Wolfgang Amadeus Mozart
Menuetto
from Symphony No. 40 arranged for mallet ensemble by Brian Slawson
Menuetto by W.A. Mozart, arranged by Brian Slawson Š 2011 Tapspace Publications, LLC (ASCAP). Portland, OR. All rights reserved. International copyright secured. Printed in USA. www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of this composition requires the written consent of the copyright owner. No part of this composition may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law. TSPCE-60
Program Notes During the eighteenth century, great composers usually functioned more as servants than one might imagine. Music was often “made to order” at the request of affluent people in power. Commonly regarded as the greatest child genius in the history of western music, Wolfgang Amadeus Mozart was no exception, providing endless supplies of original compositions to archbishops and emperors. Although Mozart—a flamboyant character with a propensity for having a good time—usually derived steady income, he grew accustomed to living well beyond his means. Surviving letters written by Mozart late in his very short life tell of desperate financial circumstances. Engaged in constant pleas for monetary assistance, Wolfgang was forced to move from the center of Vienna to the suburbs. However, waning stardom, mounting debts, and failing health only seemed to fuel the greatest creative surge of his career as a composer. His last three monumental symphonies (Nos. 39–41) were completed in just three months. Having grown tired of fulfilling the musical whims of others, Mozart’s late works, including his stunningly emotional Requiem, fostered a new age of self-expression in music. Completed on July 25, 1788, the 40th Symphony is considered by many to be his symphonic masterpiece.
Form During the Baroque era, prior to the Classical period of Mozart, minuets were often found in the suites of Bach and Handel. A social dance of French origin, commonly performed in small steps at a lively tempo in 3/4 time, the minuet became commonplace as a third movement vehicle in symphonic writing, later developing into a longer form called the “minuet and trio,“ requiring two contrasting minuets with a repeat of the first.
Performance Notes If desired, Marimba 1 and Marimba 2 may share a 4.3-octave marimba. Marimba 4 and Marimba 5 may share a 5-octave instrument, while Marimba 3 requires a 4-octave keyboard. Although the enclosed trio is graceful and delicate, the same cannot be said for the minuet—often described as angry and combative—that precedes it. Based on its minor key, relatively slow tempo, dissonant polyphony, and the three-bar phrases that kick it off, it is safe to assume that, despite its rhythmic vitality, Mozart didn’t design his Menuetto for use on the dance floor! That being the case, we can enjoy stacking the thick, chunky, articulate, cross-accented rhythms in ways that make drummers smile. Go for it!
Players and Instrumentation Menuetto requires 7 players with the following instrumentation: 1 glockenspiel 1 vibraphone 1 small marimba (4-octave) 1 medium marimba (shared 4.3-octave) 1 large marimba (shared 5-octave)
Suggested Setup
Level: Med-Easy Approx. playing time: 4’20”
Menuetto
from Symphony No. 40
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W.A. Mozart arr. by Brian Slawson
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© 2011 Tapspace Publications, LLC, Portland, OR. (ASCAP) International copyright secured. All rights reserved.
Menuetto – Slawson 22
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TSPCE-60
3
Menuetto – Slawson 43
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TSPCE-60
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Menuetto – Slawson
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www.tapspace.com