Hollinden-What Clarity? (perc. ens. version) (SP)-B/2V/C/X/4M/4T/P - Product Information
What Clarity? by Dave Hollinden is a percussion concerto scored for standard orchestra with double winds, strings, timpani and one percussionist.
Instrumentation for Orchestra:
2 Flutes, Flute 1 doubling on Piccolo, 2 Oboes, 2 Clarinets in B flat, Clarinet 2 doubling on B flat Bass Clarinet, 2 Bassoons, 2 Horns in F, 2 Trumpets in B flat, 2 Trombones, Tuba, Timpani, Percussion(1): 2 Bass Drums, Thunder Sheet, Tam Tam, 3 Cymbals, 1st Violin, 2nd Violin, Viola, Cello, Double Bass
Instrumentation for Soloist:
Snare Drum, 6 Tom Toms, High-hat, Tambourine with head, Almglocken, 2 Cowbells, 2 Temple Blocks, 2 Wood Blocks, 3 Bell Plates, 2 Brake Drums, Metal Pipe, Tibetan Prayer Bowl, Tibetan Prayer Cymbal
Review by Scott Herring from Percussive Notes 2003:
The popularity of Dave Hollinden's multiple percussion solos has resulted in much anticipation for his new compositions. "what clarity?," Hollinden's recent concerto for percussion, was worth the wait. The work is scored for standard orchestra with double winds, strings, timpani and one percussionist.
The first of the two major sections features the soloist on snare drum; the second utilizes a multiple percussion set. In the first part, Hollinden explores and develops many of the subtleties of the snare drum, including various playing areas of the drum, rimshots and playing on the rim. The snare drum solo is very challenging with quick dynamic changes, frequent embellishments and tricky subdivision shifts. This section gradually becomes more dense and builds to an explosive climax before the percussionist moves to the multiple percussion setup, which consists of six tom-toms, two bell plates, metal pipe, Tibetan prayer bowl and Tibetan prayer cymbal, along with other standard instruments.
The second section begins at an extremely slow tempo (quarter note = 32) and has much room for artistic expression. Frequent dynamic changes and prescribed accelerandos and ritardandos predominate. Through colorful orchestration and many complex meter changes, the work grows more playful and the tempo gradually increases toward the percussion cadenza, which is totally improvised. The work concludes with five explosive notes by tutti orchestra and percussion soloist.
Hollinden's new work is very creative and will likely become very popular with collegiate and professional percussionists with its driving rhythms, interesting hemiola and frequent dynamic changes. The orchestral scoring is similarly difficult, which will provide a challenge in synchronizing the two parts.
Instrumentation for Orchestra:
2 Flutes, Flute 1 doubling on Piccolo, 2 Oboes, 2 Clarinets in B flat, Clarinet 2 doubling on B flat Bass Clarinet, 2 Bassoons, 2 Horns in F, 2 Trumpets in B flat, 2 Trombones, Tuba, Timpani, Percussion(1): 2 Bass Drums, Thunder Sheet, Tam Tam, 3 Cymbals, 1st Violin, 2nd Violin, Viola, Cello, Double Bass
Instrumentation for Soloist:
Snare Drum, 6 Tom Toms, High-hat, Tambourine with head, Almglocken, 2 Cowbells, 2 Temple Blocks, 2 Wood Blocks, 3 Bell Plates, 2 Brake Drums, Metal Pipe, Tibetan Prayer Bowl, Tibetan Prayer Cymbal
Review by Scott Herring from Percussive Notes 2003:
The popularity of Dave Hollinden's multiple percussion solos has resulted in much anticipation for his new compositions. "what clarity?," Hollinden's recent concerto for percussion, was worth the wait. The work is scored for standard orchestra with double winds, strings, timpani and one percussionist.
The first of the two major sections features the soloist on snare drum; the second utilizes a multiple percussion set. In the first part, Hollinden explores and develops many of the subtleties of the snare drum, including various playing areas of the drum, rimshots and playing on the rim. The snare drum solo is very challenging with quick dynamic changes, frequent embellishments and tricky subdivision shifts. This section gradually becomes more dense and builds to an explosive climax before the percussionist moves to the multiple percussion setup, which consists of six tom-toms, two bell plates, metal pipe, Tibetan prayer bowl and Tibetan prayer cymbal, along with other standard instruments.
The second section begins at an extremely slow tempo (quarter note = 32) and has much room for artistic expression. Frequent dynamic changes and prescribed accelerandos and ritardandos predominate. Through colorful orchestration and many complex meter changes, the work grows more playful and the tempo gradually increases toward the percussion cadenza, which is totally improvised. The work concludes with five explosive notes by tutti orchestra and percussion soloist.
Hollinden's new work is very creative and will likely become very popular with collegiate and professional percussionists with its driving rhythms, interesting hemiola and frequent dynamic changes. The orchestral scoring is similarly difficult, which will provide a challenge in synchronizing the two parts.
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