Even before I received the grant from Meet the Composer, Maestro Botstein stepped up to the plate and guaranteed the concerto would be commissioned, regardless of the outcome of the grant. This work is divided into three movements: Fast, Slower, and Very Fast, with a cadenza between the second and third movements. After perhaps two minutes, introduce a new, less fierce theme which leads into a slightly varied recapitulation of the first statement. The orchestra gradually builds up intensity; the movement grows into a passionate, major-key high-point consisting of quick from a number of instruments, with the timpani providing unceasing, driving pulse. Any timpanists performing the Concerto may choose for themselves which one to perform. Number of players - 2 Difficulty - Advanced Instrumentation - Timpani 5 , Crotales, Piano.
I have found that Philip has a very specific idea of how the Concerto is to reach the audience. Please contact Pro Percussao for details. These include works for traditional solo instruments — piano, violin, cello … — but also more unusual ones, such as the theremin or accordion. The closing moments of the piece emphasize the sheer athleticism and power of two timpanists double stroking in sixteenth notes as they reach a wonderful zenith and conclusion. His career took him to Linz, Vienna, and what is now Bratislava.
In concert music subsequently written for them, the pomp and pageantry seldom are far away. One of the great timpani virtuosos was Georg Druschetzky 1745-1819. Johann Melchior Molter 1697-1765 is remembered for his trumpet concertos, but he composed concertos for many of the instruments in his patron's court orchestra. The lighter orchestration helps to give more clarity and exposure to the marimba and timpani parts. The timpani carry the second theme. Glass then inserts a characteristic series of progressions often present in his mature style. It is paired with the on Vol.
The thematic material, alluding again to the first movement, has a wit about it which when heard coming from the timpani, is paradoxically charming and compelling at the same time. Especially when combined with brass, their prominent use amplifies the music's gravity and grandeur. The underlying rhythm is always motoric and grooving. Joyful Level: advanced Duration: 23 min. It was written for and later recorded by , and was premiered by Haas and with the in , , conducted by. This is the Piano Reduction and solo part for William Kraft's Concerto No. With its 5 timpani set, the use of a variety of beaters and gloves expands the soloist's palette.
Suddenly the excitement dies; nevertheless, the woodblocks continue the rhythm set earlier. The American Symphony Orchestra, the primary member of the consortium, also has my deepest thanks both for this performance, and for all the hard work its staff put into the effective management of the consortium. I chose Frank Zappa and Philip Glass. This presents an ominous feel; the introduction closely resembles an approaching, marching. I Bachroque - a play-on-words describing both its Baroque mood, and is also a homage to Bach who is my favorite composer.
During this latter period, he composed Concerto No. The string accompaniment is an independent and lyrical melodic line. Cookies allow us to personalize content and ads, to provide social media-related features and analyze our traffic. At one point Glass instructs the timpanists to abandon their mallets and play with their bare , creating higher pitch. During this latter period, he composed Concerto No.
After having been active as a solo timpani recitalist, founding my jazz timpani ensemble, and even making some head way with my timps into the world of rock music, I still had a strong desire to break through the concerto concept. The and proceed to develop this statement while the soloists provide relatively constant rhythmic undertone. If for any reason you believe the content shown here is not appropriate, you can. In 3 movements: For five timpani. At least the bloodshed can be done without! Most often used in orchestras and symphon. After the main theme is developed, the same thematic material from the interlude of the first movement is extended, while the soloist creates some unusual sounds placing 2 crotales and a cymbal over the timpani head. The timpani part is especially challenging because the timpanist plays many melodies unusual for the instrument in the orchestral setting , requiring a very demanding use of the tuning pedals.
There are accounts of virtuoso timpanists playing on as many as 16 drums at one time, a feat which seems only slightly less incredible when one realizes that timpani in use during the 1700s were quite a bit smaller than their modern counterparts. Philip Glass When I initially set out to commission a timpani concerto, I had no idea that it would take this long to develop and bring to fruition. A solo cadenza is presented before the recapitulation and the concerto concludes with an energetic mood. A typical performance of the work lasts 25—28 minutes. This as well as the tuning changes adds difficulty to the concerto which requires a great deal of musicality from the soloist.
But as the piece progresses, the limited pitches, the restricted availability of keys, and the excessive use of tonic and dominant figures in the thundering solo part become extremely tiresome. The premiere was broadcast by. Although there are periodic rises, there is no apparent and the movement concludes quietly. Now, almost ten years later, the work is finally completed—a three movement concerto with cadenza. Hugely productive, Kalevi Aho b. His orchestra is excellent, and the booklet notes, both scholarly and readable, are by another master of the timpani, Harrison Powley.