Metro

In many ways, “Metro” is a decidedly cinematic work. Even if one were to ignore the visually breathtaking premade video meant to accompany live performances, there is an undeniable narrative thread running throughout the 7½-minute work, as well as an unapologetic evocation of film score pastiche in the electronics.

For all of the attention directed towards the virtuosity of the soloist, I felt that the electronics are on equal footing with the marimba, rather than subserviently accompanimental. Indeed, midway through the piece there is a nearly full-minute stretch where the solo performer ceases any contribution and allows the electronics to monopolize the stage. Few performers will complain about this respite; however, for the majority of “Metro,” the marimbas is engaged in a moto perpetuo-esque production of rhythmic and melodic streams, and the pause in the middle will undoubtedly be a welcome chance for most to catch their breath.

Some of the techniques commonly associated with marimba virtuosity, such as one-handed rolls and double or triple lateral strokes, are either omitted or somewhat diluted by the concurrent electronics. Instead, the technical demand of the piece lies chiefly in testing the performer’s endurance, both physical and in terms of staying synchronized with the electronics through many changes in meter and texture. A click track is provided, but I wonder if using it would lessen the intended display of virtuosity.

“Metro” has a strong central concept that is executed effectively, to the point where I would compare it to successful marching percussion shows. It knows the value of theatricality and makes no apologies for telling its story in ALL-CAPS, and audiences who may not be familiar with the marimba will nonetheless find the experience impressive and memorable.

—Brian Graiser
Percussive Notes
Vol. 60, No. 1, February 2022