Frédéric Chopin said of his Étude Op. 10, No. 3 that he "had never in his life written another such beautiful melody."
Benjamin Holmes brings Chopin's beautiful melody to the world of solo marimba with this cleverly formidable arrangement, Tristesse. Meaning "sadness" in French, Tristesse is a title that was given to Chopin's piece by his contemporary critics, using it to describe the piece's overall sense of melancholy. This arrangement provides several challenges to the brave marimbist. For instance, the melody throughout the work is stated in the right hand, along with an accompanying voice in the same hand. The marimbist must make sure that the melody is clearly stated and separate from the accompaniment within the same hand, a skill that is not often demanded of marimbists. There are also a host of recurring quadruple stops that are constantly shifting harmonically, leaving the audience with an unsettling feeling.
Use of this product is governed by the license terms outlined here.
Instrumentation
•Marimba (4.6-octave, low E)
Reviews
Originally composed for solo piano in 1833, Chopin’s “Opus 10, No. 3” is one of the more recognizable of his etudes. Benjamin Holmes has created an arrangement formidable in both its technical and musical challenges. The title “Tristesse” translates to a certain state of melancholic sadness, which can also act as a directive towards how performers should shape their musical approach to the piece.
The A section, spanning the first 20 measures, introduces the polyphonic style of playing that permeates the piece. The performer is required to not only have all four mallets perform independent lines, but possess the dexterity to ensure the melody (in the top mallet) is heard over accompaniment that is included in the same hand. This music reappears in a reprise at the end of the piece.
The B section is brighter in tempo and exceptionally more chromatic. The technical challenges in this section include large spans between the outer mallets as well as extensive split-manual playing within one hand. Accuracy in this section could certainly be a tough task. This arrangement is well done in every aspect of its production: plentiful expressive markings in the score, clear and appropriate courtesy accidentals and sticking suggestions, and a beautiful performance video on Tapspace’s website. It would be perfect for an advanced marimbist looking for a very challenging, yet technically and musically rewarding, arrangement.
—Justin Bunting Percussive Notes Vol. 56, No. 5, November 2018
Description
Frédéric Chopin said of his Étude Op. 10, No. 3 that he "had never in his life written another such beautiful melody."
Benjamin Holmes brings Chopin's beautiful melody to the world of solo marimba with this cleverly formidable arrangement, Tristesse. Meaning "sadness" in French, Tristesse is a title that was given to Chopin's piece by his contemporary critics, using it to describe the piece's overall sense of melancholy. This arrangement provides several challenges to the brave marimbist. For instance, the melody throughout the work is stated in the right hand, along with an accompanying voice in the same hand. The marimbist must make sure that the melody is clearly stated and separate from the accompaniment within the same hand, a skill that is not often demanded of marimbists. There are also a host of recurring quadruple stops that are constantly shifting harmonically, leaving the audience with an unsettling feeling.
Use of this product is governed by the license terms outlined here.
Instrumentation
•Marimba (4.6-octave, low E)
Reviews
Originally composed for solo piano in 1833, Chopin’s “Opus 10, No. 3” is one of the more recognizable of his etudes. Benjamin Holmes has created an arrangement formidable in both its technical and musical challenges. The title “Tristesse” translates to a certain state of melancholic sadness, which can also act as a directive towards how performers should shape their musical approach to the piece.
The A section, spanning the first 20 measures, introduces the polyphonic style of playing that permeates the piece. The performer is required to not only have all four mallets perform independent lines, but possess the dexterity to ensure the melody (in the top mallet) is heard over accompaniment that is included in the same hand. This music reappears in a reprise at the end of the piece.
The B section is brighter in tempo and exceptionally more chromatic. The technical challenges in this section include large spans between the outer mallets as well as extensive split-manual playing within one hand. Accuracy in this section could certainly be a tough task. This arrangement is well done in every aspect of its production: plentiful expressive markings in the score, clear and appropriate courtesy accidentals and sticking suggestions, and a beautiful performance video on Tapspace’s website. It would be perfect for an advanced marimbist looking for a very challenging, yet technically and musically rewarding, arrangement.
—Justin Bunting Percussive Notes Vol. 56, No. 5, November 2018
A short and sweet introductory solo for marimba that focuses on single alternating strokes on the left hand with options for either 3- or 4-mallet playing.
This piece explores a variety of contrasting moods from lyrical to intense, and calls upon the performer to explore their own expressive and unique characteristics to enhance the musical interpretation.
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Tristesse (Chopin) (Download)
