This concerto for three percussionists has been performed across America – by the Boston Symphony Orchestra, the Cincinnati and Indianapolis Symphonies and many others. The opening is a paraphrase of the composer’s Lift-Off for percussion, reviewed by the N.Y. Times as “the hit of the evening . . . smashingly propulsive.”
The Smashingly Propulsive opening drum cadenza
The entertaining spectacle of performance by interwoven percussionists makes this piece ideal for video productions, and performances have been broadcast nationwide-The West Virginia video production won first prize in the prestigious Houston International Video Competition in the live music category.
Excerpt #1
Excerpt #2
Finale
“a stunning tour-de-force”
“rivets attention from the start”
“thirteen minutes of percussion dynamite”
“simply fascinating . . . as much fun to watch as to hear”
“a thrilling roller coaster ride . . . never a dull moment”
“amazing display of pyrotechniques”
“wonderfully evocative sounds . . . outstanding and astonishing”
“Let’s have more Peck; he’s a hit maker.”
duration: 12′
(1988)
3(3rd db. picc.)/2/2+b.cl./2+cbn. 4/3/3/1
timp. 1 perc. harp strings
solo percussion trio
Review in “Percussive Notes”
The Journal of the Percussive Arts Society
This concerto for percussion trio and orchestra was premiered by Percussion Group Cincinnati in 1988. The work is scored for three multiple-percussion sets, with toms and snare drums, four keyboard instruments, and a variety of metallic sounds such as opera gongs, cymbals, Chinese cymbals and crotales. The composer indicates that the trio should set up in front of the orchestra, as the drama created by the movement of the performers is part of the overall effect of the work.
The opening of this concerto, taken from the same composer’s popular work “Lift-Off,” is a percussion cadenza that builds excitement into the eventual entrance of the orchestra. The next large section of the work features flowing lines on the vibraphones with punctuations from gliss (opera) gongs and Chinese cymbals. The remainder of the work is very fast, with virtuosic runs on marimba and xylophone. At one point in the work all three players convene at the marimba playing swift lines that cross over one another, resulting in a spectacular visual effect. After a few more fiery keyboard licks, the tempo accelerates and the work ends with a flurry of drums, reminiscent of the work’s opening.
“The Glory and the Grandeur” has a decidedly American feel with its bluesy scales and popular rhythms. The skills required of the percussionists and the theatrical thrill provided by their aerobic movements about the stage will close any orchestral concert with thunderous applause.
– Scott Herring
Reprinted by permission of the Percussive Arts Society, Inc., 701 NW Ferris Ave., Lawton, OK 73507-5442