And Now These Remain-SAMPLE

PROGRAM NOTES

And Now These Three Remain... is a captivating and intricate work for vibraphone and piano. The title is inspired by a passage from the Bible, 1 Corinthians 13:13 (NIV), which states, “And now these three remain: faith, hope, and love. But the greatest of these is love.”

The interplay between the two instruments creates a tapestry of sound that is both vibrant and subtle, showcasing Rath’s skill as a composer. Instead of merely accompanying the vibraphone, the piano part is often on equal footing or takes over as the melodic focus of the work. In this way, the vibraphone part is often secondary to the piano. This is a direct nod to Brazilian composer Ney Rosauro, who employs this approach in many of his works.

Throughout the work Rath aims to explore the full range of the vibraphone’s capabilities. The piece demands both technical mastery and musical sensitivity from the performer, requiring them to navigate syncopated rhythmic patterns, scalar passages, and attention to phrasing. The work’s harmonic language blends elements of jazz, contemporary classical, and folk music.

And Now These Three Remain... is a stunning work that showcases the vibraphone’s versatility and expressive power. With its blend of technique and emotional depth, this piece is at home in the recital hall or the church sanctuary.

PERFORMANCE NOTES

Be sure to maintain a consistent tempo throughout, and pay close attention to the dynamics indicated in the score, as they play an important role in shaping the emotional arc of the piece. Also pay close attention to the phrasing indicated in the score, particularly in the vibraphone part. The use of both legato and staccato velocities will create a variety of textures, while ensuring that the fast passages are performed cleanly and precisely.

This piece is full of emotional depth and nuance, therefore, as with any duet, communication, collaboration and listening are key to a successful performance. Practice playing with the piano and vibraphone parts separately, as well as together, to develop a strong sense of ensemble and coordination.

Mallet selection and technique:

The vibraphone part requires the use of four mallets and a variety of techniques, including dampening and pedaling (largely at the performer’s discretion) as well as block chords and interior two-mallet playing. Experiment with different mallets to find those that will be most effective at producing a strong volume when necessary while easily blending with the piano during more accompanimental passages.