Cart is empty
All sounds used in this recording were generated from Virtual Drumline software also by Tapspace.
While Wolfgang Amadeus Mozart's flamboyant character with a propensity for having a good time usually derived steady income, he grew accustomed to living well beyond his means. Surviving letters written by Mozart late in his very short life tell of desperate financial circumstances. Engaged in constant pleas for monetary assistance, Wolfgang was forced to move from the center of Vienna to the suburbs. However, waning stardom, mounting debts, and failing health only seemed to fuel the greatest creative surge of his career as a composer. His last three monumental symphonies (Nos. 3941) were completed in just three months.
Having grown tired of fulfilling the musical whims of others, Mozart's late works, including his stunningly emotional Requiem, fostered a new age of self-expression in music. Completed on July 25, 1788, the 40th Symphony is considered by many to be his symphonic masterpiece. Arranged for mallet septet, Brian Slawson's arrangement is a great way for percussion ensembles to bring some of Mozart's mastery to life in a new way.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
This charming arrangement from one of Mozart's later works will be a fine addition to a high school or undergraduate percussion ensemble concert. The arranger has indicated that the marimba parts may be shared over three instruments: 4.0-octave, 4.3-octave, and 5.0-octave. Requiring two-mallet playing throughout, each performer should be comfortable with scale patterns, arpeggios, rolls, and basic octave/double-stop techniques. If the latter two techniques mentioned become problematic for younger players, such material can be easily adapted without detrimentally affecting the music. Additionally, most rhythmic lines are doubled, which can provide an added layer of safety to less experienced performers.
Each score includes a CD-ROM with parts and an mp3 file for study and practice. As seems customary with Brian Slawson's arrangements, he includes brief historical insights into the piece and composer. The somewhat anecdotal nature of these remarks will be appealing to both younger performers and audiences as they bring the intent and fun of the music out of the history books and into the modern concert hall.
–Jason Baker
Percussive Notes
Vol. 50, No. 4, July 2012
While Wolfgang Amadeus Mozart's flamboyant character with a propensity for having a good time usually derived steady income, he grew accustomed to living well beyond his means. Surviving letters written by Mozart late in his very short life tell of desperate financial circumstances. Engaged in constant pleas for monetary assistance, Wolfgang was forced to move from the center of Vienna to the suburbs. However, waning stardom, mounting debts, and failing health only seemed to fuel the greatest creative surge of his career as a composer. His last three monumental symphonies (Nos. 3941) were completed in just three months.
Having grown tired of fulfilling the musical whims of others, Mozart's late works, including his stunningly emotional Requiem, fostered a new age of self-expression in music. Completed on July 25, 1788, the 40th Symphony is considered by many to be his symphonic masterpiece. Arranged for mallet septet, Brian Slawson's arrangement is a great way for percussion ensembles to bring some of Mozart's mastery to life in a new way.
This piece comes as a professionally printed and bound score and includes individual parts in PDF format for printing or for tablet viewing.
This charming arrangement from one of Mozart's later works will be a fine addition to a high school or undergraduate percussion ensemble concert. The arranger has indicated that the marimba parts may be shared over three instruments: 4.0-octave, 4.3-octave, and 5.0-octave. Requiring two-mallet playing throughout, each performer should be comfortable with scale patterns, arpeggios, rolls, and basic octave/double-stop techniques. If the latter two techniques mentioned become problematic for younger players, such material can be easily adapted without detrimentally affecting the music. Additionally, most rhythmic lines are doubled, which can provide an added layer of safety to less experienced performers.
Each score includes a CD-ROM with parts and an mp3 file for study and practice. As seems customary with Brian Slawson's arrangements, he includes brief historical insights into the piece and composer. The somewhat anecdotal nature of these remarks will be appealing to both younger performers and audiences as they bring the intent and fun of the music out of the history books and into the modern concert hall.
–Jason Baker
Percussive Notes
Vol. 50, No. 4, July 2012
