 Prokofiev Cinderella. Suite No.1. Leeds Music Corp. 6 x 9
152 Prokofiev Peter and the Wolf Pro Art Publications 5.5 x 7.5
153 Prokofiev Piano Concerto No.3 Boosey and Hawkes 5.5 x 7.5
154 Prokofiev Romeo and Juliet. Suite No.1. Leeds Music Corp. 5.5 x 8.5
155 Prokofiev Symphony No.3 Boosey and Hawkes 5.5 x 7.5
156 Prokofiev Symphony No.5 Kalmus 7 x 10
157 Prokofiev Violin Concerto No.1 for Violin International Music Co. 5.5 x 7.5 Board
158 Prokofiev Violin Concerto No.2 for Violin Boosey and Hawkes 5.5 x 7.5
159 Rachmaninov Piano Concerto No.3 Boosey and Hawkes 5.5 x 7.5
160 Ravel Daphnis et Chloe Durand and Co. 6 x 8.5
161 Ravel La Valse Durand and Co. 6 x 8.5
162 Ravel Mother Goose (Ma mere l’oye) Suite Durand and Co. 6 x 8.5
163 Ravel Piano Concerto in G Durand and Co. 6 x 8.5
164 Ravel Rapsodie Espagnol Durand and Co. 6 x 8.5
165 Respighi Feste Romane Ricordi 5.5 x 7.5
166 Respighi Fountains of Rome Ricordi 5.5 x 7.5
167 Reynold, R. The Emperor of Ice Cream. (8 voices, pno, perc, cb). Edition Peters 10.5 x 7
168 Reynold, R. Quick are the Mouths of Earth. (ob, 3 lutes, 3 vc, tpt, tbn, btbn, pno, 2 perc). Edition Peters 10.5 x 7
169 Rimsky-Korsakov Capriccio Espagnol Pro Art Publications 5.5 x 7.5
170 Rimsky-Korsakov Scheherezade Kalmus 10 x 13 Pages browned.
171 Rorem, Ned Eleven Studies for Eleven Players Boosey and Hawkes 9 x 12
172 Roussel Le Festin de l’Araignee Durand and Co. 6 x 8.5
173 Schaefer, R. M. Five Studies on Texts by Prudentius for 4 Flutes and Soprano. BMI Canada Ltd. 9 x 12
174 Schoenberg, A. Violin Concerto G. Schirmer 7.5 x 10.5
175 Schubert Symphony No.7 in C major Boosey and Hawkes 5.5 x 7.5
176 Schuller, G. American Triptych. A Study in Textures. For Orchestra. Associated Music Publishers 7 x 10.5
177 Schuller, G. Seven Studies on Themes of Paul Klee. Universal Edition 9 x 12
178 Schuman, W. Credendum (Article of Faith). For Orchestra. Merion Music, Inc. 8 x 11
179 Schumann Piano Concerto in A minor Boosey and Hawkes 5.5 x 7.5 Board
180 Schumann Piano Concerto in A minor Penguin 8 x 5
181 Schumann Piano Trio in A minor, Op.98 Ernst Eulenburg 5.5 x 7.5
182 Schumann Symphony No.1 in Bb major Boosey and Hawkes 5.5 x 7.5 Board
183 Schumann Symphony No.4 in D minor Boosey and Hawkes 5.5 x 7.5 Board
184 Scriabin Le Poeme de l’Extase (Poem of Ecstasy.) Ernst Eulenburg 5.5 x 7.5
185 Shostakovich Symphony No.1 Leeds Music Corp. 5.5 x 8.5
186 Shostakovich Symphony No.5 Kalmus 6 x 9
187 Shostakovich Symphony No.8 Breitkopf and Hartel 5.5 x 7.5
188 Shostakovich Symphony No.9 Leeds Music Corp. 6 x 9 Slight water damage to top border.
