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Dream of the Cherry Blossoms is dedicated to the memory of my Dad. This was his favorite marimba solo, and it claims a special spot in me; I have always wanted to play it. The piece is based on a Japanese melody call, “Sakura sakura” which means cherry blossom. The composer, Keiko Abe, remembers the experience responsible for inspiring the music: “I was standing once beneath a cherry tree whose blossoms were past their prime when the petals began to scatter with increasing rapidity, enveloping me in a blizzard of blossoms goaded on by the spring breeze and transporting me far away from the real world. This world into which I was carried, detached from… appearances, was one of beautiful, fantastic and mysterious tranquility. Almost forgetting that I was a living human being, I seemed to hear the traditional song, ‘Sakura sakura,’ ringing ever so faintly in my ears.” |
Credits: Erin Martysz-marimba, Keiko Abe-composer |
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Credits: Thierry DeMay-composer, Erin Martysz, John Hall, Paul J. Mutzabaugh-percussion |
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Darius Milhaud’s Concerto for Percussion and Small Orchestra is regarded as an historic piece in percussion literature, and it marks the beginning of a century in which percussion became a new frontier for many composers. The concerto is in fact the first to feature a percussionist as the soloist, and it uses a variety of instrument, from timpani and tam-tam, to cymbals and a ratchet. Milhaud was intentional in ending the piece slowly and softly, challenging his listeners to consider percussive sounds as capable of a wide range of dynamics and intensity. Perhaps that is what I find intriguing in this piece, a proposition to think a little farther beyond expectation. Bombastic ferocity is not the sole quality in multiple percussion. |
Credits: Darius Milhaud-composer, Erin Martysz-percussion, Paul J. Mutzabaugh-piano |
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