Solo XV for Marimba - 12 Min.; 5-Oktav-Marimba und 3 Triangeln; 4 Schl., schwer

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Kalevi Aho's Solo XV for marimba and three triangles (2018) proceeds to a motor-like beat in music dominated by semiquavers momentarily interrupted by eight short triangle entries. The triangle parts gradually get longer towards the end, and during them the soloist has a chance to change the marimba sticks from soft to hard and back. The triangles also create an ethereal, lingering contrast to the motoric music. Solo XV was composed in November 2018 as a Christmas present for Austrian percussionist Martin Grubinger, who had performed Aho's percussion concerto Sieidi dozens of times in many countries. Duration: c. 11' This product includes the sheet music in a folder as B4 sized loose pages.

Asturias (Leyenda, Preludio) - Transkr. durch Kai Stensgaard, 4 Schlägel; schwer

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Four mallet transcription by Kai Stensgaard of the famous piano/guitar piece by Isac Albeniz. Based on the Segovia guitar transcription.

Asturias (Leyenda) for Marimba - Transkription des Gitarrenstücks für 4 Schlägel; schwer

This familiar work of Spanish composer Isaac Albeniz is best known to concert audiences in its guitar transcription. Rather than base his transcription on one of the many guitar editions, Stevens went back to the original piano work which appears in Cantos de Espana Op. 232. Some of the subtle detail, like the split octaves in the middle section restore the eery, haunting quality which is lost in the popular guitar versions.

Rumores de la Caleta No. 6 for Solo Marimba - 3'40 Min.; Bearbeitung von Albeniz' Gitarrentitel aus "Recuerdos de Viaje" von Ethan Burkett, 4 Schl., mittel bis schwer

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Sevilla for Marimba Solo - 6'30 Min.; Bearbeitung des Klaviertitels für 5-Oktav-Marimba durch Tyler Tolles; schwer

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Tyler Tolles’ solo marimba arrangement of Sevilla, a movement from Isaac Albéniz’s Suite Española No. 1, captures the modesty, charm, and intimacy of Albéniz’s original. Each movement of Albéniz’s suite is meant to depict a region in Spain, in this instance Andalusia, the southern most region of Spain. Albéniz is quoted as saying that in his early works, including Suite Española No. 1, “there is less musical science, less of the grand idea, but more colour, sunlight, flavour of olives” and that “the music is a bit infantile, plain, spirited; but in the end, the people, our Spanish people, are something of all that.” The color, sunlight, and infantile spirit are all present in Tolles’ brilliant arrangement and are made available to the adept and willing marimbist!