SAMSARA FOR VIOLIN, MARIMBA & ORCHESTRA

Posted By : TimoPalm
Piece Title : Samsara for Violin, Marimba & Orchestra
No. of times Viewed (January 2019) :19
Total No. of times Viewed :1265
No. of Media Uploads :0(Videos -0, MP3 - 0, Photos - 0)
Dificulty Rating :
Level : Graduate
Composer / Arranger : Brostrom, Tobias
Composer / Arranger Details:

Tobias Broström
 
Tobias Broström was born in 1978 in Helsingborg, Sweden. Following four years of percussion studies at the Malmö Academy of Music, he embarked on the pursuit of a Master’s degree in composition, studying with the Swedish composer Rolf Martinsson and the Italian composer Luca Francesconi.


Broström has composed music for dance, chamber opera and various chamber music, but during the last years he has mainly focused on orchestral writing in works such as La Danse, Transit Underground, Crimson Skies, Crimson Seas, Kaléidoscope, Violin Concerto, Arena – Percussion Concerto No. 1, Piano Concerto – Belle Epoque, Samsara and Lucernaris – Concerto for Trumpet, Live Electronics & Orchestra, which was composed for Håkan Hardenberger. Numerous soloists, conductors, ensembles and orchestras, including Robin Ticciati, Michael Sanderling, Anna Larsson, Karen Gomyo, Colin Currie, Dima Slobodeniouk, Johannes Gustavsson, Thomas Søndergård, Andrew Manze, Per Tengstrand, Mats Rondin, Tõnu Kaljuste, Simon Preston, Johan Bridger, Hugo Ticciati, Jaime Martín, Dresdner Philharmonie, BBC Philharmonic, Estonian National Orchestra, Komische Oper Berlin, BBC Scottish Symphony Orchestra, Gävle SO, Helsingborg SO, Trondheim SO, Malmö SO, Sinfonieorchester St. Gallen, Vogtland Philharmonie, Oviedo SO, the Symphony Orchestra of Norrlandsoperan, Aurora Chamber Orchestra, Penisula Festival Orchestra, Radio Television of Serbia Symphony Orchestra, Northwestern University Chamber Orchestra, Musica Vitae, Third Coast Percussion Quartet, Malleus Incus, Gageego, Esclats Percussion Quartet and BIT20 have performed his works. Tobias’ solo and chamber music have been performed throughout Europe, the USA and Asia.


Between 2006 – 2009 Tobias was Composer-in-Residence with the Gävle Symphony Orchestra under principal conductor Robin Ticciati, resulting in two new orchestral works each year. Two of these, Crimson Seas & Lucernaris were selected by Swedish Radio to represent Sweden in the European Broadcasting Union’s International Rostrum of Composers in 2007 & 2009. In autumn 2008 his Arena – Solo Version was picked out to be performed at the 52nd International Festival of Contemporary Music at the Venice Biennale and his orchestral piece Transit Underground was nominated for best orchestral piece of the year by Swedish Music Publishers’ Association. In 2010 Lucernaris was nominated for best orchestral piece and in 2012 La Danse.
 
During season 2011 – 2012 Tobias is featured composer with Helsingborg SO as well as with Västerås Sinfonietta. 2012 his double concerto Samsara will be played by violinist Hugo Ticciati, marimbist Johan Bridger and the Swedish National Youth Symphony Orchestra on a US tour in Chicago Symphony Hall, Carnegie Hall and in Strathmore Center, Washington.

Tobias Broström’s music is published by Gehrmans, Edition Svitzer and Keyboard Percussion Publications.
 

Total Number of Percussionists Required :1 Percussionist(s)
Categories : Tuned Percussion
Instrument / Discipline : Marimba Concerto
Instrumentation : N/A
Range of Instruments / Number of Drums : 5 Octave Marimba
Written for / Commissioned by : Johan Bridger / Hugo Ticciati / Swedish NYO
Permission given for Youtube video by Copyright holder
and Youtube Channel Owner. Recorded / Provided by:
 Tobias Brostrom
Accompanied :N/A
Publisher :Gehrmans Musikforlag
Publishers Website :www.gehrmans.se/en
Publisher Details :

 

Reference: www.gehrmans.se/en

 

Gehrmans Musikförlag was founded in 1893 and is today one of the leading music publishers in Scandinavia. In the beginning, the twenty-year-old founder Carl Gehrman mainly worked with popular genres of the time.