189 Shostakovich Symphony No.10 Leeds Music Corp. 6 x 9
190 Shostakovich Symphony No.12 (The Year 1917) State Music Publishers Moscow 5.5 x 8.5 Cardboard
191 Shostakovich Symphony No.15 Hans Sikorski 5.5 x 8
192 Smetana The Moldau (Vltava) Boosey and Hawkes 5.5 x 7.5 Board
193 Stockhausen, K. Nr.5. Zeitmasse. Universal Edition 12 x 9
194 Stockhausen, K. Nr.6. Gruppen fur drei Orchester. Universal Edition 10.5 x 13
195 Strauss, J. Blue Danube Waltz Boosey and Hawkes 5.5 x 7.5
196 Strauss, R. Also Sprach Zarathustra Ernst Eulenburg 5.5 x 7.5
197 Strauss, R. Don Juan Kalmus 9 x 12
198 Strauss, R. Don Quixote Ernst Eulenburg 5.5 x 7.5
199 Strauss, R. Ein Heldenleben International Music Co. 6.5 x 8.5
200 Strauss, R. Sinfonia Domestica Ernst Eulenburg 5.5 x 7.5
201 Strauss, R. Til Eulenspiegel Boosey and Hawkes 5.5 x 7.5 Board
202 Stravinsky Apollon Musagete (Apollo) Boosey and Hawkes 5.5 x 7.5
203 Stravinsky Firebird Suite (1919) Kalmus 9 x 12 Board
204 Stravinsky Les Noces Kalmus 5.5 x 8
205 Stravinsky Renard Kalmus 5.5 x 7
206 Stravinsky Symphony No.1 in Eb Rob, Forberg/Bad Godesberg 5.5 x 7.5
207 Tchaikovsky 1812 Overture Boosey and Hawkes 5.5 x 7.5 Board
208 Tchaikovsky Capriccio Italien Ernst Eulenburg 5.5 x 7.5 Board
209 Tchaikovsky Piano Concerto No.1 Ernst Eulenburg 5.5 x 7.5 Board
210 Tchaikovsky Romeo and Juliet Fantasy Overture Pro Art Publications 5.5 x 7.5
211 Tchaikovsky Symphony No.4 Boosey and Hawkes 5.5 x 7.5 Board
212 Tchaikovsky Symphony No.5 Boosey and Hawkes 5.5 x 7.5 Board
213 Tchaikovsky Violin Concerto Ernst Eulenburg 5.5 x 7.5 Board
214 Varese Ecuatorial. Colfranc Music 7 x 10
215 Varese Hyperprism. Colfranc Music 7 x 10
216 Varese Integrales. Colfranc Music 7 x 10
217 Varese Octandre. Colfranc Music 7 x 10
218 Varese Offrandes. Colfranc Music 7 x 10
219 Verdi Requiem (vocal score) G. Schirmer 7 x 10.5
220 Wagner The Flying Dutchman Ernst Eulenburg 5.5 x 7.5
221 Wagner Lohengrin Overture Heugel and Co. 5.5 x 7.5
222 Wagner Siegfried Idyll Penguin 8 x 5
223 Walton Façade. An Entertainment. With Poems by Edith Sitwell. (complete). Oxford University Press 7 x 10
224 Webern Konzert, Op.24. Philharmonia 5.5 x 7.5
OPERA
1 Berlioz Romeo and Juliet Edition Peters 5.5 x 7.5
2 Puccini La Boheme (full score) Dover Large
3 Puccini La Boheme (vocal score) G. Ricordi Large
4 Puccini Tosca Dover Large
5 Verdi Aida Dover Large
6 Verdi Otello Dover Large
7 Verdi Il Trovatore (Metropolitan Opera Libretto) Fred Rullman, Inc. Large
8 Verdi La Traviata Dover Large
9 Wagner Tannhauser Dover Large
10 Wagner Tristan und Isolde Dover Large
 
