GHAA-05 Concerto for Percussion Octet I

Concerto for Percussion Octet in D Minor: A Transcription from A. Vivaldi's Concerto, Op. 3 No. 11 (L'estro armonico) and J. S. Bach's Arrangement for Organ, BWV 596

Dedicated to Ensemble Sai-Sai and Seiko Terui, my violin teacher

A. Vivaldi / J. S. Bach / M. Aita

Program Note;

“L'estro armónico”, Op. 3, which was first published inAmsterdam in 1711, is a remarkable work by Antonio Vivaldi. The 1st movement of No. 11 in D minor starts with irritability, and after only 3bars of cry, proceed to a finale of Fuga. From 1708 to 1717, when J. S. Bach was returning to Weimar, Bach obtained the score of this work, and also arranged to “Concerto for Organ BWV596”. Before I started a career as a percussion player, I learned this work through a lesson of violin. Lessons by my violin teacher, Seiko Terui, became a base of my music. I was considering that someday I would beable to playthis workbypercussion. Although Ioncetried to perform byasolo Vibraphone, it was not so good. I wanted Multi-layered sound by ensemble.

In Spring of 2021, Kanna Taniguchi discussed with me an encore for a concert in Kyoto, on 14th August. It shouldbeperformedby all members.At that time, Ithought that nowis the timeto perform this work. I suggested my newly writing, and she agreed readily. I studied both of the scores by Vivaldi and Bach, and arranged to the work for percussion ensemble. I have done all of my best so that this work, which has been still brilliant for 310 years, will be well performed by percussion. This time, engraving was by Kouichirou Oguni.

The first performance will be in 14thAugust of 2021, at “Museum of Kyoto”.

Dedicated to Ensemble Sai-Sai, and Seiko Terui, my violin teacher.

Mizuki Aita

初演 2021 年 8 月 14 日 京都文化博物館 別館ホー サ い い 會 瑞樹氏 迎え

池 健太 立入瑞希 谷 前 紗希 井駿 山本美緒 横 悠哉 會 瑞樹

⭐ 楽器編成(最大 8 名) 1 台

マ (5 ー ) ２台

打楽器(金属 木質 皮質 中 自 奏者 選択 )

演奏最低必要人数 3 名 1 台

マ (4 ー ) 2 台

※マ -a, -a 演奏

シ 編成 参考例 1 台

マ (5 ー ) 1 台

マ (4 ー ) 1 台

※マ -a, -a, b 演奏

適正打楽器 組 あわ ⭐ 打楽器

The first performance: in 14thAugust of 2021, at the “Museum of Kyoto”, an annex hall. Performance by “Ensemble Sai-Sai with MizukiAita”; Kenta Ikeda, Mizuki Tachiiri, Kanna Taniguchi, Saki Maeda, Shun Matsui, Mio Yamamoto, Hiroya Yokota, and MizukiAita

Instrumentation (8 players in maximum)

1 Vibraphone, 2 Marimba (5 octaves), Percussions (Metal, Wood, and Leather, freely chosen by players)

Instrumentation (3 players in minimum)

1 Vibraphone and 2 Marimba (4 octaves)

*Use Marimba Part score, I-a and II-a

Flexible Instrumentation (Example)

1 Vibraphone, 1 Marimba (5 octaves), 1 Marimba (4 octaves)

* Use Marimba Part score, I-a and II-a, b, and add percussions

About Percussions:

Part scores show only relative pitches. From Metal (ex. Cymbals, Triangle, Tam-tam, sheet of steel, etc.,), Wood (ex. Wood Blocks, a piece of wood, Wood Chimes, Temple Block, etc.,), and Leather (ex. Bass Drum, Snare Drum, Tom-tom, etc.,), you can use any percussions. Also, the ways of playing percussions (ex. by sticks, bows of strings, fingers, etc.,) will be adjusted according to ensemble balance, improvisationally.

Dynamics:

On original scores by Vivaldi and Bach, there’s no indication of dynamics. Consequently, on this arrangement, I intentionally put no dynamics. Appropriate dynamics by players should be chosen, according to performance, practice, and stage. As an arranger, I hope that you listen to the original works by Vivaldi and Bach, which were performed in many ways.

Concerto for Percussion Octet in D Minor: A Transcription from A. Vivaldi's Concerto, Op. 3 No. 11 (L'estro armonico) and J. S. Bach's Arrangement for Organ, BWV 596

- Dedicated to Ensemble SAI-SAI, and Seiko Terui, my violin teacher -

Allegro

楽譜の一部または全部を、著作権者の許可なしに、複製、転載することを禁止します。

in whole or in part, is prohibited without the express written consent of the copyright holder.

©2021 Mizuki Aita and Golden Hearts Publications (ONSA)

Arr. Mizuki Aita

Antonio Vivaldi

J. S. Bach

打楽器のための協奏曲 —ヴィヴァルディの調和の霊感、バッハのオルガンの残照に-