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William Moersch
Joined:
2005-2-20
From:
Posts:
323
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I enjoyed the instrumental combination greatly. At the time, I had shelved my previous solo marimba ambitions in order to establish myself in NYC as a chamber and theater musician. By 1981, both Musical Elements (my larger contemporary music group) and the NYSF Pirates of Penzance (for which I created the mallet book) were going strong and I was looking for a way to revive my solo marimba interests. The Tokyo Quintet instrumentation was an inspiring model and, coincidentally, matched perfectly with many of my favorite musical colleagues. It was also an ideal laboratory to explore more intimately the breathing and phrasing concepts of winds and strings, which contributed greatly to my personal musical growth. After the success of my NY solo debut recital in 1984, I directed more of my energies into solo marimba projects and the NY5 gradually fell away.
I know a couple of people with copies of the T5 LP boxed set albums and I have some old cassette dubs, but I don't know of any current source for originals, except perhaps Ms. Abe. My quintet repertoire recommendations would be Miyoshi's Nocturne (publ. Ongaku), Taira's Pentalpha (publ. Rideau Rouge), and Bazelon's Quintessentials (publ. T. Presser/Novello?). I had always wanted to present the animated film scores live with the animated films, but was never able to obtain copies of the films. I believe the only one of the Quintet film scores to be published was Kikuchi's "Big Deer with One Ear", which was basically a timpani feature for the percussionist. I seem to recall a PAS Percussive Notes review of the publication release.
As for Chain, I agree completely that "swing" is a poor choice; I prefer the more rounded and flowing groove of "bebob".
WM
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[4401]Re:Re:Re:Tokyo and New York Quintets (347 reads)
[4395]Tokyo and New York Quintets <MikeH>
