|
|
|
|
Concerto for Percussion
Conductor's score and parts on hire
978-0-19-362243-2
22 June 2000
Price: Available on request
|
|
|
|
|
for percussion solo and chamber orchestra Forces or CategorySolo percussion & chamber orchestraDuration28 minutesDifficultyModerately difficult to DifficultOrchestrationperc solo (tamb, marac, mba, 8 temp blks, 5 w blks, 3 cencerros, crotales, 3 tin cans, bongos, timb), fl (+picc), ob (+ca), cl (+bcl), asx, hn, tpt, tbn, 2 perc (cabasa, seed pod, w wing chimes, cbells, 4 tom, glock,
slapstick, tin cans, anvil, mba, tri, crash cym, sleighbells, marac, claves, w blk, log dr, BD), pn, 2 vln, vla, vc, db, audience (opt)Programme NotesThe concerto was completed in April 2000 to a commission from the Paragon Ensemble with financial assistance from the Scottish Arts Council.
The most striking feature of its scoring is the presence in the ensemble of two extra percussionists. This was an idea prompted by Paragons conductor, David Davies, and which ultimately influenced all-important aspects of the work, since the ensemble percussionists, like the soloist, do far more than merely provide effects and musical punctuation. My conception of them was sometimes as equal partners
with the soloist, sometimes acting as ghosts to the soloist (echoing, imitating, foreshadowing), and only relatively rarely taking a genuine back seat.
To this end, the four movements of the work are, broadly speaking, limited in their use of percussion to four different categories of percussion instrument: the first (Fanfares), after a brief introduction featuring shaking instruments (pods, tambourines, maracas etc.), concentrates on tuned wood - in this case three marimbas. The second movement (Toccata I) concentrates on untuned wood (temple blocks, wood blocks, claves, slapsticks etc.) before a brief hint of metal towards the end in the form of cowbells.
The third movement (Nocturne) takes up this cue and concentrates on tuned metal (glockenspiel, vibraphone,
crotales etc.); and the fourth (Toccata II) on untuned metal (as far as possible! - more cowbells, cencerros, tin cans etc.) and then, as a joker in the pack, a range of drums.
As their titles imply, each movement has a very different character although their musical materials are closely related. Each finds the percussion soloist in a slightly different relationship to the ensemble (and the ensemble percussionists in particular) - protagonist, ally, confidante, combatant - and each features different technical skills and methods of percussion playing.
© Martin Butler, August 2000
Reproduced by permission of Oxford University Press
|
|
|
Martin Butler (b.1960) Martin Butler was born in Romsey, England, in 1960 and studied at the University of Manchester and the Royal Northern College of Music. In 1983 he received a Fulbright Award for study at Princeton University, USA, where he was resident until 1987. From 1998-1999 Martin was Composer-in-Residence at the Institute for Advanced Study at Princeton in the United States. He is currently Professor of Music at the University of Sussex.
Butler's works are widely performed and broadcast both in the UK and abroad.More on Martin Butler from the British Music Information Centre
Martin Butler at the University of Sussex
|
|
|
|
Recently Viewed
|
|
|
Teacher Book with full translations and teaching hints
|
|
|
|
|
£11.99
|
|
|
|
|
Theories, Actors, Cases
Steve Smith, Amelia Hadfield...
£24.99
|
|
|
|
|
The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
|
|
