CD Traumtanz: Schlagzeug/Marimba & Orgel

Product no.: 171-851
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Kritik aus der Percussive Notes August 2006



This CD includes two works for percussion and organ: William Albright's "Halo" for organ and six metal instruments of the performer's choice, plus glockenspiel, written in 1978; and Martin Christoph Redel's "Traumtanz op. 30a" ("Dream Dance"), a 1983 adaptation of a piece originally written for percussion and string orchestra that appeared in 1981. The CD includes three compositions written in the relatively new genre of organ and marimba: Reinhard Raue's "Exaltationen" (1995); Thilo von Westerhagen's "Wenn Feuerbach kommt...Traumsequenzen für Marimba und Orgel" (1995); and Barry Jordan's "Nonqause" (1993). The disc also showcases the talents of Grammerstorf and Rux-Voss in separate solo performances featuring Barry Jordan's "Neither here nor there" (1998) for marimba, and Jürgen Essl's "Toccata in e" (1988) for organ.

In "Halo", Albright writes effectively for organ, expanding its rich tonal spectrum with the plangent sounds of six metallophones in the form of cymbals and gongs, played within a large dynamic range from mere whispers to explosive attacks, and glockenspiel. Tbe latter is played with hard implements to elicit sharp accents, and with softer mallets to produce a contrasting, vibrant tone without the brittle attack. The contributions of the percussionist are primarily in the arena of "sound" and serve as an extension of the organ's extensive tonal palette.

Raue's "Exaltationen" for organ and marimba features an ll-note row, and provides brilliant interplay between organ and marimba. The marimbist is called upon to execute everything from rolled melodic lines to staccato repeated chords, a rapid ostinato and virtuoso passagework, played impressively by marimbist Grammerstorf, and earsplitting glissandi (both ascending and descending).

In "Neither here nor there", for solo marimba, Jordan creates an exciting musical synthesis by calling upon European compositional techniques and African traditions in the form of a Xhosa work song. This entertaining three-part solo uses constantly changing meters.

"Nonquase" for marimba and organ, Jordan's second composition on the CD, also exploits the exciting possibilities derived from African/European traditions.

Von Westernhagen's "Wenn Feuerbach kommt..." can be a solemn yet powerful work for marimba and organ, using marimba ostinatos, a fugato in the organ set over an ostinato pattern, and beautiful harmonic progressions at the end of the composition.

The album's longest work is Redel's "Traumtanz op. 30a." Tension is generated from the interaction of "dream" and "dance" music, covering a broad emotional gamut ranging from "ethereally delicate" to "nervous unrest" and "nightmares". The composer also draws upon Latin American rhythms and jazzlike phrasing.

The new repertoire heard on this CD sets a high musical standard and has been well worth the wait. Perhaps that wait was a good thing, since it gave time for composers to get a good grip on contemporary compositional practices in regard to music written for the marimba. This CD will be a valuable acquisition for anyone interested in pursuing this interesting repertoire.

- John R. Raush

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