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Tristesse (Chopin)
• Marimba (4.6-octave, low E)
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
• Marimba (4.6-octave, low E)
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
