One of my favorite concertos would have to be Ney Rosauro’s Marimba concerto No. 1.

The
concerto contains a wide influx of musical features and contains a variating melody that
enamors all who listen to it. The first movement begins with a sharp and direct entry from
the soloist accompanied by the lower woodwinds and low strings, playing a captivating
rhythmic ostinato. The alternation of the time signatures helps to create an uneasy and
restless atmosphere that keeps audiences captivated. The music then changes moods and
starts to follow a straight 4/4 time signature, with the brass and percussion playing another
ostinato. The solo marimba pierces through with a complicated rhythm, with the music then
changing back to the 5/8,6/8 and 7/8 time signatures.

The second movement is much slower and plays with pentatonic scales, setting a romantic
and lustful mood, with the soloist playing a one-handed roll in his left hand and difficult
rhythms on the right. The use of the higher woodwinds such as the clarinets to create a call
and response motif also emphasizes this loving feel. The whole orchestra has to be very
expressive throughout this movement.

The third movement, titled “Dance”, is energetic and vibrant, with the melody being lyrical
and full of character. The nature of this movement is bright and cheerful, however it soons
becomes a bit more serious and bombastic, with the tempo going at a slower pace, but
vastly more rhythmic than the last phrase. The movement then changes to 3/4, with the
marimba playing double strokes in a chromatic scale. This further emphasizes the grand feel
that this phrase takes. Shortly after, the music becomes more mellow and gentle, again with
the marimbist cutting through with double strokes

The fourth movement starts with a captivating and engaging ostinato in compound time,
brought out by the marimbist’s sticking, with his left hand almost always playing constant
quavers. The movement then changes with a cadenza from the marimba player, reprising all
the themes played in the former movements, then switching to forms of the introduction
and beginning movements. Finally, the piece ends with a pause and a descending chromatic
scale from the marimba, ending loudly on the lowest note.

Another concerto that I like would have to be Emmanuel Sejourne’s Concerto for Marimba
and String Orchestra. It plays with a mournful theme, letting the soloist express his
emotions through the marimba. The first movement begins with a solemn string opening,
followed by a cadenza by the solo marimba. The marimba player’s technique has to be
extremely good as he navigates the complicated sticking and dynamics carefully. The
movement is characterized by the long, drawn out rolls that exhibit character and
musicality, bringing out a somber tone.

The second movement is a more energetic and rhythmic adventure, with a brighter and
more cheerful attitude. The marimbist must not only show great technique but also a strong
sense of musical expression, due to the difficult stroking. Halfway through, the movement
takes a character more similar to the first movement, with many long single stroke rolls
from the marimba player and pizzicatos from the strings. After this phrase, the strings play a
slow, sad and wishful theme, before the end of piece where the main motif is once again
played.
The concerto I prefer would be Emmanuel Serjoune’s concerto. I feel that despite there
being less musical ideas expressed, the emotion and expressiveness in the piece are much
more extravagant and touching than Ney Rosauro’s. The technique expressed is also much
more challenging, leading to a rewarding experience listening to how the marimbist
excellently plays the song with great musicality.