Evelyn Glennie: Ney Rosauro - Concerto for Marimba (1991)

From the Munich Philharmonic Hall in 1991
Evelyn Glennie - percussion
Philip Smith - piano
Ney Rosauro - Concerto for Marimba
0:58 I. Saudacao
3:58 II. Lamento
9:31 III. Danca
12:57 IV. Despedida
Watch the full concert: • Evelyn Glennie in Conc...
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Ney Rosauro (born in Rio de Janeiro, Brazil on October 24, 1952) is a Brazilian composer, percussionist and pedagogue. His more than 100 compositions include solos for marimba, vibraphone and multi-percussion setups, as well as music for percussion ensembles and several concerti for solo percussion and orchestras. A common theme in his work is the use of traditional Brazilian melodies, rhythm and melodies to create music with Brazilian roots.
He studied Compositions and Conducting at the Universidade de Brasília, in Brasília, Brazil, where he received his bachelor's degree. He then attended the Musikhochschule Wuerzburg (Germany) with Prof. Siegfried Fink, where he achieved master's degree. He got his DMA at University of Miami in Coral Gables, FL where he was Director of Percussion Studies from 2000 to 2010.
en.wikipedia.org/wiki/Ney_Ros...
From 1977 to 1987 he taught percussion at EMB (Escola de Musica de Brasilia) and played timpani and percussion at the Orquestra do Teatro Nacional de Brasilia. From 1987 until 2000 he directed the Percussion Department at the Federal Universidade Federal de Santa Maria, in Santa Maria, RS, Brazil.
His work, the Concerto for Marimba and String orchestra #1, is the most frequently played piece for solo percussion worldwide, performed by outstanding artists like Evelyn Glennie.[1]
He has recorded 11 CDs and have presented concerts and clinics in more than 45 countries.

[@ArnaKaleofficial]

I am really very fond of Evelyn glennei.The way she plays music is really fascinating and how she synchronise with other percussionist is amazing “God may have taken her hearing but he has given her something extraordinary”. What hear, she feels-far more deeply than us...That is why she expresses music so beautifully".🎶🎵...

[@georgekraft1401]

Dame Evelyn Glennie astonishes me with all the music I hear from her and with the lectures I find online. Keep it up!!! and thanks for the music

[@ZsoltGaramszegi]

Wonderful solo, thank you!

[@micheleprudhomme4886]

My orchestra does a Young Person'sCompetition every year. A young man sent CD of his performance of this Would love him to win so we could play the orchestra part behind him

[@SuperSergete]

I love you Evelyn !!!

[@DajenC]

If you think you know musicality and interpretation better than Evelyn Glennie then you need a reality check. Still ridiculously musical, better than anyone in this comments section can hope to achieve. Love this.

[@DajenC]

@Joe Plenty, I go to college for music ironically enough. It's a fantastic performance, ridiculously musical. If you genuinely think this performance isn't your cup of tea that's fine, but in what world is this a bad performance. Note accuracy wise it's nigh perfect, the dynamic range is phenomenal, her touch is phenomenal, and stylistically, albeit it's fast, but it varies VASTLY from movement to movement yielding an interesting listen. There really isn't much of a leg to stand on that this performance isn't - just that stylistically you disagree with it. Also, funnily, he promotes this piece with Evelyn Glennie's name on his website when you go and buy the piece. You can think the interpretation is bad, but clearly even the composer himself doesn't agree with you.

[@DajenC]

And, to elaborate on a point, lets say she did miss plenty of notes - it's a pretty well established idea among many top percussionists (Keiko Abe, Theodor Milkov, ect.) that musicianship and musicality FAR outweighs note accuracy. I actually read another one of your comments on this video and I really do have to say I disagree with a majority of your points. She does miss a few notes (I pulled up a copy of the score I have on PDF from when I learned the piece) - I counted maybe 4 in the 3rd movement, and a handful in the first and final, but hearing those note inaccuracies doesn't affect my enjoyment of the piece at all. I would gander it doesn't impact almost anyone's opinion of the piece who doesn't know it like the back of their hand which is about 99% of people watching it. You should play to please the audience, not other musicians in the world. I disagree that it sounds frantic, If nothing else it's in part because of how insanely relaxed she looks while playing, but also because of the dynamic contrast. Her low dynamic end can get so low that it doesn't necessarily feel frantic to me personally anymore. I'd also say that your thoughts that "It's I still stand by my statement that there isn't a person in this comments section who could come within a hundred miles of this performance. I would argue there are PLENTY of percussionists, not just 4 mallet players, in the professional world and in the student world, who would disagree with you. My final point is the point about the nit-picking notes and how "If it wasn't Evelyn Glennie people would care." Well, maybe people would, personally I've seen more performances of pieces like the Sejorne Concerto that miss 4 notes a phrase and people still lose their minds for it even though, note accuracy wise, it was FAR worse than his one, but let's say you're right in your point. It's Evelyn Glennie, I know that's a fallacy but she's one of the leading percussionists in the world. Ultimately she's earned the right to miss notes, this isn't for a competition. If just watching her style of play, even if you might think it's a bad take, is enough to make an audience lose their minds then she's earned that right through years of perfecting pieces. Regardless of how you feel, that's how it is in both the eyes of the audience and the eyes of MANY percussionists, besides maybe some elitists. No hate, I understand we just have differing opinions, but I just disagree - the musicianship is still with it in this. If you want to argue that she's not playing it the same as her old recording and that it's better a better recording you can believe that. But don't hate on her performance because of that

[@leohaugenwyller4468]

Try to headbang to this...

[@littlelamp100]

0.75x for normal speed

[@wilbertocolon3576]

A true Valuart!

[@GiacomoTongiani]

illegal speed

[@mametiti]

12:57

[@ZxMusTanGxZ]

Экзотика

[@Mhollette]

I love Evelyn but this is way to fast

[@lewis-op5ui]

She did not compromise the musicality of the piece, then it is just a personal taste. I really enjoyed it at this speed (the end in particular)

[@lewis-op5ui]

@Michaelis Arcanjo i disagree, i am sorry. it means everyone has a different way to see music

[@notcarl0s]

@Michaelis Arcanjo you’re everywhere… be better

[@TheManoDestra]

@@lewis-op5uithe ending sections was actually pretty close to the written tempi. I think the biggest problem is how the oversped opening changes the character of the piece. It fundamentally loses its dance like feeling, in lieu of a frantic pace. There’s no doubt Evelyn is a master player, but the opening movement tempo selection is objectively a poor choice. The rest of it was great. Honestly, if she took it down like 20 clicks for the 1st movement it’d be an amazing speed and keep the dance like quality. I also think either the recording or marimba set up lost a lot of resonance, it feels very clunky, without the natural beauty of the marimba and piano. But that’s probably a mic set up thing

[@robinv.c.898]

This is way to fast XD. But you manged to play it in this speed,so when you think this speed is necessary.

[@anthonyfritz901]

WAYYY to fast

[@ChrisM-dx8up]

lmao 0.75 speed is the normal speed so that means she was playing it 33% faster than it actually is meant to be

[@user-wv8mk2cl4z]

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