Hidden Universe
for six hands on one marimba
Hidden Universe by Ben Cato is a piece for three players on a single five-octave marimba. It was composed as an ode to the wondrous complexity of the cosmos, both known and unknown.
With two players operating from the normal side of the instrument while the third player plays from the accidentals side, the work is scored such that two of the players often act as a single player with four hands while the third performs an accompanist’s role. The syncopated and split nature of the parts requires a high level of rhythmic confidence, independence, and interdependence amongst the performers.
Hidden Universe ships as a fully bound score and includes individual parts in PDF format for either printing or tablet viewing.
- Marimba — 5-octave (shared)
Reviews
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Justin Bunting –
“Hidden Universe” joins a growing list of compositions for shared marimba. Aside from the obvious logistical advantage of only needing to have one instrument, there is a unique character to the music-making between players when they are standing at the same marimba. In both respects, I appreciate this piece and its minimal instrumentation.
Ben Cato writes, “[The piece] was composed as a tribute to the curiosity of the unknown among the stars.” In the opening, the layered sixteenth notes with moving accents are reminiscent of “Vespertine Formations” by Christopher Deane. Though Deane’s piece was inspired by observing flocks of birds, the similarity in portraying looking up to the sky is interesting.
The A section features a sixteenth-note ostinato in Player 3’s part, while the other two parts work as a duet in harmony, yet rhythmic unison. The B section is very highly syncopated. Player 3 has some melodic material on top of a rhythmic bass line in the other hand. Players 1 and 2 are creating a descending stream of sixteenth notes in each measure, with Player 1 providing the beat and the “e,” while Player 2 provides the “and” and “ah.”’ Clearly, performers on the Player 1 and 2 parts especially need to be strong, independent players.
This is elevated even more in the next section, which features almost 30 measures of hocket between Players 1 and 2. Player 1 has eighth notes and Player 2 fills in the “e” and “ah” in between. Sustaining this for an entire section of the piece presents a strong challenge to those performing it. The piece closes with a coda reminiscent of the beginning.
I recommend this piece for an advanced high school or college percussion ensemble looking for an impactful addition to any program. This piece works particularly well as an opener, as it is less than four minutes long and will grab the audience’s attention from the beginning.
—Justin Bunting
Percussive Notes
Vol. 62, No. 6, December 2024