Gordon Stout - Marimba, composition

Works for a New Time (2019-2020)              Nine pieces. 107 pages.  Over 45 minute of music.  Full Circle Publications.

     1.  Transmogriphy

     2.  Evermore.  Dedicated to She-e Wu.

     3.  Terms of Transfiguration.  Commissioned by Robert Clayson.

     4.  Two Avian Dances.  1. As a Crow Walks.  2. As an Osprey Lands.  Dedication to Tony Steve.

     5.  Burnt Offerings.  1.  First Dance.  2.  Ember's Glow.  3. Ashes Rising.  4. Time's Passing.

Vistas of Amfikaia (2020).  For solo 5.0 marimba.  Originally composed in 2018 for the students of the Milkov Summer Marimba Camp in Amfikaia, Greece.  Revised in 2020 and now dedicated to Màrton Szives.  A moderately difficult solo, which should be excellent for any college level performance. Full Circle Publications

Full Circle (2019).  Full Circle is dedicated to Ruth Komanoff Underwood, who is the former mallet percussion specialist with Frank Zappa.  Full Circle Publications

Never Less the Same (2018).  This tour de force composition was composed and premiered by marimba virtuoso Eriko Daimo.  It was premiered on October 5, 2018 at Ithaca College, as part of my last faculty recital before retirement.  This work should become standard repertoire for marimba competitions (I hope!), and those wanting a serious, substantial, and virtuoso advanced level composition.  One of Stout's best.  Eriko performed a half dozen times around the world following the premiere, including in Japan.  It might be described as like Sedimental Structures, but technically and musically more advanced and sophisticated. Full Circle Publications

Epitaph (2018).  This is one of my most beautiful and poignant compositions to date.  In a similar style as  One Last Breath, the essence of this piece is the choral.  It was composed at a time in my life when many of my friends were going through serious emotional issues with their families in one way or another:  This piece is a representation of the sorrow I had for these wonderful friends of mine, and is dedicated to them and their loved ones. Full Circle Publications.

On the Other Hand (A Vignette). (2018) .  This composition was written for and premiered at my last Ithaca College faculty recital on my birthday (October 5th) in 2018.  Is is a sweet piece, with typical Stout harmonic progressions and would be great for college level recitals - it is interesting, challenging, meaty, fun to play, but without being concerned with marimba olympics or being avant grade.  This wonderful performance is performed by Larissa Venzie.  Full Circle Publications.

One Last Breath (2017).  Dedicated to Adam Blackstock and his daughter Ella.  Adam asked me to compose a beautiful piece to show his love for his daughter Ella.   There is no sound I love more than the resonant and beautiful sound of the marimba.  There is nothing that Adam loves more than his daughter.  The two things came together to produce One Last Breath. This recording is by the wonderful Ayami Okamura, from the Japanese premiere in 2019.   Full Circle Publications.

Shadows of the Wind (2017)  Written for the winner of the marimba competition in Italy a few years ago.  A young lady from China, who blew us all away with her overall approach, her musicality and tone quality, and personality.  Thanks Hedi!  This is a very beautiful composition, in Stout's largely tonal style, focusing on musicality and expressiveness, not marimba olympics.  Playable by any good marimbist, with good musical skills.  Full Circle Publications.

Luvlars (2017).  Written for Larissa Venzie, my friend and colleague, and also a DeMorrow artist.  This is a very beautiful piece, emphasizing the sonorous and singing quality of the marimba.  It is a work that requires mature musical skills by the performer, but if you are looking for a piece that is substantial, but not a "chops" oriented  composition, this is for you!  You can also hear and watch Larissa perform this on my YouTube channel.  Full Circle Publications.

Reminiscences of One's Time (2017).  This beautiful composition was written for Naoko Takada in 2017).  It is sort of my version of Legenda by Albéniz, having a kind of Spanish quality.  It is meaty, interesting, tonally conceived, but not so difficult that it turns into marimba Olympics.  It should be a staple of college level recital literature, and will please marimbists and all others as well.  Full Circle Publications Steve Weiss Music.

Etude In A Minor (2017).  This is an Etude in the tradition of Musser's etudes for marimba.  It is based entire on double vertical strokes, in an a/b/a form.  In the first and third sections the strokes are alternating hands, and in the middle section together in both hands.  It is a fun piece, that is seemingly simple, but no too easy to execute, but interesting  musically and with an easy to listen to harmonic vocabulary. Full Circle Publications.

Etude in A Major (Happy!) (2018).  Etude in A Major is subtitled Happy!, and was composed after a difficult period in my life, during which many dear friends passed away.  It is an intermediate level 4 mallet  solo, that is perfectly suited to the advanced high school or younger college student.  It is enjoyable and happy music!  Full Circle Publications.