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Posted by on November 17, 2014 in Composers, Compositions, Unassigned

 

Reflections on the Nature of Marimba Music.

Scan

Prelude:

After the defeat of China’s army by the British in the first Opium War, (1839-42) Japan, concerned with the possibility of a foreign invasion, adopted Dutch military music for fifes, drums and trumpets to discipline and train their Samurai warriors in western infantry tactics. This was the first western music sanctioned by Japan since the expulsion of foreigners in 1640. In 1875, Japan’s government introduced a nation wide public school music program based on an American model.  By 1965, only 90 years after this official embrace of western music, the influence of Japanese composers began to be felt in western avant-garde art music circles [1.].

The Marimba in Japan:

The programme above is from Ryan Scott’s first DMA recital, played in Toronto, Ontario on 22 January, 2014. Ryan’s DMA thesis will probe Japanese art music for marimba. His work on this project has been facilitated in part by New York City resident and former Keiko Abe student Alan Zimmerman. Alan gave Ryan access to his encyclopedic knowledge and massive library of Japanese compositions for marimba, dating from its inception as art music in the 1960s, to the present.

Ryan anounced from the stage that prior to 1965, Japanese marimbists played arrangements of traditional folk songs and western classical music. Marimba virtuoso Keiko Abe (b.1937) convinced prominent Japanese composers to write art music for marimba and manufacturers to upgrade the quality of their instruments.[2.] Between 1965 and1985, more than 500 works of art music were written for marimba by Japanese composers and many of them are still performed today.

I had thought to write a critique of Ryan’s performance, but instead,found myself musing over his announcement regarding Keiko Abe and Japanese composers. I began thinking about the marimba in North America. What follows is almost entirely anecdotal, but during a lengthy telephone conversation, Ruth Cahn, who has been in the middle of most things percussive for many years, confirmed most of my remembrances. Thank you Ruth. Nevertheless, I take responsibility for all errors and the opinions expressed.

The Marimba in America:

Clair Omar Musser, (1901-98) a marimba virtuoso, composer, arranger and conductor, organized concerts for marimba orchestras. One of the first of such groups was a 25 piece, all-girl marimba ensemble for a Paramount Pictures event in Chicago. In 1933, Musser presented a concert with 100 marimbas and in 1950, a concert with 500 players for a  Chicago railroad fair. His repertoire consisted mainly of arrangements of popular classics along with compositions of his own. Musser was also an engineer. The marimbas he designed for the J.C. Deagan Company are considered today the finest of their kind ever made. [3.]

The Percussive Arts Society:

Founded in 1961, the Percussive Arts Society (PAS) today has a membership that includes percussionists from almost every university, college and conservatory in North America. Administered primarily by and for university percussionists, the PAS acts as a nexus for students, teachers, composers, performers and manufacturers, providing them access to school programs, pedagogic trends, new instruments and music.

Leigh Howard Stevens:

By 1980, a nascent group of educators and performers began to champion the marimba as a solo instrument and the popularity of marimba playing grew exponentially. Arguably the most influential marimbists was Leigh Howard Stevens (b. 1953). Stevens studied with Vida Chenoweth [4.] and later created an entire system for marimba playing. He devised a new grip, new mallets and a new marimba design, all complimensts to his vision. Stevens also wrote hundreds of etudes, and a vade mecum to disseminate his ideas. His work has influenced marimba composition and performance and has been adopted and adapted by marimba players throughout the world.

 Marimbas in the United States:

A marimba provides melodic and harmonic components often lacking in all but a few percussion programmes of the past. In most major music schools, marimba studies have become the backbone of  its percussion department. Importantly, this helps validate percussion studies within academia. Post graduate degrees, often unavailable to percussionists  prior to the marimba’s ascendency, are today, the norm, even for students who eschew traditional instruments and specialize in solo marimba performance.

Marimba Music in the United States:

Two major concertos for marimba were written before 1960: Paul Creston,1940 and Robert Kurka,1956. From 1969 forward, most concertos were being written by foreign composers. [5.] In 1987, John Serry completed a marimba concerto commissioned by Leigh Howard Stevens and other marimba soloists followed suit with commissions of their own. Unlike Japan however, only a small amount of solo music for marimba has been written by America’s art music composers. One of these, by Jacob Druckman (1928-96), is Reflections on the Nature of Water (1986) a masterwork, now almost thirty years old. Aside from the Druckman work, practically all pedagogic, ensemble and solo recital music has been and is being written by percussionists. A recent national marimba competition provided applicants a repertoire containing 15 compositionds, 13 of them written by percussion teachers.

Their music has failed to make an impact on audiences outside percussion circles. It is commonly based on classical forms and structures and is heavily influenced by basic marimba technique or the latest fad. Their music also demonstrates the American percussionist’s preference for loud, fast, continuous and repetitious music. [6.] For example, soon after the appearance of Steve Reich’s Music for Pieces of Wood, in 1973, percussion students and teachers began writing pattern music and continue doing so. In the words of a professional musician and friend, “Most composers are arrangers”.

