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Concerto for Marimba and Wind Ensemble

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Ney Rosauro

Ney Rosauro (trans. McCutchen)


This work bears the designation Opus 12.


General Info

Year: 1986
Duration: c. 18:00
Difficulty: VI (see Ratings for explanation)
Original Medium: Marimba and orchestra
Publisher: Pro Percussão Brasil
Cost: Score and Parts - Rental


Movements

1. Saudação (Greetings)
2. Lamento (Lament)
3. Dança (Dance)
4. Despedida (Farewell)


Instrumentation

Full Score
Solo Marimba
C Piccolo
Flute I-II
Oboe I-II
English Horn
Bassoon I-II
Contrabassoon
B-flat Soprano Clarinet I-II
B-flat Bass Clarinet
E-flat Alto Saxophone
B-flat Tenor Saxophone
B-flat Trumpet I-II-III
Horn in F I-II
Trombone I-II-III
Euphonium
Tuba
String Bass
Timpani
Percussion I-II-III-IV, including:

  • Bass Drum
  • Crash Cymbals
  • Glockenspiel
  • Snare Drum
  • Suspended Cymbal
  • Tambourine
  • Tam-Tam
  • Triangle
  • Xylophone


Errata

None discovered thus far.


Program Notes

The Concerto for Marimba and Orchestra was written in June and July of 1986 in Brasília and is dedicated to the composer’s son Marcelo. The work was originally written for marimba and string orchestra and was premiered in the USA the same year with the Manitowoc Symphony Orchestra in Wisconsin under the direction of Manuel Prestamo. The Wind Ensemble version is arranged by Dr. Thomas McCutchen.

With the commercial success of a 1990 CD and video by Scottish percussionist Evelyn Glennie and the London Symphony Orchestra, the Concerto rapidly came to be regarded as part of the standard literature for percussion. It is considered to be the most popular marimba concerto today, and has been performed by more than eight hundred orchestras worldwide.

The concerto contains four movements – unusual for the concerto form – which follow the fast-slow-fast pattern, with the medium tempo third movement inserted before the vigorous finale. Some Brazilian motifs and jazz elements are used throughout the piece, which contains strong rhythmic patterns and catchy melodies. The marimba leads the thematic material throughout much of the piece, and as a result the marimba part of certain movements can be performed solo, without orchestral accompaniment. The solo part explores the many possibilities of modern four-mallet technique, and according to reviews from Percussive Notes magazine, “The concerto is superbly written for the unique timbre and virtuoso technical qualities of the marimba.”

- Program Note by publisher


Commercial Discography

None discovered thus far.


Media Links


State Ratings

None discovered thus far.


Performances

To submit a performance please join The Wind Repertory Project

  • University of Puget Sound (Tacoma, Wash.) Wind Ensemble (Gerard Morris, conductor; William Miyahira, marimba) – 26 April 2019
  • Kent State (Ohio) Communiversity Band (Wendy Matthews, conductor) – 30 April 2019
  • Ouachita Baptist University (Arkadelphia, Ark.) Wind Ensemble (Craig V. Hamilton, conductor; Richie Blosch, marimba) – 4 March 2019
  • W.D. Packard (Warren, Ohio) Concert Band (Jesse Leyva, conductor; Matthew Holm, marimba) - 22 July 2018
  • Pacific Lutheran University (Parkland, Wash.) Wind Ensemble (Edwin Powell, conductor; Eric Zabala, marimba) – 13 May 2018
  • Case Western Reserve University (Cleveland, Ohio) Symphonic Winds (Ryan Scherber, conductor; Kieran Aulak, marimba) – 23 April 2018
  • Penn State University (University Park) Symphonic Wind Ensemble (Dennis Glocke, conductor; Kyle McKay, marimba) – 28 April 2016
  • Triangle Wind Ensemble (Cary, N.C.) (Evan Feldman, conductor; Juan Alamo, marimba – 27 April 2014


Works for Winds by this Composer


Resources