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Paul Creston: Concertino for Marimba and Orchestra, Nathan Coffman, percussion
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- čas přidán 30. 04. 2018
- 3.3.2018 - Nathan Coffman, winner of the 2017 PYP Concerto Competition, performs Paul Creston's Concertino for Marimba and Orchestra with #HearPYP and Musical Director David Hattner in the Arlene Schnitzer Concert Hall.
Hearing is believing! Portland’s locally-grown orchestra returns for a landmark 95th season with an invigorating new lineup of performances in the historic Arlene Schnitzer Concert Hall. Astonishing audiences since 1924, Portland Youth Philharmonic will soon be the first U.S. organization for young musicians to reach its 100th anniversary.
Season 95: portlandyouthp...
Filming/Videography: Tom Emerson Photography www.tomemerson.com
Editing for CZcams: Josh Espinoza
Excellent performance. I learned this concertino from the lady (Mrs. Ruth Jeanne) who premiered it in New York City with a all-lady orchestra of which she was one of the percussionists. She had the original manuscript of Paul Creston and had worked with him in helping him understand the mechanics of marimba technique so he would not make it impossible to play. She said Creston, an organist, would work out the passages with his feet on the pedals of his organ to confirm that it "lay well" for two hands. There were two or three discrepancies between the manuscript and the printed edition. I discovered them while learning the piece from the published copy. I had run into some slight breaks in his pattern in some motifs that made me suspicious. I compared it to the manuscript which Mrs. Jeanne had kindly made me a photocopy of and found the the original followed the motif pattern perfectly whereas the published copy had obviously misprinted. I notice your marimba goes all the way down to low C (5 octaves) My Musser of 50 years ago went down to the A above your C (4 1/3 octaves), and Mrs. Jeanne's older Musser went only down to the C above my low A (4 octaves). I mention this because the question sometimes arises as to why the concertino goes no lower than the F above that C (3 1/2) octaves. That is because the marimba Mrs. Jeanne's owned at the time only went down that far. That's why Creston limited the piece to that range. If you find a copy of the program from that premiere, you will find the soloist's last name was not "Jeanne." She was not yet married and so her maiden name appears (which, apologetically, I have forgotten). I had a copy of that, too, but I can't remember where I've put it. I'm 77 years old now and lucky if I can remember where I parked my car an hour ago. Mrs. Jeanne lived in Granville, Ohio at the time I took lessons from her around 1969-70.
Thanks for the knowledge about the concertino! I do believe her maiden name was Stuber, according to her Wikipedia entry.
As a woodwind player I've always loved mallet instruments playing in all genres. You could impress me with chopsticks so this was unreal to me. Nicely done.
0:29 is a good place to start.....You know this is the first marimba concerto ever composed. It came out in 1940. It is still the best marimba concerto of all time as far as I'm concerned. Altho I should add that I only learned about the existence of marimba concertos about 45 minutes ago.
What a lot of talent, in that young man! Hours and Hours of practice!
Wonderful performance of the soloist and beautiful orchestral accompaniment, all with musicality and precision.
Thank you for this excellent artistic sharing of high quality.
Cordially .
Bravo ! Great interaction between soloist,conductor and orchestra ! Nice to hear a classic !
Beautiful performance!
Wow!! Go Nathan!!
Bravo! Aplausos desde Argentina!
What is up with the string's layout? It seems completely backwards.
We normally put the violins opposite each other. Because the stage is small and the marimba took up so much room, we decided to move the cellos behind the 1st stand of 1st violins so they would have room for full bow movement.
Sounds great!
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