Concerto No. 1 per marimbafono e orchestra

Nebojsa Jovan Zivkovic

General Info

Year: 1984
Duration: c. 26:00
Difficulty: (see Ratings for explanation)
Publisher: MusicaEur
Cost: Score and Parts - $0.00   |   Score Only - $0.00

Instrumentation

Marimba

Orchestra

Program Notes

CONCERTO No. 1 FOR MARIMBA AND ORCHESTRA Op. 8 - Three movements ca. 25' dur. For big symphony orchestra. Virtuoso and challenging for the performer. For low F marimba. (Score and orchestra parts available on rental basis).

premiere: 8 August 1986, Sombor, Yugoslavia

Review

Nebojsa Jovan Zivkovic has been very active as both a composer and performer in recent years. 1992 brings his Concerto for Marimba and Orchestra to print through the German publisher Ed. Musica Europea Performed as early as 1986 by the Yugoslavian Radio Orchestra, this concerto gives a closer look at Zivkovic the composer. The work is scored for full or. chestra and is approximately 25 minutes in duration. Featuring the classical three movement concerto form, Zivkovic sets the stage for the marimba to combat and meld with the orchestra. The first movement is tense and develops a frantic theme in the solo part. Thick textures and harmonies puncuated by tutti rhythms propel the music. With each swell Zivkovic explores new combinations of themes and the percussion section is featured alone before the movement recapitulates. The marimba part is linear in nature with sparse four-mallet writing. However, some players may choose to perform the complete movement with four mallets. The softer second movement finds a sense of balance as the piece alternates between ensemble and solo passages. The music lifts and falls with chorale and melodic development as it moves to a challenging cadenza. The final movement is the most powerful and cohesive section of the composition. The main theme is reminiscent of Carl Orff's Carmina Burana as performed in the marimba part and then repeated and transformed through-out the orchestra, The music changes character several times as it marches through multiple meter changes and secondary thmnes. It finally concludes in a dominant mass of energy as the work moves to the final chord. Zivkovic’s writing may seem sectional and blocky at times, but it is rarely predictable. There are moments when the music wavers in directions, but the overall form stays intact. The marimba solo is difficult and requires an advanced performer with strong memorization skills and the orchestra parts are also demanding. Balance will surely be a major consideration when preparing and performing this work as the marimba occasionally battles fortissimo tutti sections. There is no indication that a piano reduction of the orchestra parts exists for performance or rehearsal reasons. Zivokovic’s Concerto for Marimba and Orchestra deserves a good look. It may not be a classic, but is is definitely worthy of inclusion on the growing list of marimba concertos. - Mark Ford, December 1992

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