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Unknown: Mr. Hyde's mood just after he's committed a murder. And when we were rehearsing it this morning I asked dawn well, gee, what is this particular trombone solo mean? And he said, Oh, I don't know what some, just some grotesque thought. So

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with that in mind, we hope you enjoy this Well I managed to finally course a composer and to come up on stage it's very exciting. Um, let me introduce our composer of the next work Libby Larsen.

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And I shouldn't I wanted to mention is something that's unusual and that all of the soloists that we're featuring this entire festival, each of the works they're performing has been written specifically for them. So this is Bill Merce for

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whom Libby wrote this concerto. So we haven't rehearsed this. So excuse us where I've never done my monologue as a duet, but that's what that's what we're going to try to do. So maybe you want to tell them a little bit

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about the piece. And hopefully, I'll know when to bring the orchestra and we'll see how it goes. This piece, of course, is a concerto and the object of a concerto is to show one instrument or one section of an

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orchestra off, let them show off this piece, I hope does that the piece, it passes a great deal of little bits of material. From the marimba to the orchestra or from one instrument in the orchestra to another instrument in the orchestra. The first

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movement really is an exploration of that. So in the opening You will hear the bassoon passing some material to the strings. So far so good.

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Of course we have to bring in the marimba and let the marimba begin its its journey of the solo concerto instrument. So as the first movement unfolds, the marimba begins to take longer and longer lines, and then joins in the game of passing little

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bits of music around in the orchestra. Well, I don't make it any easier on anyone as the as the movement moves along, things become faster, more difficult, more hectic, until by the end of the of the movement, there's a

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section which is called pass the plate to jazz term, in which one instrument begins to improvise and then passes off the material to another instrument and they try to outdo each other and make each other make mistakes. I couldn't resist that kind of

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image as a composer. And so we'll play a little bit of the past the plate section. So the first movement really is a game of between the marimba and the orchestra and sections of the orchestra. The second

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movement is a quiet, slow can tabulate movement. When I first thought of writing for marimba, I thought what can the marimba do and it can go thug and it can go Thugga saga, and like it's like a saga saga. But will emerge Of course dispelled me of

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that myth quite quickly. Besides saga saga, the marimba can can make the most beautiful, singing lyrical lines. The second movement is an exploration of those lyrical lines. The marimba and the strings take the textures of this movement

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in a hall that has great resonance, sometimes it's very difficult to even to tell the marimba is even going Fugu Fugu at all when it's playing a beautiful line. So the way that bill plays the second movement of the concerto, the third

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movement of the concerto brings the percussionist who have been hiding in the back up to the front end it really turns into a percussion concerto, as well as a marimba concerto. There's a great deal of material from many parts of our culture. In

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particular, there is a rhythm, which goes da da da da da da da da da da da da da, which is an African drumming pattern that you will hear throughout this movement in many fashions we'll play that for you.

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It's such a it's such an infectious rhythm we've all been walking around going. I happen to be an environmentalist, and I take the opportunity in many of my pieces to to do some subliminal suggesting in this piece. There's a section in

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which I use Morse code for save the rain forest. You got to hear this For those of you who are Morse code experts, this is an artistic interpretation. Finally, there are there are two

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Welsh tunes that we use. Again playfully, one of them is a tune in entitled constant Billy, which is a lovely six, eight jig tune is a very, very old tune. And we use it in such a way that you'll hear the tune, perhaps in the marimba, and then and then a

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chord from the Yorker. So we'll just go blap and stop whoever happens to be playing the tune at that time. We're doing the trumpet one, you'll hear it in the trumpet, okay.

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You'll hear a double time and the clarinet in which is interrupted I think by big smash on the oil drum. And the other tune is a tune called setting the beans which is a Welsh Morris dance. The section that will play for you and this will

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be our last example is the section where I tried to combine setting the beans constant Billy and the African dance rhythm. Thank you so much.