Micro-concerto by steven mackey
Hunter Gross, Soloist
the University of North Florida Nu-Mix Ensemble
Performed with the UNF Nu-MIX Chamber Ensemble & Recorded on March 31st, 2021 at the University of North Florida Recital Hall in Jacksonville, Florida.
“ Percussionists tend to have an adventurous attitude about this: if they can reach it with an arm or leg, or hold it in the mouth it is fair game. I’m fascinated by the one-man-band mentality of juggling contrasting timbres produced by a gamut ranging from finely crafted instruments to kitchen utensils, and hobby shop paraphernalia. In addition to providing a virtuoso “vehicle” for the percussionist, Micro-Concerto also explores a variety of more complex roles that the individual can play in relation to the ensemble.”
Frum by áskell Másson
Performed by Hunter Gross
Áskell Másson’s “Frum” is a multi-percussion solo for 13 drums. “Frum” was written for Evelyn Glennie and dedicated to James Blades.
Video and Editing: Amy Batten
Audio: Dr. Joshua Tomlinson
mirage pour marimba by yasuo sueyoshi
Performed by Hunter Gross
*First Prize - Percussive Arts Society International Convention Competition, Keyboard Division
“Mirage is a marimba solo published in 1975 as part of the book “Marimba Pieces 1.” This piece is extremely technically challenging and also poses distinct musical problems. The piece is made up of four main sections, each unique but linked by the appearance of subito fortissimos and rapid grace notes. The first section contains three small parts, and introduces the fortissimo and rapid grace note themes immediately. The first part is made up of rapid fortissimo passages juxtaposed with small, reserved soft gestures. The middle of the section is a slow gently swelling piano section. The third part returns to the rapid fortissimo gestures.
The second section is a funeral march with dark sonorities. The soft march is static, but contains interpolations of loud, harsh notes in the high register of the instrument. The end of the section ends in a loud scream or cry, followed by another return to the fast and loud grace note passages. After a short transition, the third section starts with a swelling tripletty dance. The section eventually grows to a fortissimo climax, before dying out. The final section is extremely difficult and remains fortissimo until the very end. It moves quickly across the entire instrument and accelerandos to as fast a tempo as the performer can muster. Eventually the energy dissipates and the piece shrinks back into darkness.”