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All percussion sounds used in this recording were generated from Virtual Drumline software also by Tapspace.
Widely regarded as some of the finest musical works of the Baroque era, the Brandenburg Concertos were composed around the time of Bach's tenure as Kapellmeister at Köthen (1708-1717). Although the instrument combinations vary from work to work, each three-movement concerto features a small ensemble of solo players accompanied by a larger section of players who assume no solo functions. In the case of Brandenburg No. 2, solos are played by a trumpet, violin, flute, and oboe while backed by strings and continuo.
Adapting tunes for performance in a variety of instrumental settings was a common practice in the Baroque period, and today Bach's music continues to thrive in nearly every setting the modern era can muster. There could hardly be a better vehicle than a percussion ensemble to showcase some of the most rhythmic music ever written. In this arrangement, Brian Slawson enables percussion ensembles to recreate Bach's masterpiece through creative mallet orchestrations.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
This excellent transcription of the original Bach "Brandenburg No. 2" (movement 1 in F major) is superbly scored and realized by Brian Slawson for ten keyboard percussionists. Although only two-mallet technique is required, mature technique and interpretive stylistic knowledge are prerequisites for a successful performance. Tapspace Publications provides a printed score with an enclosed CD that includes printable individual parts as well as an mp3 recording for reference. Slawson's attention to detail in dynamic markings, rolls, and tasteful timbral assignments of both chimes and glockenspiel to the basic marimba/vibraphone/xylophone ensemble are exceptional for this Baroque transcription. This keyboard ensemble selection is great for any mature university percussion ensemble wanting to perform Bach at its finest.
–Jim Lambert
Percussive Notes
Vol. 50, No. 4, July 2012
Widely regarded as some of the finest musical works of the Baroque era, the Brandenburg Concertos were composed around the time of Bach's tenure as Kapellmeister at Köthen (1708-1717). Although the instrument combinations vary from work to work, each three-movement concerto features a small ensemble of solo players accompanied by a larger section of players who assume no solo functions. In the case of Brandenburg No. 2, solos are played by a trumpet, violin, flute, and oboe while backed by strings and continuo.
Adapting tunes for performance in a variety of instrumental settings was a common practice in the Baroque period, and today Bach's music continues to thrive in nearly every setting the modern era can muster. There could hardly be a better vehicle than a percussion ensemble to showcase some of the most rhythmic music ever written. In this arrangement, Brian Slawson enables percussion ensembles to recreate Bach's masterpiece through creative mallet orchestrations.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
This excellent transcription of the original Bach "Brandenburg No. 2" (movement 1 in F major) is superbly scored and realized by Brian Slawson for ten keyboard percussionists. Although only two-mallet technique is required, mature technique and interpretive stylistic knowledge are prerequisites for a successful performance. Tapspace Publications provides a printed score with an enclosed CD that includes printable individual parts as well as an mp3 recording for reference. Slawson's attention to detail in dynamic markings, rolls, and tasteful timbral assignments of both chimes and glockenspiel to the basic marimba/vibraphone/xylophone ensemble are exceptional for this Baroque transcription. This keyboard ensemble selection is great for any mature university percussion ensemble wanting to perform Bach at its finest.
–Jim Lambert
Percussive Notes
Vol. 50, No. 4, July 2012
