JOSEPH SCHWANTNER

Joseph Schwantner is recognized as one of the foremost composers of the late 20th and early 21st century. His works for wind ensemble, orchestra, chamber ensembles and solo performance have received world-wide acclaim and stand today as monuments to his unique and innovative approach to composition.

Joseph was born in Chicago and received his musical and academic training at the Chicago Conservatory and Northwestern University, completing a doctorate in 1968. Previously, he served on the Yale, Eastman and Juilliard faculties and is a member of the American Academy of Arts and Letters.


Schwantner was the first composer-in-residence with the Saint Louis Symphony Orchestra as part of the MEET THE COMPOSER/Orchestra Residencies Program funded by the Exxon Corporation, the Rockefeller Foundation and the National Endowment for the Arts.

His work, "Magabunda: four poems of Agueda Pizarro" and "A Sudden Rainbow", originally recorded on Nonesuch Records by the Saint Louis Symphony, each received a Grammy Award nomination in the category, Best New Classical Composition.

Joseph was awarded the prestigious Pulitzer Prize for his work "Aftertones of Infinity" in 1979.

But it is perhaps his most known work, "...and the mountains rising nowhere", which is considered by many to be one of the more important works of the modern wind ensemble repertoire. His compositions feature extensive use of percussion in the scoring, offering a new voice to the percussion section, as well as virtuostic challenges that were new to the percussion players- all of which lend themselves to the unique sound of Joseph Schwantner's compositions. Paired with the use of non-standard "time frame" notation, Schwantner helped re-invent what music could look, sound and feel like.

Schwantner's increasingly popular "Concerto for Percussion and Orchestra", originally commissioned by the New York Philharmonic for its 150th anniversary, again features an expanded percussion section, as well as an extended cadenza section for the percussion soloist. This work, which is receiving world-wide attention, realizes Joseph's goal of bringing attention to the section percussionists who are so often lost in the back of the orchestra. Additionally, the transcription of this work for wind ensemble has opened new avenues for performance of this fantastic piece.

"Velocities (Moto Perpetuo) for Solo Marimba" is his only solo marimba work to date, but proves to be a challenging piece for most all solo performers. Its constant motion, range and velocity prove to be a physical challenge, while its slow harmonic development stretch the musicality and phrasing talents of any who perform it. It was with this dichotomy in mind that Schwantner set out on composing his marimba solo, and it remains a staple of the solo marimba player's repertoire.

For more information on Joseph and his compositions, visit his website: www.schwantner.net

 

VIDEO INTERVIEW SERIES:

 Installment 1:
  Joseph discusses his extensive use of percussion in his compositions.
CLICK HERE
 Installment 2:
  Joseph gives some insight into his landmark composition, "...And the Mountains Rising Nowhere".
CLICK HERE
 Installment 3:
  Joseph talks about the writing and performance of his solo marimba work, "Velocities".
CLICK HERE

Vic Firth Signature Artist:
Gifford Howarth

DR. GIFFORD HOWARTH received his Bachelors of Music degree from Ithaca College and his Masters in Percussion Performance from Kent State University. He recently completed his doctoral studies at Michigan State University. He will begin teaching at Bloomsburg University in Pennsylvania in fall of 2006.

Mr. Howarth is a very active recitalist, clinician, and masterclass teacher focusing on mallet percussion. His text, "Simply Four - 4 Mallet Technique as Easy as 1-2-3...4", is designed for band directors, percussion instructors, and percussionists of all ages. It is a clear-cut method on the fundamentals of four-mallet percussion technique! While this style of performance is becoming standard in modern percussion, never before have you had such a clearly defined resource to answer all your questions. This book is sure to take the fear out of playing with four mallets!

 

Check out Giff's Signature Mallet Series:

M160
Very soft. Huge sounding low-end mallets. Great for cello suites or general use bass mallets. Produces a full overtone-rich bass sound.
L = 17 5/8"
M161
Soft. For use in the lower two-thirds of the instrument. Produces that deep open bass sound while still speaking through the mid-range.
L = 17 1/2"
M162
Medium. Adds a lush quality to the lower range while providing the attack needed through most of the upper range.
L = 17 3/8"
M163
Medium hard. For general playing on the entire range of the marimba. Produces excellent clarity in the upper range and rich tones in the lower and mid-ranges.
L = 17 1/4"
M164
"Multi-tone". Hard to medium. Provides sharp clarity in the highest range of the instrument without a harsh "core attack" sound in the lower range. Great for much of the contemporary literature.
L = 17 1/4"

 

An active recitalist, clinician and master class teacher, Gifford Howarth designed this new line of marimba mallets was designed to create the highest quality of sound for the recital hall or within an ensemble. Each model allows the specific characteristics of each range to shine through - a deep full bass, a full sounding mid-range and a cutting high end. With long lasting yarn for durability and clear, unfinished birch shafts for a natural feel.

Watch a video of Giff demonstrating each mallet and explaining its purpose!
|   M160    |   M161    |   M162    |   M163    |   M164   |