Conclusions:

Note: The works on Scott’s program above by Yoshio Hachimura, particularly Ahania II, and Tokuhide Niimi, differed in substantive ways from many American compositions for marimba. They were mesmerizing, rhythmically and harmonically ambiguous and occasionally weightless. Remarkable too were their sudden, surprising silences and absence of expectation. [7.] The latter, best described by John Cage who said of his close friend, “I love Takemitsu’s music because it doesn’t lead me anywhere”.1

I was impressed by Ryan’s lack of histrionics, all too common among players today, and the concentration of his mature artistry which allowed the music’s unique qualities to appear without his intervention. Michio Kiazume’s Side by Side is a congenial and equally virtuosic substitute for Xenakis’ Rebonds and was played with clarity and panache. I was delighted.

Ryan is commissioning a select group of composers. One being a marimba concerto by Erik Ross (2007). On the program above, the work by Oesterle for marimba and koto is a welcomed addition to the repertoire.

Ryan Scott has two more recitals and as rumour has it, he plans to present both by May of this year. I look forward to hearing another half dozen works from Japan, all new to me and I thank Ryan for instigating these ruminations.(Ryan’s last two recitals will now be played in the Fall of 2014.)

Foot Notes:

[1.] See Burt, Peter: The Music of Toru Takemitsu, Cambridge University Press, 2001.

[2.] Many percussionists including myself, were familiar with the works of  Keiko Abe before her first visit to North America in November,1977. Though impossible to quantify, her presence inspired many students to play modern music and encouraged marimba soloists to write their own original compositions.

A detailed comparison of the grips, mallets and styles of Abe and Stevens and their effects on marimba performance would make interesting reading and a beneficial companion to Scott’s thesis.

[3.] If one wishes to hear a large marimba orchestra playing typical Musser repertoire, one can purtchase the CD The Marimba Festival Orchestra conducted by Frederick Fennell and recorded in the Eisenhower Theater of the United States Military Academy in West Point, New York. The orchestra was assembled by Lee Howard Stevens and featured soloists Gordon Stout and Bob Becker. Resonator Records by Marimba Productions, Inc. 1999.

[4.] The importance of Vida Chenoweth and her teacher, Clair Omar Musser, are worthy of attention.

Vida Chenoweth ( b.1929), one of Musser’s students at Northwestern, played her first solo recital in Chicago in 1956. She performed concerts world wide until an accident prevented her from playing at her former level. She is a member of the Percussive Arts Society Hall of Fame.

[5.] See: Conklin, M. Christine: An Annotated Catalog of Marimba Concertos Published in the United States Between 1940 – 2000. Marimba Concertos listed, chrinologically, alphabetically by composer, with orchestration, marimba size, date of composition, an interview and reviews, DMA thesis, University of Oklahoma, Norman, 2004. UM number 3134393.

[6.] I sent trombonist/composer Vinko Globokar an ensemble improvisation recording. His reply, paraphrased, was, ” This is typical of American music. Continuous, repititious. For the trio improvisations, our percussionist brings only two or three small instruments. Our idea is to never repeat. Always search for new ways to make sound”.

[7.] See Takemitsu, Toru: Confronting Silence, Fallen Leaf Press, Berkeley, California, 1995. Pgs. 51-57 contain Takemitsu’s thoughts on his use of silence and the concept of Ma.

 

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About Robin’s Compositions

Six compositions by Robin have been recorded by Nexus: Remembrance, Lullaby for Esmé, and four  arrangements of Toru Takemitsu songs for mixed chorus: Sakura, Will Tomorow, I Wonder, Be Cloudy or Clear?, A Song of Circles and Triangles and All That the Man Left Behind When He Died.

A marimba solo, She Dances was completed in 2003.  Robin is at present working on a solo requested by Toronto percussionist Ray Dillard. Robin completed Music for Soldiers, an arrangement for brass quintet and military field percussion of four historic songs associated with military history, The songs included are, Handel’s See the Conqu’ring Hero Comes, van Hagen’s Funeral Dirge on the Death of General Washington, the anonymous British folk song Pretty Girl Milking the Cow and Daniel Emmett’s Dixie’s Land. The Canadian Brass and Nexus premiered Music for Soldiers in the Glenn Gould Theatre. Songs for Soldiers was featured on the C.B.C. Television show Opening Night broadcast in February 2003.


