Boston: Difference between revisions
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== General Info == | == General Info == | ||
'''Year''': <br /--> | '''Year''': 1989<br /--> | ||
'''Duration''': c. | '''Duration''': c. <br /--> | ||
'''Difficulty''': (see [[Ratings]] for explanation)<br /--> | '''Difficulty''': (see [[Ratings]] for explanation)<br /--> | ||
'''Publisher''': [[G&L]]<br /--> | '''Publisher''': [[G&L]]<br /--> | ||
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== Instrumentation == | == Instrumentation == | ||
[[Marimba]] <br> | [[Marimba]] <br> | ||
[[Violin]]<br> | |||
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== Program Notes == | == Program Notes == | ||
dedication: to Marimolin | |||
=== Review === | |||
This is a duet for marimba and violin and is Larrick's contribution to a rather new genre of music due in large measure to the influence of "Marimolin," to whom, in fact this work is dedicated. Boston in February is a short, sixty-three bar sketch, containing an amazing amount of "white notes"-measures in which both performers have whole notes, or the violin players half notes against whole note rolls in the marimba, or the violin plays whole notes, while the marimbist plays quarter notes. And all this is in the context of a I'moderato" tempo. The result establishes a placid, static quality, which, when combined with the soft, staccato accompaniment of the marimba, imparts the contemplative atmosphere of music from the far East. Formally, the work derives from the manipulation of a thirty-two bar melody-found in the violin part, which, after its initial statement, is presented in four rhythmic versions, using half notes, eighth notes, sixteenth notes, and finally, whole notes. Octaves are the prevalent vertical sonority in the marimba accompaniment, and are found as double stops in one hand or with both hands. The technical demands of this piece should place it within reach of high school level players, though it will not be easy in terms of the ensemble precision demanded. It would provide interesting material for a college recital, when a short, contemplative work is appropriate. - John Rausch, June 1992<ref>http://www.pas.org/Learn/compresearch.aspx</ref> | |||
== Errata == | == Errata == | ||
Revision as of 19:53, 22 May 2014
General Info
Year: 1989
Duration: c.
Difficulty: (see Ratings for explanation)
Publisher: G&L
Cost: Score and Parts - $0.00 | Score Only - $0.00
Movements
Instrumentation
Program Notes
dedication: to Marimolin
Review
This is a duet for marimba and violin and is Larrick's contribution to a rather new genre of music due in large measure to the influence of "Marimolin," to whom, in fact this work is dedicated. Boston in February is a short, sixty-three bar sketch, containing an amazing amount of "white notes"-measures in which both performers have whole notes, or the violin players half notes against whole note rolls in the marimba, or the violin plays whole notes, while the marimbist plays quarter notes. And all this is in the context of a I'moderato" tempo. The result establishes a placid, static quality, which, when combined with the soft, staccato accompaniment of the marimba, imparts the contemplative atmosphere of music from the far East. Formally, the work derives from the manipulation of a thirty-two bar melody-found in the violin part, which, after its initial statement, is presented in four rhythmic versions, using half notes, eighth notes, sixteenth notes, and finally, whole notes. Octaves are the prevalent vertical sonority in the marimba accompaniment, and are found as double stops in one hand or with both hands. The technical demands of this piece should place it within reach of high school level players, though it will not be easy in terms of the ensemble precision demanded. It would provide interesting material for a college recital, when a short, contemplative work is appropriate. - John Rausch, June 1992[1]
Errata
Awards
Commercial Discography
Recent Performances
To submit a performance please join the TEK Percussion Database
Works for Percussion by this Composer
Glockenspiel Works
Xylophone Works
Vibraphone Works
Aeolian
Ballad for Joey (Vibraphone)
Dance in Time
Episode (Larrick)
My Lydia
Variations on
Variations on Handel's
Marimba Works
Andante
Ballad for Joey (Marimba)
Ecclesiasticus
Elegie
Elegy and Meditation
Everything's Up to Date in Junction City
February
Flute Piece
Hymn without Words
Jingle by Sulina Larrick
Marie
Romantic Etude
Rondo Etude
Scott's Tune
Sonata No. 8
Rag's Rag
Mallets Works
Timpani Works
Snare Drum Works
Composition for Snare Drum
Composition No. 2 for Snare Drum
Composition No. 3 for Snare Drum
Bass Drum Works
Sonata for Bass Drum - Bass Drum
Multiple Percussion Works
A Musical Joke-composition for a car
Etude for JB
Improvisational Suite
Sonatina for Percussion
Percussion Duo Works
A Musical Joke-composition for a car (Duo)
Ballad for JB (Duo)
Drum Cadence No. 1
Percussion Trio Works
Chamber Symphony for Percussion
Trio for Tambourines
Trio Sonata
Percussion Quartet Works
A Song of Moses
Chorale with Variations
Percussion Quintet Works
March for Drumline
Quintet for Drum Line
The Three Daughters
With Other Instrument Works
Adagio with Accompaniment - Hand drum; Violin
Ballad for Angklung Choir and Organ - Percussion Nonet; Organ
Boston - Marimba; Violin
Duo Sonata (Larrick) - Multiple Percussion; Trombone
Exclamation! - Multiple Percussion; Cello; Reader
Lyric Piece - Mallets; Recorder
Melody for Abraham Lincoln - Multiple Percussion; Oboe
Ode to a Menominee - Percussion Quartet; Flute
Piece for Flute and Drums - Multiple Percussion; Flute
Piece No. 2 - Multiple Percussion; Flute
Poem with Accompaniment - Timpani; Viola
Quintet for Trumpets and Timpani - Timpani; Trumpets (4)
Repertory List II - Multiple Percussion; Reader
Sonata for Trombone and Percussion - Multiple Percussion; Trombone
The Story of Punkin Person - Multiple Percussion; Brass Quintet
Two Jazz - Vibraphone; Trumpet
Vivo Duo - Vibraphone; Trumpet
Waiting and Accompaniment - Marimba; Cello
Additional Resources
References