Crystal Vaults (2016).  Written for and dedicated to Linsday Eastham, who did the premiere of this exciting composition.  You can find out more about Lindsey are her many activities at www.lindseyeastham.com.  She is a Marimba One Discovery Artist, currently living in London.  Full Circle Publications.

Don't Forget Domain Forget(DF-2) (2016). I began composing this piece while teaching at the Domain Forget summer music program a couple of summers ago, and commemorates the wonderful time I had teaching the students there and performing  with the Sixtrum percussion group. It was premiered by Ken Neth on his senior recital at Ithaca College.  This piece has a kind of earthy, folk-like quality to it, but with the rhythmic and harmonic vocabulary typical of my music.  Full Circle Publications.

Dance Courte (Short Dance) (2016).  My first composition of 2016, this short marimba solo (5.0) is just over four minutes.  I have dedicated it to my former student, Ratewenniio George who did the premiere performance in April of 2019.  It is translated from the French to English as Short Dance.  It is available from KPP (www.mostlymarimba.com).

Anthem:  To Catch A Glimpse (2015/16).    This is a beautiful work for solo 5.0 marimba, dedicated to Nancy Zeltsman.   It was premiered by Gordon Stout at Ithaca College in 2016, and shortly afterwards by Ayami Okamura in Boston.  It is an Anthem which depicts the silence that be peronally achieved when the marimba is played with a singing, lyrical style, concerned more about tone quality than virtuosity.  It is in a small way paying homage to the music of Daniel Levitan.  Available from Keyboard Percussion Publications.

Uninhabited Admittance (2015).  Uninhabited Admittance is a many faceted composition for solo 5.0 marimba.  It is lyrical, jazzy, rhythmically varied, and a great deal of fun to play.  This should be an audience favorite, being in a largely tonal harmonic style, but with Stout’s unique vocabulary.  Highly recommend for the advanced marimba recital. It is published by Keyboard Percussion Publications.

Afternoon Footprints (2015).  This work was composed with the thought of watching someone walk around the streets of Paris, going through different neighborhoods and viewing some of the many and varied sites that make up the beautiful city of Paris. Highly suitable for the advanced marimba recital, this work will be appreciated by non marimbists, the general public, as well as marimbists who want a work that concentrates on musical virtuosity.    Keyboard Percussion Publications.

The Other Side (of Silence),  was written in 2014,  and is dedicated to Yun Ju Pan, who released its first recording after performing the premiere at Michigan State Univeristy on April 22 of 2017.   The recording here is from that recital.  "The piece winds it way through a variety of sections of differing styles, moods, and textures, always returns to a place of happiness and joy." Keyboard Percussion Publications.

Morphic Resonance (2014).  An extremely difficult work for solo 5.0 marimba, this work was premiered by Marco Schirripa in the spring of 2017 at Tennessee Tech Univeristy. It is only for the most advanced player, but has many musical rewards, as a multi-sectional piece with lots of different moods and feelings in the music.  Keyboard Percussion Publications.

Cerulean Landscape (2013).  Written for solo marimba (5.0) in 2013 for Japanese marimbist Kana Omori. It is in a freely composed style and form, progressing through various beautiful, and lyrical landscapes. This is an excellent work to showcase the versatility, and expressiveness of your musicality, and is highly recommended for a college level recital.   It is recorded on the Capriccio Grazioso CD by Kana Omori.   Keyboard Percussion Publications.  Thanks, Kana!!

Quondom Reflections (2011).  For solo marimba 5.0. This was commissioned by the James Madison University percussion studio. Premiered by Michael Overman at JMU.   An example of my more tonal works of the last few years,  this performance is by Nick Merillat.  Thanks!  Keyboard Percussion Publications.

Whatever's More (2010).  Written for Joshua Oxford, former student, who was in a terrible car accident in the summer of 2010.  It's a very beautiful composition, for five octave marimba solo.   Keyboard Percussion Publications.

Peach Dance (2008).   A not too difficult four mallet solo for 5.0 marimba, this fun work is dedicated to Tony McCutchen and the UGA percussion studio.  Should be very playable by most high school students and all younger college students.  Keyboard Percussion Publications.

Four Dances for Marimba (2006-2007).  A great set of recital pieces, for the advanced high school or college student. Not as difficult as some of my music.   Very enjoyable musically. Dedicated to Larissa Venzie, who did the premiere performance in the spring of 2007. That performance is included here in its entirety. Enjoy!!! 1. A Lullaby Dancing (for Vicky Lau - a present for her birthday!) 2. Song 3. Waltz (for Doug Johnson-great jazz pianist, who introduced me to the music of Brad Mehldau) 4. Dance-Finale.  Keyboard Percussion Publications.  You should also most certainly check out Tom Burritt's performance of these pieces on his most recent CD: Groundlines, available at iTunes or www.mostlymarimba.com.  A stunning performance of my music!!!  The rest of the CD is amazing as well.  Check it out for sure.

