Program
Unleash the Fury (2003) Nathan Daughtrey
(b. 1975)
5 Sketches (1996) David J. Long
I. Soggetto Cavato Intro (b. 1950)
II. A la Bela, Escher, the Wheel, and Wallhangings
III. Another Angle
IV. Pas de Deux
V. Gigue
Concerto for Marimba and Orchestra (1997) David J. Long
_____
Unleash the Fury is a tour-de-force for marimba quartet. The piece begins with a
driving sixteenth note pattern in all parts of the quartet. The whole tone qualities of
the melody can be heard mainly in parts one and two but are later interwoven
throughout the ensemble by way of accents and differentiating dynamics. The middle
section is a slow and mournful rolled section in a quasi-fugal setting. The piece
concludes with the same excitement heard in the opening.
5 Sketches is a set of five programmatic movements that displays the soloistic
qualities of each instrument. The chamber setting allows the viola, piano, and
marimba to effectively express the melodic material and serve a supporting role for
the other instruments. Each movement effectively weighs all three players parts by
providing each a chance to have solo portions.
Concerto for Marimba and Orchestra was written in 1997 for marimba and wind
ensemble. In 1998, the composer completed a piano and an orchestra version. The
piece is based on the traditional fast-slow-fast form of concertos from the Classical
and Romantic style periods. The concerto fuses melodic and harmonic language into
a piece that is challenging for both the solo marimbist as well as the pianist in an
accompanying role. The Concerto displays a number of melodies and technical
information that makes each movement interesting to the listener and performers.
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Jeff Calissi, marimba
assisted by:
Juan Pablo Andrade, piano
Alvoy Bryan, viola
A.J. Chenail, marimba
Mike Lasley, marimba
Pete Zambito, marimba
Graduate Recital
Sunday, April 27, 2002
1:30 p.m.
Recital Hall, School of Music
Program
Unleash the Fury (2003) Nathan Daughtrey
(b. 1975)
5 Sketches (1996) David J. Long
I. Soggetto Cavato Intro (b. 1950)
II. A la Bela, Escher, the Wheel, and Wallhangings
III. Another Angle
IV. Pas de Deux
V. Gigue
Concerto for Marimba and Orchestra (1997) David J. Long
_____
Unleash the Fury is a tour-de-force for marimba quartet. The piece begins with a
driving sixteenth note pattern in all parts of the quartet. The whole tone qualities of
the melody can be heard mainly in parts one and two but are later interwoven
throughout the ensemble by way of accents and differentiating dynamics. The middle
section is a slow and mournful rolled section in a quasi-fugal setting. The piece
concludes with the same excitement heard in the opening.
5 Sketches is a set of five programmatic movements that displays the soloistic
qualities of each instrument. The chamber setting allows the viola, piano, and
marimba to effectively express the melodic material and serve a supporting role for
the other instruments. Each movement effectively weighs all three players parts by
providing each a chance to have solo portions.
Concerto for Marimba and Orchestra was written in 1997 for marimba and wind
ensemble. In 1998, the composer completed a piano and an orchestra version. The
piece is based on the traditional fast-slow-fast form of concertos from the Classical
and Romantic style periods. The concerto fuses melodic and harmonic language into
a piece that is challenging for both the solo marimbist as well as the pianist in an
accompanying role. The Concerto displays a number of melodies and technical
information that makes each movement interesting to the listener and performers.
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Jeff Calissi, marimba
assisted by:
Juan Pablo Andrade, piano
Alvoy Bryan, viola
A.J. Chenail, marimba
Mike Lasley, marimba
Pete Zambito, marimba
Graduate Recital
Sunday, April 27, 2002
1:30 p.m.
Recital Hall, School of Music
Jeff Calissi, marimba
assisted by:
Juan Pablo Andrade, piano
Alvoy Bryan, viola
A.J. Chenail, marimba
Mike Lasley, marimba
Pete Zambito, marimba
Graduate Recital
Sunday, April 27, 2002
1:30 p.m.
Recital Hall, School of Music
Program
Unleash the Fury (2003) Nathan Daughtrey
(b. 1975)
5 Sketches (1996) David J. Long
I. Soggetto Cavato Intro (b. 1950)
II. A la Bela, Escher, the Wheel, and Wallhangings
III. Another Angle
IV. Pas de Deux
V. Gigue
Concerto for Marimba and Orchestra (1997) David J. Long
_____
Unleash the Fury is a tour-de-force for marimba quartet. The piece begins with a
driving sixteenth note pattern in all parts of the quartet. The whole tone qualities of
the melody can be heard mainly in parts one and two but are later interwoven
throughout the ensemble by way of accents and differentiating dynamics. The middle
section is a slow and mournful rolled section in a quasi-fugal setting. The piece
concludes with the same excitement heard in the opening.
5 Sketches is a set of five programmatic movements that displays the soloistic
qualities of each instrument. The chamber setting allows the viola, piano, and
marimba to effectively express the melodic material and serve a supporting role for
the other instruments. Each movement effectively weighs all three players parts by
providing each a chance to have solo portions.
Concerto for Marimba and Orchestra was written in 1997 for marimba and wind
ensemble. In 1998, the composer completed a piano and an orchestra version. The
piece is based on the traditional fast-slow-fast form of concertos from the Classical
and Romantic style periods. The concerto fuses melodic and harmonic language into
a piece that is challenging for both the solo marimbist as well as the pianist in an
accompanying role. The Concerto displays a number of melodies and technical
information that makes each movement interesting to the listener and performers.
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts
_____
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
