Marimbaphone And Percussion

bearbeitet für 3 Schlagzeuger von Yu Fujiwara (2016)-Ursula Mamlock who emigrated from Germany in 1939 composed 2000 Notes her most important work for piano solo in New York. Here she studied and taught composition until she returned to her native city of Berlin in 2006.In 2015 Yu Fujiwara arranged 2000 Notes for three percussionists (xylophone glockenspiel vibraphone and marimbaphone). Ursula Mamlok was unable to attend the world premiere in Basel in January 2016 but heard a performance in Villingen-Schwenningen on 12 April and delighted with the new tone colours authorized this arrangement.This is the last composition prior to her death in May 2016 which could be newly entered in hercatalogue of works as an arrangement. Rich in contrast this short concise piece is typical of her style and a valuable addition to the canon of percussion works.

Par HUMMEL BERTOLD. The overall form of this work in one movement is in seven sections. A slow introduction begins with multiphonics of the saxophone and sounds of cymbals played with a double-bass bow. Vibraphone and marimbaphone provide the chordal foundation for a fanfare-like invocation by the saxophone. The atmosphere of the following Allegro is dominated by an ostinato series of notes taken from the chords of the introduction and played by the marimbaphone - over this, starting from a four-note series, the saxophone develops jazz-influenced figures. The constructional elements are worked into a cadenza-like section, followed by an arioso passage, leading over lightly-pulsating sounds to a final climax with a B-A-C-H (B flat - A - C - B) quotation in the saxophone. Once again, it continues with a cadenza-like section. Slap in the saxophone and stopped notes in the vibraphone and marimbaphone introduce new ideas and sonorities for discussion, the constructional elements are played off against each other in a loose sequence. At the end of this second cadenza, the B-A-C-H (B flat - A - C - B) quotation re-appears in the saxophone. A varied reprise of the first Allegro section leads to a concluding passage, taking up the atmosphere of the introduction, combined however with clear references to the four-note series of the Allegro. The interval of a third is heard and remains hovering in the air to the very end, closing the work in pianissimo./ Répertoire / Saxophone Soprano et Percussions