SIX SOLOS FOR UNACCOMPANIED VIBRAPHONE

Posted By : peterjarvis
Piece Title : Six Solos for Unaccompanied Vibraphone
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Dificulty Rating :
Level : Junior / Senior - Graduate
Composer / Arranger : Saperstein, David
Composer / Arranger Details:

David Saperstein was born in Brooklyn and grew up on Long Island and in New Jersey. His first musical studies were at home with his father. His first formal studies in Musical Composition were with Jacob Druckman at the Juilliard Pre-College Division. He continued his musical studies at Princeton University, where he was a student of Milton Babbitt, and at Brandeis University, with Martin Boykan. An award winner at an early age, David was one of the youngest winners of the BMI Awards to Student Composers, and is a seven-time winner of the ASCAP Standard Award. He was awarded a Fulbright Fellowship in Musical Composition and was an Associate Fellow at the Berkshire Music Center at Tanglewood. A former member of the music faculty at Brooklyn College, Mr. Saperstein’s music has been heard in the United States as well as abroad, with performances taking place at such venues as Alice Tully Hall, Town Hall, Symphony Space and the Weill Recital Hall at Carnegie Hall in New York City, the American Academy and Villa La Pariola (the American Ambassador’s Residence) in Rome, Villa Schiffanoia in Florence, the Arnold Schoenberg Institute in Los Angeles, and at many colleges and conservatories around the country.

The performers who have played Mr. Saperstein’s music include the New Jersey Percussion Ensemble and New Jersey New Music Ensemble, under the direction of Peter Jarvis and Raymond DesRoches, the Purchase Percussion Ensemble, under the direction of Dominic Donato, Speculum Musicae, the Group for Contemporary Music, and the Composers Guild of New Jersey. Mr. Saperstein’s Antiphonies for Percussion is recorded on a Nonesuch CD.

Total Number of Percussionists Required :1 Percussionist(s)
Categories : Tuned Percussion
Instrument / Discipline : Mallets Solos
Instrumentation : N/A
Range of Instruments / Number of Drums : 3 Octave Vibraphone
Written for / Commissioned by : Commissioned by Calabrese Brothers Music for Peter Jarvis.
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 Peter Jarvis (Vibraphone Solo 2)
Accompanied :N/A
Publisher :Calabrese Brothers Music, LLC
Publishers Website :www.calabresebrothersmusic.com
Publisher Details : Publishes contemporary composers
Year Composed / Copyright Date :2011 /  2011
Duration :23Minutes
No. of Mallets/Sticks Required :4
Special Needs :Vibraphone with Motor
Sheet Music Available From :www.steveweissmusic.com      Check to see if in stock
Programme Notes / Performance Details :


Six Solos for Unaccompanied Vibraphone – David Saperstein
(2000-2011)

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Commissioned by Calabrese Brothers, LLC, on behalf of Peter Jarvis, the Six Solos for Unaccompanied Vibraphone have evolved over a period of approximately eleven years. Each of the solos can be performed as a separate work, or the entire six pieces can be played together, to suggest the general form of a Bach-like suite. With the exception of the final solo, which is dedicated to the memory of Milton Babbitt, the first five of the solos are dedicated to Peter Jarvis, my friend of many years, in recognition of his extraordinary talents and achievements. His career is multi-faceted, embracing the best of the many worlds of musical endeavor, including both the professional and the academic spheres. I most admire Peter for his musical talents and energy, and trust and respect his musical judgment. He is the consummate composer, conductor, performer, editor, teacher and engraver.
- David Saperstein

Performance Notes:
1. Accidentals, once introduced into a measure, apply to one register only, and remain in effect until cancelled by a natural or until the bar line. Additional accidentals are sometimes added as a precaution.
2. Four mallets are required, and the choice of specific types of mallets is left to the performer, in accordance with individual preferences and the acoustical conditions of the performance space.
3. With the exception of when the pedal clears the sound, let all notes vibrate throughout.
4. The duration of the six pieces together is approximately 22’49”
5. The durations of the individual pieces are:
Vibraphone Solo - 2’05”
Vibraphone Solo II - 3’49”
Vibraphone Solo III - 7’41”
Vibraphone Solo IV - 1’42”
Vibraphone Solo V - 45”
Vibraphone Solo VI - 6’26”

