Overture in Percussion

File:Changethistothecomposername.jpg

Composer Name

Anthony Cirone

General Info

Year: 1966
Duration: 00:04:40
Difficulty: Intermediate
Publisher: Columbia
ISBN: ‎978-0-7692-1656-0
Series: Percussion Performance Series
Cost: Score and Parts - $16.99   |   Score Only - $0.00

Instrumentation

Player 1: Glockenspiel
Player 2: Crash Cymbals & Suspended Cymbal & Xylophone
Player 3: Snare Drum
Player 4: Triangle & Bass Drum
Player 5: Timpani

Program Notes

Review

Anthony Cirone's quintet, Overture in Percussion, has been re-released by CCP/Belwin. This is good news for high school and college percussion ensembles. The instrumentation of Overture in Percussion is asfollows: Player One-orchestra bells, wood block, vibraphone; Player Two crash cymbals, suspended cymbal, xylophone, castanets; Player Three snare drum, tenor drum, finger cymbals; Player Four-triangle, bass drum; Player Five-timpani. Overture in Percussion, first published in 1971, has long been a popular work for both advanced high school or college percussion ensembles. This publication is both easier on the eye and clearer to the mind than its first release. If you're not already familiar with the piece, here is a brief description: The Overture opens with a spirited Allegro in triple meter which contains thematic material that is primarily rhythmic rather than melodic. The second section is a somewhat slower Allegretto with the melodic emphasis given over to the orchestra bells and xylophone. Following the Allegretto, a short transitional section restates the opening material and leads directly into an exciting Presto (quarter = 160). The Presto section is definitely the "centerpiece" of this composition. Cirone uses many of the compositional elements that have become standard in percussion ensemble literature. There are ostinati in the timpani and bass drum while the other drums and keyboard instruments share a dialogue; conversational ideas between the membrane percussion players; punctuation of keyboard melodies by drums; and even dialogues pitting the keyboard percussion against the membrane percussion. A drastic color change occurs as the opening material returns. At this point, most of the ensemble members switch to accessory instruments, and the work navigates through a flurry of changing meters. A slower section follows, featuring the timpani performing a melodic passage, with accompaniment provided by the keyboard percussion and accessory instruments. A wild and furious coda completes the Overture. The sectional structure of this work, along with its interesting variety of textural constructions and rhythmic vitality, will keep the interest of the players as well as the audience. The "rondo-like" structure ensures that the listener will be able to tie the entire work together into a unified whole. If you're familiar with this composition, you'll be pleased to know that there are no changes in the original material or structure of the piece. Dynamic markings, tempo markings, and instrumental choices have all been retained. The new edition does contain some additions and clarifications to the original notation. Now included are stick and mallet choices for the suspended cymbal, finger cymbal, and wood block. This new edition also offers motor indications for the vibraphone. But, perhaps the biggest change is the addition of slur markings for the mallet percussion parts. Since slurs and phrase markings were totally absent in the first edition, the new edition's makings will help younger players as they form their musical decisions. Technical considerations: The first player has a good deal of quick, stepwise passage work on the orchestra bells and a passage requiring four mallets on the vibraphone. Player two has some tricky passage work on the xylophone, and there are a few skips in the melodic materials. The timpani part requires four drums, and a few tuning changes during the solo melodic section, as the timpanist performs a series of glissandi on two drums. For a high school ensemble, the comments mentioned above are the only technical considerations. The other parts of the quintet will pose no problem for a talented high school group. If you work with a high school ensemble, Overture in Percussion is sure to be an exciting challenge for your students. But don't overlook this piece for a college ensemble program! It's sure to be a hit with your players as well as the audience. - Norman Weinberg, February 1993

Works for Percussion by this Composer

Ensemble

Duet

Advanced Marimba Duets, Volume III
Double Concerto for Two Percussion and Orchestra

Trio

Take Three

Quartet

4/4 for Four
A Sacred Mass for Chorus and Percussion
Four/Four for Four
Fugue - Cirone
Pentadic Striations
Samba Classico
Three Phases
Triptych

Quintet

Five Items for Solo Marimba and Percussion Ensemble
Five Items for Soprano and Percussion
Japanese Impressions
Overture in Percussion
Percussionality

Sextet

A Little Song
Assimilation
Boom-Whap
Drums Galore
Finale
Fugue for Percussion Sextet
Gliding Along
March Right In
Nervous Notes
Processional

Large Ensemble

Cairo Suite - Percussion Ensemble (9)
Dichotomy - Percussion Ensemble (8)
Double Fanfare - Percussion Ensemble (12) - Harrison/Cirone

Solo

4-Mallet Etudes for Marimba
4-Mallet Marimba Solos
4-Mallet Studies for Marimba, Volume VI
NYSD: Orchestral Suite for Solo Snare Drum
Unaccompanied Solos for Marimba

Sonata

Sonata No. 1 for Timpani and Piano - Timpani; Piano
Sonata No. 2 for Trumpet and Percussion - Percussion; Trumpet
Sonata No. 3 for Clarinet and Percussion - Percussion; Clarinet
Sonata No. 4 for Violin and Percussion - Percussion; Violin; Piano

Symphony

Symphony No. 1 for Percussion Ensemble - Percussion Ensemble (8)
Symphony No. 2 for Percussion - Percussion Ensemble (9)
Symphony No. 3 (Sacred) - Percussion Sextet