Tetsuya Takeno - Master’s Recital
I. SAUDAÇAO (GREETING)
II. LAMENTO (LAMENT)
III. DANCA (DANCE)
IV. DESPEDIDA (FAREWELL)
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. The concerto contains four movements, unusual for the concerto form, which follow the typical 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 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 "the concerto is superbly written for the unique timbre and virtuoso technical qualities of the marimba."
Assisted by
Keith Born, Joshua Colson, Dylan Kollat, Dustin May, Moriah Placer, Gary White
(World Premier)
Mad “T” Time is a snare solo accompanied by a sound-track based on Indian rhythmic cycles called “tãla”. One of the main compositional devices used in this piece is reduction, which is a proportional reduction in note duration. The main theme consists of five dotted half notes, five half notes, five dotted quarter notes, five quarter notes, followed by a “tihai”. The basic format of the “tihai” is 3 repetitions of a rhythmic pattern to conclude the section. This proportional reduction makes the audience feel 5 different speeds of rhythm (slow to fast) against the 4/4 meter. Another aspect of this piece is the improvised solo section, similar to traditional Indian music.
(World Premier)
This is an experimental one-man drum set orchestra piece inspired by Akira Jimbo’s project. Combining electric instruments with an acoustic drum set gives the drummer endless possibilities not only to play the groove but also to play melody and harmony. I use two different drum trigger modules, Roland SPD-S and Yamaha Dextreme. I had assigned sound on each drum trigger pad. When I need to change the assignment set, I hit the control pad, which is programmed to change the set of drum trigger pads. Even each drum trigger pad has an assignment, and all sound is created spontaneously.
This piece was composed from 1983 to the beginning of 1984, keeping in mind the acute period of starvation and famine in Africa that was occurring at the time. This piece is composed in an organic fashion, with the first half of the piece as a static requiem and the last part a lively resurrection. The title is an expression of the total process.
The piece was commissioned by NHK, but marimba player Keiko Abe requested the particular arrangement for number of percussion players. The premier was on March 18, 1984 in Amsterdam with Ms. Abe and the Nieuwe Slagwek Group Amsterdam.
The rhythm and note patterns are strictly notated throughout the piece, but for the three percussion parts, only the relative pitches and tone qualities (for the first part, metal and wood percussion instrument: for the second part, skin drums) are noted. There is freedom, but the performers should pay much attention to balance in each section. The rhythm patterns for the second part are taken from the festival drumming of the Chichibu area northwest of Tokyo. The score is set up so the piece can be played as a marimba solo as well.
Assisted by
Dan Danch, Matt Hayes Dylan Kollat, Kevin Rabold, Bob Young,