Into the Air, for two marimbas by Ivan Trevino performed by Thomas Burritt and Joe Kelly, member of the Festival Hill Orchestra Percussion Section at the Festival Institute at Round Top in Round Top, Texas. Performance taken from the “Percussion Section Showcase” on July 14, at 1:30 pm in the Festival Concert Hall. Enjoy! Excited about any new pieces? Leave them below the post.
Originally posted on DrummChattr.com on July 19, 2012 by Thomas Burritt.
Today we continue our series in preparation of my upcoming performance of Eric Ewazen’s “Concerto for Marimba and String Orchestra”. We look at some technical issues one must overcome to perform this work. How do you handle the technical aspects discussed in this episode? Leave your comments below the video or in the comments below.
New to the series? Check out Part I before watching.
Originally posted on DrummChattr.com on January 30, 2012 by Thomas Burritt.
Today’s post comes from our friends at Steve Weiss Music. Recently, Steve has began collecting some of the Deagan instruments that were used in the Marimba Orchestra. According to The Deagan Resource, there were a 103 marimbas and one xylophone built for the event.
Here’s were you can help! Steve is trying to put together a list of the 100 players who participated in the Marimba Orchestra. To best of our knowledge, this list is missing and we would like to help Steve collect this information. Please leave a comment below with any information you may have about the Marimba Orchestra.
Here’s the original post from Steve Weiss’s Website.
The 1933-1934 World’s Fair was held in Chicago and is known as ‘A Century of Progress International Exposition’. Clair Omar Musser organized a 100 piece Marimba Orchestra for the fair. Deagan produced 100 specially made marimbas for the performances, each marked with a plaque on the front with the player’s name and serial number. To be part of the orchestra, each player needed to purchase the instrument that they would perform on.
Steve Weiss has become very interested in the marimba orchestra, and has started to collect the original marimbas as well as any information regarding the performances. The names of all original player’s appears to have been lost by history. The goal of this project is to research and publish the names of all 100 original players for the benefit of the percussion community.
A Century of Progress Marimba Orchestra Members
Clair Omar Musser (Conductor and Soloist)
Jimmy (James) Namaro (Assistant Conductor)
Frank Bailey (Serial 44)
Lewis Wadsworth Gallagher (Serial 70)
George Hamilton Green
Lorraine Adeline Krause
Ruth Stuber Jeanne
Evelyn Marion Neal
Velma Arlene Sandt
Russell Terry Simmons (Serial 4A)
Rudolph Robert Willmann (Serial 55)
Rose Mae Wise (Serial 73)
Chicago Tribune, Aug. 20, 1933
An unusual musical organization is now appearing nightly in the court of the Hall of Science. It is a marimba band of 100 pieces directed by Clair Omar Musser.
The marimba has an interesting history. Apparently it is one of the oldest musical instruments. There are records indicating it existed, naturally in a much cruder form, as long ago as 2000 B.C. In its modern form it becomes a tricky affair, a matter of careful workmanship, of tuning by mathematical devices that not only give the proper pitch to the fundamental tones but to their overtones, partials, harmonics as well.
The present band began its enrollment on Jan. 1, 1932. From the start it was planned as a feature of A Century of Progress, but not until now has it been able to appear in public. Several numbers have been specially composed for the organization, and all the others appear as special arrangements. Its membership is cosmopolitan to a high degree. One of the players, Kathryn Schmitz, comes from Berlin, Germany; another, Jimmy Namaro, is a native of London, England; George Hamilton Green comes from New York, Lorraine Adeline Krause from Washington, D.C.; Leona Hubbard from California. Some thirty other states are represented in the membership.
Chicago Tribune, Edward Moore, Aug 22, 1933
An uncommonly entertaining musical organization is playing nightly in the court of the Hall of Science at A Century of Progress this week. It is a marimba band of one hundred pieces directed by Clair Omar Musser, and in many ways it is the most interesting group of music makers that has so far had any connection with A Century of Progress.
