Variations on a Relation for Marimba and Piano - 9 Min.; 4 Schl.; geschrieben für 6th World Marimba Competition in Stuttgart 2012 (2. Runde), schwer

This set of eight variations is not based on a musical theme, as is usually the case. The basis for the composition is rather the relationship between both instruments as well as their players. The instruments have some facets in common but are nevertheless very different. 

Sometimes the two instruments work against each other, as in variation 1, or together, as in variation 6. The humour in the relationship becomes evident in variation 2 and especially in variation 7. On the other hand, light aggression appears in variation 4; in variation 6 the aggression is clearer. Variation 3 is characterized by a long period of relaxed contentment. 

The piece was commissioned by the 6th World Marimba Competition Stuttgart in 2012 and was played in the second round of the competition. I thank Klaus Treßelt and Marta Klimasara cordially for the commission and for their affectionate help during the composing process. I also thank the publisher Johan Svitzer for his highly professional and always motivating engagement with this edition. 

Some comments concerning the interpretation:
Variation 1: very fast tempo! Loud at the outset, then continuous decrescendo until bar 16, subsequently gradual crescendo until bar 30. The piano sixteenths rather sparkling and brilliant; no pedal. 

Variation 2: mumbling tremolo. No accents at the beginning of the bar starting from bar 32 onwards. Sixteenth quintuplets as small protuberances. Staccato melody notes a little sharp.  Variation 3: very simple and calm, but also very espressivo.  

Variation 4: fast tempo, very accurate rhythm, the sixteenths even and fast. Definite accents, crescendi a little aggressive. Bar 112 without any ritardando! 

Variation 5: very sonorous in spite of the restrained dynamics. The melody wanders between the top voices of the marimba and the piano. Delicate crescendi and decrescendi. Total harmony. 

Variation 6: end of the total harmony. Extremely accurate rhythm! The sound a little aggressive. Marimba: hard tones; Piano: very dry chords, no pedal. Observe the three dynamic indications:  
ff, mf, fff.

Variation 7: a kind of pas de deux, like a coquettish scherzo that also contains some aggression. To be played with humour and in a somewhat theatrical attitude. In the double glissandi, only the interval at the beginning and the end are important. If there is an interval of the third at the beginning, there could be seconds or fourths within the glissando. Glissandi on the black keys are not typical for marimba; but when they are played rather softly, they should not be a big problem. 

Variation 8: Finale in the shape of a rondo. As „couplets“ quotations from earlier variations appear. The rondo itself should be virtuosic.