• No results found

Second Concerto : for Flute and Percussion

N/A
N/A
Protected

Academic year: 2021

Share "Second Concerto : for Flute and Percussion"

Copied!
1
0
0

Loading.... (view fulltext now)

Full text

(1)

Daniel Berg

Daniel Berg is a versatile marimba soloist, composer and educator. He holds the position as the percussion and chamber music teacher at the University Colleges of Music in Stockholm, Örebro and Gothenburg (Sweden). In his passion to promote the marimba as a solo- and chamber music instrument, Daniel has worked intimately with a number of composers who have written original music for the instrument. This includes more than 200 world premiers for solo and chamber works. Daniel Berg plays Bergerault marimbas and use Elite Mallets.

As a composer Daniel has written a lot for percussion published by Edition Svitzer. Solo pieces for marimba like Fantasia &

Toccata, Phoenix and Blue Memories and the series of Easy Duets

and Easy Solos who become a best seller for young percussion players round the world.

About

My passion for chamber music started when I played my first pieces for percussion duo. To create something of its own together and find a personal means of expression has since led me to new ways and new combinations of instruments. I hope these four duets may inspire you to play more chamber music focusing on percussion.

Presently, I give about 100 concerts a year with any of my chamber music formations. Organ and percussion with Johannes Landgren, guitar and marimba with Christer Brodén, violin and marimba with Tobias Granmo, and percussion duo with Fredrik Duvling (www.rhythmartduo.com).

Second Concerto for Flute and Percussion

In 1939 the American Lou Harrison composed his First Concerto – a classical and fantastic work for flute and two percussion players. Influenced by this piece, Daniel Berg now wants to continue in the same atmosphere with a second concerto. The first movement is very much inspired by the groove and swinging syncopated rhythms from the concerto by Lou Harrison.

In the four other movements Daniel Berg enters a world of different techniques for the flute like air tones, tongue pizzicato and Tongue Ram. Every moment is dedicated to a fantastic flute player Daniel worked with during the years – for example Björn J:son Lindh who was an excellent composer and a master in playing singing and percussive flute.

For the percussion part Daniel uses traditional instruments like drums and wood blocks, but also toy electric bell, marimba, vibraphone and a tuned bottle. The Concerto is written for two percussionists, however it’s possible to be played by one player (both parts in first movement and only the marimba in the last) – just like the First Concerto for Flute and Percussion by Lou Harrison.

Required Instruments

Tamburine (1) Drums (3) Vibraphone (1) Marimba (1) Bottle tuned in Ab Wood blocks (5) Toy Electric Bell (1) Junk/Splash/Opera Gong (1) Thai Gong c1

Credits

Enamel painting: Bengt Berglund

Photo (Daniel Berg): Per Buhre Front Cover: Gaia Gomes Engraving: Daniel Berg / Johan Svitzer Printed in Copenhagen, Denmark Copyright © Edition SVITZER www.editionsvitzer.com

References

Related documents

Figur 1.1 Denna modell togs fram av Karageorghis och Terry 1995, som ett verktyg för att förutspå psykofysisk respons till osynkroniserad musik under submaximala övningar.

Mstislav Rostropovich Jacqueline du Pré Yo-Yo Ma Gautier Capuçon Truls Mørk In general, fast vibrato and a warm wide sound Like Rostropovich but in a passionate way doing a lot

The differences in the mean LTAS were clear: some genres have a (relatively) louder low-end and high-end of the spectrum, whereas other genres such as jazz and folk

46 Konkreta exempel skulle kunna vara främjandeinsatser för affärsänglar/affärsängelnätverk, skapa arenor där aktörer från utbuds- och efterfrågesidan kan mötas eller

Svensk tidskrift för musikforskning vol. Published by Svenska samfundet för musikforskning. All rights reserved... For example, there are several formulations in it that underline

Over the past decade of political and cultural changes in southern Africa, sev- eral noted leaders have expressed the need for people to form a liberated Afri- can identity within

improvisers/ jazz musicians- Jan-Gunnar Hoff and Audun Kleive and myself- together with world-leading recording engineer and recording innovator Morten Lindberg of 2l, set out to

In the PhD-project at hand the affordances of the musical tradition are as central as the musician and the musical instrument, thus creating a cluster of affordances