A recent composition is Dance Movements for Harp and Marimba (2000) written for the Toronto duo ArpaTambora – Sanya Eng and Ryan Scott – who commissioned the work. Dance Movements was written with funds provided by the Laidlaw Foundation of Toronto and premiered at the American Harp Society International Harp Convention in Cincinnati, Ohio by ArpaTambora. ArpaTambora has recorded Dance Movements and the CD is available at their web site.

Left to live on…(1999), a twenty five minute work for percussion and large choir, was commissioned by the Amadeus Choir of Toronto, and written in collaboration with its director Lydia Adams. Left to Live on… was premiered by Nexus and the Amadeus Choir in the George Weston Recital Hall in North York, Toronto. The subject of Left to live on… is the internment of Japanese – Canadians during the 2nd World War and the texts are from Japanese journals, Haiku, and the requiem mass.

NB – the compositions listed above are available from the composer.

A rudimental snare drum solo titled Clean it up… Please! was composed for A Nexus Portfolio of Drum Solos and is available from the publisher, HoneyRock Publishing Co. Clean it up… Please! is in the “Ancient” or open rudimental style.

Military Drumming:

During the 1970’s, Robin became interested in the large rope tensioned field drums in use during the 16th and 19th centuries. He began collecting historic fife tunes and fife and drum tutors associated with armies of that period. He also began to read and collect books on the history of military duties, campaigns and tactics so as to better understand the development of the drum and the lives of drummers prior to the 20th century. He has arranged more than one hundred historical tunes for various instrumental combinations and is preparing a book that will trace in melody and song the history of the Field drum from Renaissance England to the end of the Civil War in the United States.

Robin was the artistic director of a critically acclaimed concert for the November 2002 Percussive Arts Society International Convention in Columbus, Ohio called The Drummer’s Heritage. The concert was a survey of drumming styles and music from the Revolutionary War in the U.S. to the present and featured field drum artists from Scotland, Switzerland, Canada and the United States, along with university, college and elementary school marching units.

 
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Posted by on October 22, 2008 in Compositions

 

The Historic Drummer’s Heritage Concert DVD

The Historic Drummer’s Heritage Concert DVD
From the 2002 PASIC in Columbus, Ohio

US $30.00

A Gift of History

This DVD is a milestone in the documentation of snare drumming styles through the ages. Over two hours of live concert footage and an in depth interview of Artistic Director Robin Engelman by concert narrator Dennis DeLucia. The sound quality is superb and you’ll see close up the technique of some of the greatest drumming artists of today.

Major solos by the legendary John S. Pratt – author of Fourteen Modern Contest Solos, Nick Attanasio “ bass drum legend, Jeff Queen – star of Blast & DCI icon, Jim Kilpatric – Scottish drumming grand master, Marty Hurley – Drum corps master teacher and Alfons Grieder – Basel drumming master.

plus:

The Colonial Williamsburg Fifes & Drums, Rope drums and music from the American Revolution – The Camp Chase Fifes & Drums, Civil War Music specialists with appearances in the films “Gettysburg” and “Gods and Generals” – Canadian Associates Rudimental Drumming Excellence(C.A.D.R.E.) senior masters of Canadian corps style – The Peel Regional Drum Corps & Pipes, perennial top ten in world pipe and drum competitions – Americlique, Swiss, Basel style ensemble – Bethune-Cookman Marching Wildcats, Show Band Masters and stars of the movie “DrumLine”- The Oakvillage Marching Percussion Ensemble – a junior band from Houston, The University of North Texas Drumline, multiple PAS champions and a Grand Finale with all the artists performing together.

Suggested retail price US $30.00. All proceeds go to:
PAS Drummer’s Heritage Scholarship Fund.
Order your copy from:

www.pas.org www.dci.org
dennisdelucia@comcast.net
www.steveweissmusic.com
for more information contact: robin&robineelman.com

 
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Posted by on November 14, 2002 in Compositions