Moi, Jeu... pour Grand Marimba by Bruno Mantovani
Performed by Michael Lee-Smith
Recorded at the Eastman School of Music in Rochester, New York
East Wing Rehearsal Hall
Audio and Video by Continuous Motion Productions
www.cmotionproductions.com
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Mallets:
Jasmin Kolberg Solo 2
www.kolberg.com/en/Marimba-ma...
Marimba:
MJB All-Black Edition
malletech.com/instrument/mjb-...
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Foreward (written by Bruno Mantovani)
"Moi, Jeu... is the second part of the triptych Suite Ludique for solo percussion. It was first performed by the musician who inspired it and to whom it is dedicated, Jean Geoffroy, on February 7th 1999 during the Présences Festival at Radio France. The work itself demonstrates several of my current preoccupations. At the time of writing, I tried to limit the range of sounds in order to underline the compositional style, so that the musical ideas would be displayed in an obvious fashion, and not disguised by some orchestral device or other. To this end I chose the marimba as being an instrument which has little variety in its style of play, but which is excellent at creating a virtuosic flow of notes. Because of its dynamic range, it promised to be a marvelous partner to my research on musical morphology. Having some practice in new technology, I wanted this piece to consists not of a series of notes, but of juxtapositions of cells, to be defined not only by their pitch but also their phrasing and dynamics.
Several repeated elemetns are easily identified by the ear, such as the sustained tremolos in the quietest range, the violent chords performed in the outer registers, and the rapid note patters. These ideas are exposed at the outset and act as signposts, providing the major part of the musical material needed for the structure. The music is deliberately bruised and dramatically broken up, as it is based on interruption, and the introduction of cells that are foreign to the development (and which are electroacoustically generated).
Moi, Jeu... is a highly virtuosic piece, and makes great demands on the performer who has to maintain the tension throughout by sheer concentration. Even the less dense passages, involving the sustained pianissimo notes, can in no way be considered as a relaxation of pressure. Time may appear to be suspended momentarily, but these sequences often build up to a wild display of virtuosity, and thus prepare the ground in terms of timbre as well as emotion.
Nevertheless, Moi, Jeu... cannot be seen as only a set of juxtapositions. The piece should flow freely, especially in the sequences based on the continued development of an idea. Those very contrasts that structure the piece are also the means by which the music is brought to life, and they should never contradict the general direction of the form."
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