Superfluous 1

Item details

Description +
- Duration: 2.30 min.
  
  Superfluous 1 was the result of a project I had to do during my doctoral studies at Northwestern University in 2009. Superfluous 2 was the chromatic offshoot of this project. Since I have an affinity for performing fugues on marimba and was asked to write a traditional fugue following the compositional rules I decided to write with the marimba in mind. The two fugues work very well as a pair, but can certainly be performed alone. The title is a play on the words "Super Fugue" and is a suggestion at how technically demanding it is to perform a fugue on marimba, as well as somewhat excessive to have to perform three or more voices with only four mallets. Nonetheless, we do it because we love it. Enjoy!
Instrumentation +
- Marimba (5-octave)
About the composer +
- Matthew Coley is a marimba, percussion, and dulcimer artist specializing in contemporary solo and chamber music and concerti. He is currently professor of percussion at Iowa State University, and holds degrees from Northwestern University and the University of North Texas. Matthew performs regularly as a soloist throughout the US and Europe, traveling annually to Chisinau, Moldova to perform concerts, concerto premieres, and masterclasses.
  
  He has performed as soloist with such ensembles as San Francisco Sinfonietta, Millen-nium Chamber Players, Moldavian Philharmonic and Tele-Radio Orchestras, and Third Coast Percussion. In 2010, he will also perform as soloist with several ensembles, finish his first solo marimba album, and tour with percussion duo SI2.
  
  In 2009 he was featured in Time Out Chicago Magazine, performed the US premiere of Marcin Blazewicz’s Concerto Rustico for marimba and strings, the World premiere of Ghenadie Ciobanu’s Breeze of the South Latitudes Marimba Concerto, and his composition, Journey for Solo Marimba, Piano, and Percussion Ensemble was featured as part of the University of North Texas Percussion Ensemble concert at the Percussive Arts Society International Convention.
  
  In 2008, Matthew place third in the prestigious 5th World Marimba Competition Stuttgart, and is the first American to ever place in this competition. In 2005, he placed third in the Minnesota Orchestra Young Artist Competition, and in 2000 won first in the Music Teachers National Association Solo Percussion Competition and the Percussive Arts Society Marimba Concerto Competition.
  
  Matthew is founding artistic director of SONIC INERTIA, and an active member in the percussion duo SI2 with Cory Hills. He collaborates regularly with choreographers and is most recently working with Valerie Williams and Co’Motion Dance Theatre. Matthew has presented concerts and masterclasses at several universities throughout the US, some of which include Louisiana State University, University of Maryland, and Virginia Commonwealth University. He is endorsed and published by Innovative Percussion, endorsed by Dynasty and Grover Percussion, and published by Edition SVITZER. He can be found on the web at www.hearmatthewcoley.com.
Reviews +
- Review (Percussive Notes, July (60) 2012)
  
  In the March 2012 issue of Percussive Notes I reviewed “Superfluous II” by Matthew Coley. An equally impressive composition is its predecessor, “Superfluous I.” While both are structured as fugues, the latter is more tonal than its chromatic counterpart. Do not be misled by the 28-measure duration of this piece. The innate musical demands of performing a fugue with four-mallets is heightened by the technical demands integrated by the composer.
  
  Proper balance of each voice during the counterpoint will challenge most marimbists; however, Coley pushes the technical boundaries at one point by sequencing an octave double-vertical passage in the left hand, while the right hand executes a figure combining single independent and double vertical strokes. Using all standard four-mallet marimba strokes, there is also the inclusion of the one-handed roll. From a technique standpoint, this work is easier than the sequel. However, advanced marimbists will still be humbled in a work only lasting two minutes.
  
  Phrase markings, slurs, and tenutos make the composer’s intent very clear. Additionally, several dynamic indications are included for each voice. Extremely helpful due to the contrapuntal nature of the work, it is always apparent which voice should be prominent. Those skilled enough to conquer one of Coley’s “Superfluous” compositions should be commended. Performing these two “Super Fugues” as a pair will undoubtedly mesmerize an audience, but it may leave some questioning the sanity of the performer!
  
  —Darin Olson
Credits +
- Front Cover graphics and layout: Ronni Kot Wenzell
  Engraving: Matthew Coley/Johan Svitzer
  Printed in Copenhagen, Denmark
  Copyright © Edition SVITZER
  www.editionsvitzer.com

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