Update Title: 10BCF1E5-5DB7-4949-80B1-163471AD954A

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Commissioned by Liz Leehey (clarinet) and Sarah Tenney (marimba), this composition is designed to exhibit the individual characteristics of each instrument. At the same time, by employing the similarities as well as the differences between the clarinet and the marimba, the goal of the work is to explore the possibilities inherent in this unique instrumental combination.

1. "Prelude": The opening section introduces both the theme of the movement as well as the introduction to the two instrumental characters who will be taking part in this musical adventure. As the movement continues, jazzy syncopated rhythms begin to reveal themselves between statements of the thematic material.
2. "The Far East": The pentatonic scale (five-note scale with an oriental character) is used for the melodic material of this movement. It also inspired the selection of its title. Throughout the movement (which is set in 5/8 meter), the marimba employs the four-mallet technique as it functions in an accompaniment role. The outer sections employ this approach in a linear fashion while the middle portion of the movement focuses on an off-beat um-pah pattern which is broken up by echoes of the clarinet's melodic lines.
3. "Meccanico": The title means mechanical in Italian. The music suggested this title because of its mechanized machinelike feeling. The marimba plays syncopated figures which provide contrast to the clarinet+s lines. In the final section, however, the marimba gradually comes to prominence with a cadenza-like passage which travels up to the high register on the instrument.
4. "Hymn": At the request of Sarah Tenney, I composed a movement which employs the marimba+s rolling technique. This movement is an eleven-measure chorale which is stated four times in succession. It is first presented by the marimba alone and then with the clarinet playing the melodic line. The subsequent two statements feature an improvisatory line and then a more obvious variation of the hymn tune by the clarinet while the marimba continues to play the chorale.
5. "Calypso": The idea for this movement came to me as I was arranging the accompaniment for a praise chorus to be sung by my church congregation. Once the rhythmic pattern, with its 8/8 (3+3+2) meter, was in place, I assigned pitches to the marimba+s accompaniment pattern, and the clarinet+s melodic material developed in conjunction with these harmonies. About a third of the way through the movement, the accompaniment pattern changes. Thirds and sixths, which are suggestive of the music of "the Islands," are introduced by the solo marimba and then continued as the clarinet plays running melodic lines. After a brief return to the opening material, this second section returns to conclude the movement. --Edward P. Mascari

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