Four Episodes, Volume 2 #5-8 (2006-2007).  Four new and wonderfully contrasting pieces, carrying on in the same variety of musical styles as the first four Episodes. 5. Sweetly and languorous 6. Tango 7. Expansively, very expressive 8. Moderately.  Keyboard Percussion Publications.

Etudes for Marimba, Book 4 (2003-2005.  So called the "Seminar Etudes". The first three  were written in 2003 for my first trip to Hungary, where I taught at the Bartok Academy. I had no idea what the students would be like, or what their abilities would be.  So these three Etudes are all based on the same material, like a theme and two variations, each one a little more difficult than the previous one.  There are two that were written for the Zeltsman Festival in Boston, and one the  Stevens seminar. For intermediate level marimba, these should be playable by almost any college level marimbist or younger.  Published by Keyboard Percussion Publications.

Beads of Glass (2004)  is a beautiful tapestry of tonal sounds for a five octave marimba. It's level of difficulty is comparable to Stout's Astral Dance. The work is about 8 minutes long, and provides the marimbist the chance to showcase the beautiful sounds of the marimba, mostly in the middle and low registers. It is dedicated to Leigh Howard Stevens, because the music was initially considered as material for a commission from Leigh for marimba solo and percussion quartet. As the work progressed however, it became clear that adding percussion was not appropriate for the nature of the music, and that it would be better suited for marimba alone. This beautiful piece should become a favorite for marimbists who want to showcase the sound of the marimba and their musical artistry. Keyboard Percussion Publications.

Wood That Sings (2003).  Wood That Sings was written for, and premiered, at PASIC-Columbus in November of 2002 by the composer. The original title that I had in mind was Marimba D'Amore. However, out of respect and admiration for Keiko Abe (who already had a piece by that title) I decided to rename this work. The idea that the marimba is the wood that sings, has always been a very important concept to me, so that is how I arrived at the title. I also had in mind some of the very beautiful and lyrical works for solo guitar by composers such as Villa Lobos, Granados, and many others.  It is dedicated to my wife, Christy.  Keyboard Percussion Publications.

Rumble Strips  2000.  Completed in September of 2000, it was composed specifically for my solo marimba CD Astral Projections (Rosewood Records). The title refers to the warning bumps or grooves that are often encountered on our roadways, which produce a sudden and unexpected rumbling when driven over. These rumble strips are depicted musically throughout the composition. Rumble Strips was premiered by She-e Wu at PASIC-2000 in Dallas, TX.  Recorded: "Astral Projections", Resonator Records (www.mostlymarimba.com) 00042. Also recorded by She-e Wu: "Snapshots", Resonator Records.  Keyboard Percussion Publications.

Sedimental Structures (1998).  This piece was commissioned by and composed for marimbist Robert VanSice. It is structured in four main sections. Each section is based to a degree on the material contained in the very first measure. Sometimes material is derived through a variety of structural manipulations, and other times through a more loosely organized process of transformation. The piece seemed to have an organic or earthy quality, and therefore the use of the word sedimental in the title. Recorded: "Astral Projections", Resonator Records (www.mostlymarimba.com) 00042. Keyboard Percussion Publications.

Four Episodes (1994,1995).   Each episode represents a different musical style. The first one is a reworking of an earlier composition. The second one is my way of paying homage to Smadbeck's Rhythm Song, and the third to Chick Corea's Children's Songs. The fourth episode doesn't really have a story, but is still fun to play.  Recorded: "Astra Projections", Resonator Records 00042 (www.mostlymarimba.com).  Keyboard Percussion Publications.

Nocturnes for Marimba (1990).   A collection of 10 pieces for four mallet marimba, ranging in difficulty from moderate to difficult. My idea with these pieces was to write music for the intermediate marimbist, by limiting myself to two hours to start and finish a composition, thus forcing myself not to write music that was too difficult. I accomplished that goal with the first four Nocturnes before becoming more involved in the compositional process starting with the fifth Nocturne, thus ending up with more difficult compositions. They are mostly based on musical ideas, and thus weren't etudes to develop a specific technique. I didn't want to title them "preludes" (like the Helble compositions), and therefore the use of the word "nocturne" in the title. Timing: from 2-6 minutes each. Keyboard Percussion Publications.

