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All percussion sounds used in this recording were generated from Virtual Drumline software also by Tapspace.
Harpsichord concerti were written throughout the Baroque era, particularly by J.S. Bach. However, this Allegro from Bach’s Concerto for 4 Harpsichords & Strings (BWV 1065) is based on Vivaldi’s Concerto for 4 Violins in B minor (RV 580). For one composer to “borrow” material from another during Bach’s time was considered a flattering gesture.
Mallet instruments have much in common with the attack and decay properties of harpsichords, making arrangements such as this a natural choice. Brian Slawson’s orchestrations bring this piece to life, and it will make an excellent addition to the repertoire of any percussion ensemble wishing to highlight a Baroque selection for mallet instruments.
This arrangement of Concerto in A Minor has been heard worldwide on the popular CD Bach on Wood, which helped garner Brian Slawson a Grammy nomination for “Best New Classical Artist.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
This transcription scored for a percussion sextet requires a glockenspiel, xylophone, vibraphone, and three marimbas no larger than 4.3 octaves. This piece can also be performed with one 4.3-octave and one 4.0-octave marimba with two parts sharing one instrument. This is a lively 2½-minute piece that is full of beauty and harmonic depth as only Bach can produce. Slawson does a wonderful job of translating Bach’s music into an appropriate idiomatic rendition for mallet percussion instruments.
While there is demand from all the voices, the marimba 1 part requires a player who can effectively “take the reins” by executing virtually unending sixteenth-note runs and multiple dynamic shifts. Slawson’s arrangement provides musical interest for each voice and treats each part with equal weight in terms of textural contribution, variety, and effective use of each instrument’s respective range and tessitura.
This piece will challenge players and conductors alike to fine-tune their ensemble listening skills. This arrangement could prove an effective opener for a percussion ensemble concert at the high school and college level.
–Joshua D. Smith
Percussive Notes
Vol. 48, No. 4, July 2010
Harpsichord concerti were written throughout the Baroque era, particularly by J.S. Bach. However, this Allegro from Bach’s Concerto for 4 Harpsichords & Strings (BWV 1065) is based on Vivaldi’s Concerto for 4 Violins in B minor (RV 580). For one composer to “borrow” material from another during Bach’s time was considered a flattering gesture.
Mallet instruments have much in common with the attack and decay properties of harpsichords, making arrangements such as this a natural choice. Brian Slawson’s orchestrations bring this piece to life, and it will make an excellent addition to the repertoire of any percussion ensemble wishing to highlight a Baroque selection for mallet instruments.
This arrangement of Concerto in A Minor has been heard worldwide on the popular CD Bach on Wood, which helped garner Brian Slawson a Grammy nomination for “Best New Classical Artist.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
This transcription scored for a percussion sextet requires a glockenspiel, xylophone, vibraphone, and three marimbas no larger than 4.3 octaves. This piece can also be performed with one 4.3-octave and one 4.0-octave marimba with two parts sharing one instrument. This is a lively 2½-minute piece that is full of beauty and harmonic depth as only Bach can produce. Slawson does a wonderful job of translating Bach’s music into an appropriate idiomatic rendition for mallet percussion instruments.
While there is demand from all the voices, the marimba 1 part requires a player who can effectively “take the reins” by executing virtually unending sixteenth-note runs and multiple dynamic shifts. Slawson’s arrangement provides musical interest for each voice and treats each part with equal weight in terms of textural contribution, variety, and effective use of each instrument’s respective range and tessitura.
This piece will challenge players and conductors alike to fine-tune their ensemble listening skills. This arrangement could prove an effective opener for a percussion ensemble concert at the high school and college level.
–Joshua D. Smith
Percussive Notes
Vol. 48, No. 4, July 2010
