Marimba Concertino No. 2

Item details

• Description +

  • Duration: 13 min.
    
    World Premiere by Naoko Takada & Los Angeles Percussion Quartet at the Southern California International Marimba Competition on 30 May 2014 at the Waltmar Theater, USA. Performance suggestions: For Zarb, Tarabuka, Cajon & Symbals, I indicated sometimes with many different pitches on ONE instruments, because I want to have different pitches or different colors. That is the reason why I indicated the score in this way. At the same time, there is no perfect way to notate the score, so I was thinking in this way might be easier to understand. Unless there is specific sound I really want, then I indicated on the score.
    
    The percussionists may improvise a little bit based on the written rhythm, of course you may add flams or grace notes … etc. Such as: Rehearsal Mark A, B, C.
    
    Also the percussionists are welcome to add more different background colors at the following sections: Intro, E, F, by using different instruments such as cymbals, tam-tam, thunder sheet, wind chime.
    
    For rehearsal mark H, the first two times of repeating the percussionists may improvise in 1) all together (you never know what atmosphere can be created) or 2) individually – means every percussionist has four bars to improvise. At the 3rd & 4th time, marimba will improvise. While the marimba plays improvisation, the percussionists can also improvise, but not too loud or over the marimba!
    
    For rehearsal mark I until 2 bars before J, the percussionists may once again play the suggested rhythm, or little improvisation within four measures/adding notes.
    
    Chin Cheng Lin
    Antwerp, Belgium, August 2014

• Instrumentation +

  • Percussion Ensemble (5 players)
    
    Marimba 5 octave 
    
    Percussion 1:
    Wind Chimes
    Tambourine
    Zarb
    Vibraphone
    Bongos 
    
    Percussion 2:
    China Cymbal
    Tarabuka
    Glockenspiel
    Congas 
    
    Percussion 3:
    Thunder sheet
    Cajon 
    Chimes 
    
    Percussion 4:
    Tam-Tam 
    Djembe
    Crotales
    Super ball
    String bowl

• About the composer +

  • Taiwanese marimbist Chin Cheng Lin is recognized worldwide for possessing a talent of uncommon ability and as an exceptionally gifted artist, reflected in the numerous awards and effusive reviews he has received for both his live performances and recordings, as a result of Lin’s succession in marimba, he received a “ European Soloist Champion Award” in 2007, “Culture Outstanding Award” by the Taipei Representative Office in Belgium and Europe for promoting the Taiwanese arts and invited to perform for the Belgian Royal Family. Frequently praised for his musical and technical mastery, Mr. Lin is also lauded for his imaginative and illuminating interpretations of the marimba repertoire.

• Reviews +

  • Review (Percussive Notes, July 2016)
    
    “Concertino No. 2” is a fine contribution to the marimba-solo-plus-percussion genre. Notable in this work is that all the drumming is on hand percussion instruments, which goes a long way toward alleviating the perennial problem of balance between solo and ensemble that these works always bring. The hand drums represent a rather global mix of instruments—in fact, substitutions for all but the largest inventories will likely prove necessary. Indeed, in the premiere performance by Naoko Takada and the Los Angeles Percussion Quartet in 2014, easily found on YouTube, the ensemble replaced the darabukka with a second djembe, the zarb with a large frame drum, and the chimes, apparently, with triangles.
    
    The work follows a fairly predictable form: slow intro, groovy mixed-meter first section, slow chorale-like middle section, short cadenza, and flat-out jam to the end. The slow section, a chorale in the marimba accompanied by vibes, glockenspiel, and bowed crotales, is particularly beautiful. Performance suggestions in the score recommend improvisation on the part of the ensemble in a number of passages, and from the marimbist in one brief section. Players are even encouraged to select new and different instruments for several sections.
    
    Though by no means easy, the solo should be playable by upper-class college students. Ensemble parts are a bit easier. This 13-minute work would make a fine conclusion for a college recital.
    
    —Michael Overman
    

• Credits +

  • Front Cover graphics and layout: Yi Lin
    Engraving: Chin Cheng Lin & Johan Svitzer
    Printed in Copenhagen, Denmark
    Copyright © Edition SVITZER
    www.editionsvitzer.com

Related publications

Occasus

Ombra

Point North