Illustrating
a full range of musical emotions, “The Robin”
tells a nature story of joy, sadness, humor, mystery,
dramatic danger, and a happy ending of springtime return
– taking the young listener on a tour of vivid emotional
expression in the orchestra to match the moods of its
storybook-style poetic narration.
Performed
by the Atlanta, Cincinnati, and Milwaukee Symphonies
and many others.
“amusing,
wonderfully well-orchestrated . . . received with wild
enthusiasm” Indianapolis News
“instantly
effective . . . the Symphony rarely gets more sincere
ovations” New Orleans States Item
duration:
17′, with options for reduced duration
(1995/1973)
3(3rd
db. picc.)/3/2+E-flat/2+cbn. 4/3/3/1
timp. 2 perc. piano harp
strings narrator
[The
orchestra may be reduced by the omission of any or all
of the following instruments: fl. II, oboe III, clar.
II, cbn., tpt. III. Cues for these instruments are provided
in other parts.]
The Thrill Beyond Words is a purely instrumental version of The Thrill of the Orchestra, a pocket-sized (11 minute) concerto for orchestra. It allows one to hear the music of Russell’s best-known piece, and its distinctive showcase of orchestral forces, without narration. The premiere performance was by the Greensboro Symphony Youth Orchestra, conducted by its Music Director Bruce Kiesling. This was part of the 75th anniversary multi-media show honoring the historical Carolina Theatre, which commissioned the work.
[The
full-size orchestra may be reduced by the omission of any or all of the
following instruments: fl. III, E.h., b.cl., cbn., tpt. III, perc. III. Cues
for these instruments are provided in other parts.]
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
Instrument Demonstration Piece for Narrator and Orchestra
Russell Peck
Living up to its title, The Thrill of the Orchestra colorfully illustrates the instruments and how they are played. Suitable for all audiences, young and adult.
Frequently performed and repeated by many major American and foreign orchestras (Pittsburgh, Atlanta, Montreal, Royal Philharmonic, etc.) and more than 100 regional and other orchestras across the United States, “The Thrill” is a contemporary classic of the educational genre.
Translations available in German, French, and Spanish. “The Thrill” has also been performed in Cantonese, Korean, Hebrew, Portuguese and Japanese.
“always knocks the socks off the audience” Symphony Magazine
“a great advertisement for classical music . . . intersperses music with vivacious narration” Island Packet
“fresh, tuneful . . . rhythmically engaging, deftly orchestrated . . . Peck deserves a special bravo” New Jersey Star-Ledger
[The full-size orchestra may be reduced by the omission of any or all of the following instruments: fl. III, E.h., b.cl., cbn., tpt. III, perc. III. Cues for these instruments are provided in other parts
A chamber orchestra version (using different score & parts) has instrumentation as follows: 2/2/2/2 2/2/1/1 (tbn. & tuba are optional) timp. 1 perc. (or timp./perc. 1 player) strings narrator
Revolutionary Action is a short, high-energy rock-music piece based on the first section of Jack and Jill at Bunker Hill. The latter piece (with narration) can be heard on The Thrill of the Orchestra CD, which is available at iTunes and CD Baby.
[The orchestra may be reduced by the omission of any or all of the following instruments: fl. II, E.h., b.cl., cbn., tpt. III, harp. Cues for these instruments are provided in other parts.]
Recordings: introduction to Jack and Jill at Bunker Hill
two pieces for orchestra (can be played separately or as a two-movement suite)
O
“brimming with life . . .” Greensboro News and
Record
“a wonderful and fun piece!” JoAnn Falletta
Russell discusses the score with Paul Polivnick
“He was like a contemporary Ravel, treating popular music with a classical hand garbed in extremely precise, colorful and sparkling orchestration.” Paul Polivnick, Conductor
OUT OF THE BLUE 8’45”
Openly nostalgic with many style elements of traditional blues and Americana, this piece recalls a lazy afternoon on the prairie. Out of the Blue is a moderately paced intermezzo. The beginning has a wistful quality which opens up to a heartfelt recollection of simpler times. Out of the Blue captures a certain spirit of The American Dream and ends with a something that feels like a wide-open sky.
Out of the Blue may be performed without Flute III/piccolo, Oboe II, E-flat Clarinet, and Contrabassoon Cues are provided in other instruments.
Note: if the oboe section has only two players, the second player doubles, playing English horn in Out of the Blue, and Oboe II in Flying on Instruments.
Out of the Blue
FLYING ON INSTRUMENTS 4’45”
Ecstatic happiness radiates from this jazz-influenced piece. Allegro
vivace throughout, Flying on Instruments draws upon everything from Latin
rhythms to gospel music. Massed strings and other sections featured as
group soloists.
Flying on Instruments may be performed without English Horn and Contrabassoon. Cues are provided in other instruments.
Note: if the oboe section has only two players, the second player doubles, playing English horn in Out of the Blue, and Oboe II in Flying on Instruments.