Program Notes: (All notes by David Saperstein)

Vibraphone Solo,
composed in August of 2000, is dedicated to Peter Jarvis. This composition is of brief duration and is in four sections, with the third section contrasting very markedly with the other sections. The opening of the work features a very specific group of tones – C, B and G – being sounded repeatedly. The second section is more fluid, with the same notes repeated in triplets. The third section, in marked contrast, is very free flowing, using much rubato, and with melodic lines with very extreme leaps. The final section is very similar to the opening section. Mr. Jarvis gave the first performance of this work on February 25, 2002 at William Paterson University.

Vibraphone Solo II was composed in August 2009, commissioned by Calabrese Brothers Music, LLC, and dedicated to Peter Jarvis. In this brief work, which has a duration of approximately 4 minutes, two modes of expression, one typified by slow, single sustained tones, and the other, by more rapid patterns of double stops and single non-sustained tones, vie for the listener’s attention. The sustained tones begin with intervals of perfect fourths and fifths. The non-sustained tones start out primarily using minor thirds. These two expressive elements continue in dialogue, with contrasts in dynamics and changes of intervallic nature, as the work progresses. Eventually the faster patterns of tones give way to the slow sustained music, which becomes more repetitive, suggesting the music of a carillon, as the work closes.

Vibraphone Solo III, composed in the Spring of 2010, explores a different sound world than does Vibraphone Solo II and some of the works I composed in 2009 and 2010, because it features prominently the interval of the whole step and pitches selected from the whole-tone scale. Vibraphone Solo III is the third solo in a set of six unaccompanied vibraphone solos, all of which can be played independently of one another, or together as one multi-movement work. Vibraphone Solo III is one of the longest of the six. Rhythmically, it explores a similar duality to Vibraphone Solo II, with its interplay between slow and fast passages, and between long sustained notes and those of short duration. Silences also play a key role in the work.

Vibraphone Solo IV was composed in August of 2010 on a trip to Ghana. It is the fourth solo in a set of six unaccompanied vibraphone solos, all of which can be played independently of one another, or together as one multi-movement work. Vibraphone Solo IV is influenced by the experience of visiting a very unique, very vibrant culture, one very much in synch with our American traditions of democracy. The opening of the work is somewhat reminiscent of the first of the six solos, with a reiterated 4-note chord, built on the same note, D. As the work progresses, a pitch progression built around half-step relationships develops. This piece is one of the briefest of the set of six, and is barely two minutes in length.

Vibraphone Solo V was composed in September of 2010. It is the fifth solo in a set of six unaccompanied vibraphone solos, each of which can be performed separately from one another. Similar to Vibraphone Solo IV, it is a brief work, with a duration of less than one minute. When played by itself, the brief duration of this piece makes it perfect for presentation on contemporary music concerts featuring short works, such as “15 Minutes of Fame” put on by The Composer’s Voice. When all six solos are played together, Vibraphone Solo V resembles the penultimate movement of a Bach-like suite. Except for the last of the solos, which is dedicated to the memory of Milton Babbitt, all the other solos are dedicated to Peter Jarvis, my friend of many years, whose talents and energy I most admire, whose musical judgment I trust and respect, and who is the consummate composer, conductor, performer, editor, teacher and engraver.

Vibraphone Solo VI was written in June 2011 in response to a call for scores from Robert Morris and Benjamin Boretz, the editors of Perspectives of New Music, for works dedicated to the memory of Milton Babbitt, who passed away at the beginning of 2011. The score bears the dedication, “In Memory of Milton Babbitt, Composer, Author, Teacher, Friend.” In this work, a similar process takes place as in Vibraphone Solo II, where there is a duality between long, slowly moving passages and short sections of fast-paced music. In Vibraphone Solo II, the slow passages win out in the end, but in this piece, it is difficult to say which element reigns supreme.

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