Drastic Measures– saxophone quartet 9′ 45″ Voice of the Wood– concerto for cello quartet and orchestra, or arrangement for cello quartet and piano 21′ The Upward Stream– concerto for tenor saxophone, or solo saxophone with piano arrangement. 20′ Lift-Off!- for percussion trio (or multiples of three) 7′ 30″ The Glory and the Grandeur– concerto for percussion trio 12′ Harmonic Rhythm– concerto for timpani and orchestra, or solo timpani with piano arrangement 22′ Don’t Tread on Me or My String Quartet– for string quartet (shares themes with Playing With Style) 3′ 30″ Five-Ring Circus– for woodwind quintet 2′ 15″ A Minor Monster-Piece– for brass quintet (shares themes with Playing With Style) 2’15” Big-Shot Brass– for brass quintet (shares themes with The Thrill of the Orchestra) 1′ 10″ In the Garden– for organ and optional drum set 5″ The Cat’s Meow– for duo pianists or one with four paws
Sales of Sheet Music available through Eble/ Groth Music Co. (800) 969-4772 www.grothmusic.com Some pieces also available through Steve Weiss Music (215) 659-0100 or email with inquiry: peckmusic@russellpeck.com
The
writing of this concerto, which premiered in 2000, was
inspired by the largest commissioning consortium to
date in music history—39 orchestras. It was also
sparked by interest among timpanists based on the composer’s
well-known percussion concerto The
Glory and the Grandeur and percussion trio
Lift-Off. It is visually
stimulating due to the unusual variety of mallets and
brilliant sticking. Harmonic
Rhythm requires 5 drums (4 standard sizes
plus a piccolo drum).
A
primary feature is the melodic writing for the timpani,
which shows the instrument’s expressive range extending
into areas of surprising lyricism. There is powerful
action, too, of course, with jazz and rock influences,
leading to a very big ending.
“A
drum-powered whirlwind.” The Courier Journal (Louisville KY)
“Leading
listeners through a revolving door of sound, Russell
Peck’s “Concerto for Timpani” proved to be
a visceral tour de force ranging from its first soft
rumble of thunder to an all-out “Allegro Scherzando”
that cries out to be choreographed . . . beautiful arching
lines and unexpected lyricism.” Naples Daily News
“Timpani
piece is highlight of concert . . . overflows with melodic
ideas that give way to one another in kaleidoscopic
fashion . . . interesting and compelling music for the
soloist . . . equally compelling music for the full
orchestra.” The Repository (Canton OH)
“an
innovative and exciting musical experience . . . A many
faceted amalgam of rich lyricism, modernistic dissonance,
jazz, and rock . . . long standing ovation, the bravos,
and the whistlers . . . “ The Ridgefield Press
“It’s
exhilarating to the ears and a source of astonishment
to the eyes.” Winston-Salem Journal
“a
high-impact kaleidoscope of rhythmic and harmonic colors
. . . an astonishing array of moods and effects . .
. the timpani will never be the same” Charleston Post & Courier
“a
brilliant work with all the energy, optimism, and brazen
romanticism of the 21st century . . . coherent and dramatically
satisfying . . . Evansville Courier & Press
“breathtaking
climactic action and rhythmic drama . . . a moving,
delightful performance that was as fascinating to watch
as to hear” The Times Union (Jacksonville, FL)
duration: 22′
(2000)
3(3rd
db. picc.)/2+E.h./2+b.cl./2+cbn. 4/3/3/1
2 perc. piano strings
solo timpani
Sherwood Mobley performed Harmonic Rhythm with the South Carolina Philharmonic, Greenville Symphony, Mobile Symphony, Winston-Salem Symphony, and he played the South American Premier in Caracas, Venzuela.
Review
in “Percussive Notes”
The Journal of the Percussive Arts Society
In
the year 2000 a timpani wave was started by Jim Brown, Principal Timpanist
of the Savannah Symphony Orchestra and composer Russell Peck. I am speaking
of “Harmonic Rhythm,” a concerto for timpani and orchestra
performed by 39 orchestras.
The
concerto opens with a crescendoed low-D roll, which leads into a massive
statement by the orchestra, setting the stage for what is to follow
– much like a curtain opening for a play. There are four sections to
the composition: Section I is melodic and centers around the development
of the melodic material. Section II is quite rhythmic and climaxes in
a technical display of three-mallet playing. Section III is slow and
uses such effects as dead strokes, brushes and wood mallets. Section
IV returns to a more rapid rhythmic display with a brief harmonic quasi
cadenza that leads to a dramatic ending.
The
concerto is written for four standard pedal drums plus a piccolo drum
that may be the hand-tuned type. Besides the orchestration there is
a piano reduction that would be perfect for a percussion recital.
“Harmonic
Rhythm” represents not only the rhythmic and dynamic qualities
of timpani but also their melodic qualities. Peck understands the instrument
both for its potential and its limits. I can’t help but think that Jim
Brown helped a bit here. From the opening roll to the thundering ending,
Peck challenges the player musically and technically and has composed
a concerto with rewards for the performer and audience.
-John
H. Beck
Reprinted by permission
of the Percussive Arts Society, Inc., 701 NW Ferris Ave., Lawton, OK
73507-5442
A special thank you to the late Jim Brown, timpanist with the Savannah Symphony, who first spoke to Russell about writing a timpani concerto. Jim contacted many of his fellow timpani colleagues across the country who conveyed their enthusiasm for the project, and with their orchestras performed the concerto as members of the commissioning consortium. Our thanks to Jim for his inspiration, enthusiasm and musicianship.
The
following is a list of the orchestras that commissioned
Harmonic Rhythm:
To purchase this contact: Steve Weiss Music (215) 659-0100 Eble Music Co. (319) 338-0313 www.eble.com For more information about Harmonic Rhythm under the SYMPHONIC MUSIC/CONCERTOS listing, click herePercussive Arts Society review
Excerpt of timpani concerto with full orchestra performed by Orquestra Filarmónica de Bogotá Cond. Eduardo Carrizosa Solist Willian León Auditorio León de Greiff Nov/2011:
Orquestra Filarmónica de Bogotá Cond. Eduardo Carrizosa Solist Willian León Auditorio León de Greiff Nov/2011. arrangement by the composer
Three movements of Harmonic Rhythm with timpani and piano accompaniment, performed by Momoe Sakurai, accompanied by Jennifer Duerden:
Harmonic Rhythm by Russell Peck I. Andante Maestoso II. Allegro Marziale IV. Allegro Scherzando Accompanied by Jennifer Duerden
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.
The writing of this concerto, which premiered in 2000, was inspired by the largest commissioning consortium to date in music history—39 orchestras. It was also sparked by interest among timpanists based on the composer’s well-known percussion concerto The Glory and the Grandeur and percussion trio Lift-Off. It is visually stimulating due to the unusual variety of mallets and brilliant sticking. Harmonic Rhythm requires 5 drums (4 standard sizes plus a piccolo drum).
A primary feature is the melodic writing for the timpani, which shows the instrument’s expressive range extending into areas of surprising lyricism. There is powerful action, too, of course, with jazz and rock influences, leading to a very big ending.