Astral Dance (1979).   This is a moderately difficult work for four mallet marimba solo, based on a single theme and its variations. Most frequently, I perform this work with the Two Mexican Dances as a set titled "Three Dances for Marimba". It is a marimba dance in my mind because it combines melody and harmony through the rhythmic alternation of the two hands. I couldn't determine a nationality for the piece, as Warren Benson did with the Two Mexican Dances, so the "astral" in the title implies of a different world. Recorded: Astral Projections CD. Resonator Records (www.mostlymarimba.com).  Keyboard Percussion Publications.

Etudes for Marimba, Book 3 (1976).  Exclusively for two mallet marimba. Moderately difficult to difficult, including the popular Basically Broke Blues. These etudes came as a result of my rediscovering two mallet playing. I had been so consumed with writing for four mallet marimba that I almost forgot about playing with two mallets. So these pieces provided me with a way to return to my roots as a player.  Recorded: Etude No.s 11 & 12 on "Gordon Stout: Music for Solo Marimba  (now available from:  https://www.vapmedia.com/recordings.html).  Keyboard Percussion Publications.

Etudes for Marimba, Book 2 (1975).  Exclusively for four mallet marimba. These pieces are more lengthy and difficult than those of Book 1. In composing these etudes, I was more concerned with developing formal structures that a specific technique for each etude. The sixth etude is in a choral style. The seventh etude explores the use of glissandi. The eighth etudes is dedicated to Keiko Abe, and is in a variations form, and is probably one of the most difficult pieces I have ever composed. The ninth etude is one of my most favorite pieces to perform, and is influenced by jazz rhythms and figures. The tenth etude is a twelve-tone composition. Recorded: "Gordon Stout: Music for Solo Marimba"(now available from:  https://www.vapmedia.com/recordings.html).  ). Keyboard Percussion Publications.

Ode for Marimba (1975).  A work of moderate length and some difficulty, employing four mallets throughout, and utilizing rudimental snare drum sticking patterns in a complex rhythmic style. Publisher: Music for Percussion/Colla Voce.  No one has recorded or perhaps even performed this to date (challenge issued).

Two Mexican Dances (1974).  The first Mexican Dance was originally the ninth etude from Etudes for Marimba, Book 2. Warren Benson thought that the character of the music of the first dance was very different from the rest of the etudes of Book 2. He suggested that I remove it from that collection, write a second piece in a similar style, and call them Two Mexican Dances. Thus the dedication of the two pieces to Warren Benson. So I didn't think of the first dance as being Mexican. I had never been to Mexico at that point in my life. Warren Benson however, heard something that made him think that. The first dance was composed in one day, with no revisions or changes. The second dance was begun on vibes, and took much longer to compose.  Recorded: "Gordon Stout: Music for Solo Marimba" (now available from: https://www.vapmedia.com/recordings.html)). Also from  "Astral Projections", Resonator Records (www.mostlymarimba.com) 00042-Out of Print, and many others, including Evelyn Glennie, David Hall, Jasmin Kolberg, etc.  Keyboard Percussion Publications)

Etudes for Marimba, Book 1 (1973).  Difficult and short pieces for marimba. Each etude is based on a specific technical problem. The first etude will help you to develop interval changing technique with the inside mallets of each hand. The second etude is for two mallets, and is based on my Ideo-Kinetic Exercises for Marimba. The third etude was primarily written to develop the playing of octaves, and combines atonal harmonies with diminished scale passages. The fourth etude is a contemporary two-part invention, and was written as an assignment for a counterpoint class. The fifth etudes further explores octave technique, and has a middle section in which the player must quickly go from one style to another. Recorded: Etudes 1-3 are on "Gordon Stout: Music for Solo Marimba" (now available from:  https://www.vapmedia.com/recordings.html).  Publisher: Music for Percussion/Colla Voce.

Andante & Allegro (1970).  For marimba and piano, and written as a freshman at the Eastman School of Music, while studying composition with Joseph Schwantner. Though not a frequently played composition, it does provide both chordal and linear passages for the young four mallet marimbist, and is in an atonal style harmonically. The piano part is not terribly difficult. This work would be an excellent choice for the advanced high school marimbist, or the younger college percussion major looking to challenge their intermediate four mallet technique. Keyboard Percussion Publications.

Reverie (1969).  This is the second piece that I composed for marimba, and was also written during my senior year of high school. It is in the same style as Elegy.  This recording is from:: "Gordon Stout II", Studio 4 Productions S4P-R102 (now available from:  https://www.vapmedia.com/recordings.html)).  Keyboard Percussion Publications.

Elegy (1969).  This is the first piece that I ever composed for marimba. It was written during my senior year of high school, and consists of moderately difficult four mallet writing in a legato, rolled style. The composition is influenced in style and harmony by Alfred Fissinger's Suite for Marimba. The Fissinger Suite was a very important piece to me as a young marimbist, because of Vida Chenoweth's recording of the piece, which very much inspired me. Keyboard Percussion Publications.