 

In 1930 Carl Gehrmans Musikförlag was bought by Inge and Einar Rosenborg. Still, popular music was a cornerstone in the Company, but orchestral music became a part of core business as well. During the 1930`s and 40`s many of our times greatest composers, such as Lars-Erik Larsson, Hugo Alfvén and Dag Wirén, and their classic works were added to the company. Also choral music became an important genre of the repertoire.

In 1950 the Rosenborgs founded a Foundation to secure the Company`s future. The Foundation is the main owner of the company and its tasks are to promote publication of valuable Swedish music and to support the Swedish Music scene through subsidies and scholarships.

During the 1950`s Gehrmans added further educational materials to its roster, with Carl-Bertil Agnestig as the most prominent pedagogue. The concentration in choral, chamber and orchestral music continued together with educational material. Today Gehrmans represent many of the premier composers and music pedagogues in Sweden. Besides composers already mentioned, Gehrmans publish works by Erland von Koch, Daniel Börtz, Hans Eklund, Fredrik Högberg, Maurice Karkoff, Thomas Jennefelt and Nils Lindberg to name a few.

Gehrmans Today

In July 1999, a fusion of Gehrmans and Sveriges Körförbunds Förlag took place. As a result, the two most important choir catalogues are to be found at Gehrmans. In the catalogue from Sveriges Körförbund one find music by Ivar Widéen, Otto Olsson, and Gottfrid Berg to Bengt Hallberg and Georg Riedel.

Further expansion in the company`s activities were carried out in 2007 when Gehrmans acquired the orchestral-, chamber- and choir music catalogues of Warner/Chappell Music Scandinavia. Warner/Chappell Music`s catalogue included the repertoire of Nordiska Musikförlaget with compositions by Allan Pettersson, Eduard Tubin, Ingvar Lidholm, Sven-David Sandström and Anders Eliasson among others. The Finnish catalogue of Warner/Chappell Music Finland, including Edition Fazer was also acquired and to manage this catalogue successfully a new company was founded in Finland; Fennica Gehrman OY. The subsidiary`s task is to continue the co-operation with the leading Finnish composers and publish their new works.

The educational catalogue is continuously attractive, with tutors as Åse Söderqvist-Spering and others. Collaboration with Air Chrysalis Scandinavia and Universal Music Publishing has emphasized the width of the Gehrmans catalogue.

Through these acquisitions and changes Gehrmans has established itself as one of the leading publishers in the Nordic countries.

Year Composed / Copyright Date :2011 /  2011
Duration :22Minutes
No. of Mallets/Sticks Required :4
Special Needs :N/A
Sheet Music Available From :www.gehrmans.se/en/shop/orchestra-scene/samsara-for-violin-marimba-and-orchestra-xx10160      Check to see if in stock
Programme Notes / Performance Details :

Live footage from Mariinsky Concert Hall Nov. 28:th, 2012.

Samsara literally means "continuous flow" and represents the cycle of birth, life, death and rebirth embraced by Indian religions. This understanding of nature`s cyclical patterns is reflected in Indian classical music by the recurring rhythmic pattern of beats called the tala (literally "a clap"), which in turn forms the rhythmical bedrock of any given composition.

Large parts of Broström`s double concerto are based on the rhythms of Konnakol, the art of performing percussion syllables vocally in South Indian music. Konnakol was an onomatopoetic method for learning the rhythms of certain types of drumming. Now it is appreciated all over the world as an art form in itself.

The use of Konnakol is particularly well illustrated in the double concerto where the violin and marimba compete in a canon based on a repeating rhythm. 
Besides the overarching and virtuosic rhythmical conception that permeates the work, Samsara relies heavily on another technique prominent in Indian music and various forms of Western music: the use of drones. The concerto opens with a sustained pedal in the double basses, not on the traditional fifth ubiquitous in Western music but on its inversion, the fourth. This tonal ambiguity at the outset sets the tenor for the unending "search" for the true tonal centre of the work, if one indeed even exists. The continual return to centers on D, G, C, C#, F# and finally F creates a similar sense of "return" and "departure" as that found in the rhythmical cycles, only this time the cycle entails an evolving spirit as one passes from one life to the next.

Programme note by Hugo Ticciati

Member Rating :  0Vote(s)
Rate This Piece :      
Scheduled Performances : Update
Who Venue Date Time
   Add to Favourite Add to Favourite
    Invite a friend to join PMO
     Print this page      Tell a friend
  Spot an error
  Know something about this piece? Tell Us
  Know a piece not on PMO? Post It Now!
UPLOAD
PHOTOS      VIDEOS    
MP3