This line offers a rattan handled mallet for every dynamic range on vibraphone or marimba. Cord wound heads.
ABOUT THE PIECE:
Nine movements. Musical illustrations of a cycle, various stages of a coherent process advancing from unshakable tranquility to extremely accelerated scurry. Mood transitions and states of motion in picture. Woodcuts into rosewood.
“The dramaturgy and the final concept of the cycle reveal themselves in their complexity only if the original order of the movements is maintained. However, it may be justified to compile abridged versions of cycles as well. These cycles of two, three or four movements may be implemented out of pedagogical intent and movements may be learned independently for the same reason. The aim at public concerts should be to give an illustration of the whole composition, even if through a cut version of the cycle. Certain movements are omitted from longer cycles, which may be of help when creating abridged versions. Appendix No. 2 contains all the possible shortened compilations.” – Balázs Juhász
The work was first performed by the composer at the Liszt Ferenc Academy of Music in Budapest on June 23, 2010.
ABOUT THE COMPOSER:
Balázs Juhász (b. 1980 Budapest, Hungary) is a composer, marimba soloist, percussionist, and music teacher. His musical activities are continually intertwined with one another; his students successfully appear at national and local programs and competitions with pieces composed for them, and he builds his concert programs predominantly from his own pieces and transcriptions. His pursuits both as a composer and a performer seek a more profound musical utilization of the marimba and a wider familiarization of the instrument.
Works for percussion: Introduction – Variation (1997) for snare drum Invocation to the Sun (1999/2013) for 4 percussionists Signals – a telegraph message (2001/2008) for 12 drums and tape Wind-rose-wood-cuts (2003-2009) for marimba
David Degge is an active performer of contemporary solo and chamber music for percussion. He comes from a widely varied musical background, growing up in a choral singing tradition, but he quickly developed an affinity for percussion instruments when he was ten. Noted for his virtuosity on the hammered dulcimer, he has given numerous performances as a soloist and has used free improvisations on the dulcimer as a basis for much of his own music composition.
David’s attendance at the first annual Sō Percussion Summer Institute in 2009 confirmed a growing interest in contemporary percussion music, and it was there that he met the other founding members of Mobius Percussion, a new music group in which he currently plays. He has performed at venues such as Carnegie Hall, (le) Poisson Rouge, An Die Musik, Budapest Music Center, and the Liszt Academy of Music, among others. He has collaborated with various groups including Sō Percussion, NEXUS, Mantra Percussion, SONAR New Music Ensemble, UMZE Chamber Ensemble, and the Amadinda Percussion Group. In 2013, David received a Fulbright grant to Hungary, where he studied with Zoltán Rácz as an exchange student at the Liszt Academy of Music. A highlight of his time in Budapest included participation in the first Liszt Academy student performance of Steve Reich’s Music for 18 Musicians under the direction of Mr. Rácz.
David holds a Bachelor of Music in education from Abilene Christian University and a Master of Music in performance from the Peabody Conservatory of the Johns Hopkins University. His teachers have included Allen Teel, Keith Lloyd, Robert van Sice, David Skidmore, Judah Adashi, and Zoltán Rácz. He currently works as the Percussion Teaching Fellow at the Bard College Conservatory of Music and also teaches in the Preparatory Division.
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