Zivkovic-Concerto No. 2 for Marimba Op. 25 (SP)-M/PN Red. - Product Information
The Concerto, commissioned by the Yamaha Foundation, was composed in 1996 and '97 and was given its first performance on April 9 of the latter year in Munich, with the composer as soloist and Jean-Pierre Faber conducting Munich Symphony Orchestra. I intended to span the broadest possible spectrum of elements, not only in relation to the construction of the work, but in relation to the character of the instruments. I wanted unite the quintessence of Nature and archaic elements (rhythm as the primal origin of all music, as the force that gives birth to music) with theatrical qualities and a new articulation of tonality with the "classical" tonal language of this century to produce a music that DOES communicate with the listener. Only such a unity of factors can represent the free expansion of today's music beyond old notions of avant-gardisme. This concerto allots the soloist a single very familiar instrument and includes a large percussion complement in the orchestra itself. This is a symbolic gesture, that represent a kind of ritual in which an individual is accepted into a community after a ritual of initiation.
The opening movement is headed Introduzione: Iniziazione del legno (Introduction: Initiation of the Wood). Material from the marimba's initial motif develops into a continuous dialoge between soloist and orchestra, representing the offerings of the "candidate," or "initiate," and the response and evaluation on the part of the orchestral community. Eventually, prominent passages for various percussion instruments--e.g., Chinese gongs, glockenspiel--appear as gestures of the community's acceptance. The second movement is a Notturno. Far from the serenity such a heading might suggest, this night scene is in the nature of an appendix to, or extension of, the foregoing initiation rite, in which the initiate now undergoes "exhaustion by dancing." Successively during this ritual dance, there are comments of approval from solo cello, bass clarinet, flute, oboe, horn, and trumpet. The movement ends with an aleatoric section, broken off by the low E that leads directly into the final movement. This finale named, "Concitato e molto febbrile ("very excited, feverish") is the longest and most highly charged section of the work. The slow introduction is filled with aleatoric screaming-effects in the strings and strong brass lines. What follows is actually a very free rondo in which the newly initiated soloist now competes with the orchestra on various levels of technical proficiency, involving polyrhythm and polymeter. In the traditional spot near the end is a cadenza, in which the soloist is encouraged to improvise, as this is the old and true tradition of the cadenza in a concerto. But, - for those less eager to continue this great (and very risky) tradition, however, I have provided the option of a written-out cadenza.
Marimba and Pinao Reduction Only.
Number of Players: 2
Level of Difficulty: Grade 5
Instrumentation:
Player I: Marimba 5 Oct.
Player I: Piano
Hailed by the critics as one of the most unique and expressive artists in the field today, a composing virtuoso Zivkovic is recognized as one of the worlds top marimba and percussion soloists. He embodies a very rare tradition: the tradition the composer and virtuoso in one person, which was common in the 19th century among famous concert artists.
Zivkovic completed his master's degrees in composition, music theory and percussion in Mannheim and Stuttgart, Germany. He tours extensively throughout Europe, and performs frequently in the USA, Japan, Taiwan, Korea, Latin America, Russia and Scandinavian countries. As a soloist, mostly with his own Marimba concertos, Zivkovic played among other with Stuttgart Philharmonic, Munich Symphonic, Bochum Phiharmonic, Austrian Chamber Symphony, Hannover Radio Symphony, Bielefeld Philharmonic, Belgrade Philharmonic, National Orchestra of Costa Rica, Turku Philharmonic Orchestra (Finland) Lithuanian State Symphony Orchestra, to name a few.
The opening movement is headed Introduzione: Iniziazione del legno (Introduction: Initiation of the Wood). Material from the marimba's initial motif develops into a continuous dialoge between soloist and orchestra, representing the offerings of the "candidate," or "initiate," and the response and evaluation on the part of the orchestral community. Eventually, prominent passages for various percussion instruments--e.g., Chinese gongs, glockenspiel--appear as gestures of the community's acceptance. The second movement is a Notturno. Far from the serenity such a heading might suggest, this night scene is in the nature of an appendix to, or extension of, the foregoing initiation rite, in which the initiate now undergoes "exhaustion by dancing." Successively during this ritual dance, there are comments of approval from solo cello, bass clarinet, flute, oboe, horn, and trumpet. The movement ends with an aleatoric section, broken off by the low E that leads directly into the final movement. This finale named, "Concitato e molto febbrile ("very excited, feverish") is the longest and most highly charged section of the work. The slow introduction is filled with aleatoric screaming-effects in the strings and strong brass lines. What follows is actually a very free rondo in which the newly initiated soloist now competes with the orchestra on various levels of technical proficiency, involving polyrhythm and polymeter. In the traditional spot near the end is a cadenza, in which the soloist is encouraged to improvise, as this is the old and true tradition of the cadenza in a concerto. But, - for those less eager to continue this great (and very risky) tradition, however, I have provided the option of a written-out cadenza.
Marimba and Pinao Reduction Only.
Number of Players: 2
Level of Difficulty: Grade 5
Instrumentation:
Hailed by the critics as one of the most unique and expressive artists in the field today, a composing virtuoso Zivkovic is recognized as one of the worlds top marimba and percussion soloists. He embodies a very rare tradition: the tradition the composer and virtuoso in one person, which was common in the 19th century among famous concert artists.
Zivkovic completed his master's degrees in composition, music theory and percussion in Mannheim and Stuttgart, Germany. He tours extensively throughout Europe, and performs frequently in the USA, Japan, Taiwan, Korea, Latin America, Russia and Scandinavian countries. As a soloist, mostly with his own Marimba concertos, Zivkovic played among other with Stuttgart Philharmonic, Munich Symphonic, Bochum Phiharmonic, Austrian Chamber Symphony, Hannover Radio Symphony, Bielefeld Philharmonic, Belgrade Philharmonic, National Orchestra of Costa Rica, Turku Philharmonic Orchestra (Finland) Lithuanian State Symphony Orchestra, to name a few.
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