Eine Kleine Nachtmusik (Mozart) (Download)

Mvt. 1 from Serenade No. 13 in G Major (K. 525)

Mark Hunter

Level: Medium

Duration: 3:45-8:00

Personnel: 4 players

State Lists: Texas | Missouri | Florida

Release Date: 2019

Product ID : TSPCE19-015DL

Price: $32.00

Item #: TSPCE19-015DL

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Description

Mozart’s Eine Kleine Nachtmusik is a quintessential piece from the Classical Period. It combines all of the tropes of that time: very stable harmonies with very clear resolutions, a strong sense of melody and accompaniment, and a very clear and easily digestible large-scale form. Mix that with an unforgettable melody and you’ve got a recipe for posterity, which in Mozart’s case has lasted for about 230 years. Mark Hunter has thoughtfully arranged Mozart’s seminal piece for mallet percussion quartet, making this piece available to young percussionists everywhere.

Use of this product is governed by the license terms outlined here.

Instrumentation

• Xylophone

• 2 or 3 marimbas–(1) 4-octave, (1) shared low A or (2) 4-octave, (1) low A

Reviews

Mozart’s “Eine Kleine Nachtmusik” is arguably one of the most iconic and recognizable works from the Classical period. Though often performed by string orchestras, this 1787 composition was originally scored for two violins, viola, and cello with an optional double bass. This instrumentation naturally lends itself to a setting for mallet percussion, resulting in a masterfully arranged quartet by Mark Hunter. With a tremendous amount of musical and technical benefit, this edition is appropriate for advanced high school or undergraduate-level students.

Hunter includes helpful historical context and interpretive considerations in the work’s program notes. For example, he discusses the importance of appropriate instrumentation and mallet choice to best replicate the sound of a string quartet. Furthermore, he details how trills should be interpreted based on Mozart’s original intentions, as well as modern-day performance approaches to sonata form. This maintains historical relevance and encourages discussion on the topic.

In many ways, this arrangement is true to the original work. Dynamics and phrase markings are clearly indicated but provide plenty of opportunity for ensembles to make their own musical decisions. While parts for Players 1 and 2 are more challenging than Players 3 and 4, all material is idiomatic for our instrument. Finally, the tempo range and optional repeats make the work very assessable for performers and audiences. This is an excellent and highly recommended addition to the chamber repertoire for keyboard percussion.

—Danielle Moreau
Percussive Notes
Vol. 58, No. 1, February 2020