The marimba is one of the oldest musical instruments of which there is a record. Yet, this battery of one hundred, with their graduated, glistening resonating pipes, is startlingly in accord with modern ideas of line and mass. Not only that, but that have what will be to most people unexpected resources as makers of music.
As the marimbas are played under Mr. Musser’s direction, the have inspiring rhythm, they are capable of almost anything in spacious harmonic chords, they make melody in all ways from the snappy staccato to long sustained curves of melody, the have a wide range of expression, and an equally wide range of tonal quality. In other words, they are capable of playing a program in a highly persuasive fashion.
In the Pilgrim’s chorus, for instance, out of Wagner’s “Tannhauser” overture they produce a tone which for sheer loveliness you will hardly hear surpassed anywhere. It is like a group of ideal French horns ideally played, in fact better played than any other orchestra or band is able to play them. Mr. Musser leaves off conducting once in the program to turn to his own marimba and play a solo part in Thomas’ “Mignon” orchestra. He is a virtuoso of the instrument, playing it as Horowitz plays the piano or Heifetz the violin.
Elsewhere you will hear some music specifically written for the group, Rosales’ Bolero for one, which is not Ravel’s famous work of the same name, but a good piece just the same, also an arrangement of a suite from “Carmen,” also made with the organization in mind. The concerts are drawing enormous crowds, just as always happens when something musically attractive goes on at A Century of Progress. They are confidently recommended.
Today we feature an epic arrangement of “God Rest…”. Thanks to Jeff Willet for the video link.
Originally posted on DrummChattr.com on December 26, 2011.
Today’s video features movement 3 of Paul Lansky’s Threads. Threads (2005), for percussion quartet, was written for So Percussion and was premiered at Princeton University on 4/8/06. This video is a live performance from the Kennedy Center in Washington D.C.
Has anyone performed Threads or see a live performance of the piece? What other pieces by Paul Lansky should we check out?
For most college students, it is the beginning of the Spring semester. (Only 4 months until summer!!!) It is also time for a lot of recitals. One question I get a lot during this time is “where do I find a solo/chamber piece for my recital?” Check out my resources below and then add a comment and let me know if I missed anything.
1) Colleagues and Teachers – Whenever I am looking for new repertoire, I ask my colleagues. A quick message on Twitter or FaceBook is a great way to ask people from all over the world. There may be new, unpublished pieces that I would never know about unless I ask my friends and colleagues.
2) Attend Concerts and Recitals – I try to attend as many local concerts and recitals as possible. When I attend concerts, I make sure I bring a pencil and get a copy of the program. As I am listening to the concert, I make notes in the program and then when I get home, I do some research. I have started a Word document with pieces I am interested in playing or pieces I want to avoid.
3) Conventions and DOPs – See #2. Also, if you go to PASIC, make sure you go to the Listening Resource Center. They have scores and sound samples of all of the past winners of the composition competitions. It is an incredible resource and I usually spend 4-6 hours listening to music whenever I go to PASIC.
4) Festival Repertoire Lists – (SCPEF, Geneva Competition, International Marimba Competition Paris) – These lists are a great resource, even if you don’t plan on attending the competition. I always make a copy of the list and when I have some free time, I go through the list and check out the pieces I am not familiar with. (As a side note, I also do this with Symphony audition lists, just so I know what is being asked).
5) Internet – YouTube, Amazon.com, iTunes, Composers Web Sites/Societies, Blogs (Percussion Axiom TV), Publishers (Tapspace, C. Alan Publishing, HoneyRock, Bachovich Music Publishers). I am always looking for composer and publisher websites that have score and sound samples.
6) Composer Resources – The The American Music Center and American Composers Forum are, in my opinion, some of the most under utilized resources for any musician. They both have a huge collection of scores and audio files of their member’s works. I have found many pieces through both of these websites and if there were no samples, a quick email to the composer was all it took to get a score and a MP3.
What am I forgetting? Where do you find new music? Please leave your thoughts below.
Originally posted on DrummChattr.com on January 24, 2011 by Dave Gerhart