Our line of ORCHESTRAL EXCERPTS was designed from the very beginning to be of the utmost quality and utility. We enlisted the finest practitioners in their respective fields to provide the scope of the excerpts and their own thoughts on and analysis of the most often requested audition pieces from the repertoire.
We were fortunate to have Jeanne Baxtresser, former Principal Flute with the New York Philharmonic, launch the series in spectacular fashion. For the piccolo, Jack Wellbaum, of the Cincinnati Symphony Orchestra, lent us his vast experience and wisdom. And there would be no better choice to cover the world of operatic flute playing than Michael Parloff of The Metropolitan Opera! Throughout, Martha Rearick provided the amazing piano transcriptions that so eloquently match the flute parts.
We also determined that providing the excerpts in their original form - the editions that are most often used in the audition process - would be of great benefit. This actually entailed much more effort, but it should prove invaluable for the auditioning flutist. In many cases, printing is suspect, page turns are in awkward spots, and the music has been through many hands before. Our authors also give their advice in this aspect of auditioning and the benefit of their own experiences with auditions.
Theodore Presser Company's ORCHESTRAL EXCERPTS has grown to now four volumes for flute, plus Orchestral Exerpts for Oboe and Orchestral Excerpts for Timpani. And there are plenty more to come...
ORCHESTRAL EXCERPTS FOR FLUTE with Piano Accompaniment
REVISED EDITION
Selected and Annotated by JEANNE BAXTRESSER Piano Reductions by MARTHA REARICK
Theodore Presser Company
414-41171 • $48.00
Also available: Jeanne Baxtresser's audio CD recording of the Excerpts, 414-41171D • $24.95
Download the Updated Errata for Daphnis et Chloé
(page 43 of your flute part)
Jeanne Baxtresser, principal flautist with the New York Philharmonic, and Martha Rearick, also an orchestral flautist and much in demand as a pianist, have assembled
THE source book for the auditioning orchestral flautist.
Many times, over the last few years, I have wished that I could have the opportunity to add a few new ideas and to continue polishing the original. With this revised edition, my opportunity is here.
— Jeanne Baxtresser
Already a staple in flute pedagogy, former New York Philharmonic principal flutist Jeanne Baxtresser’s Orchestral Excerpts for Flute becomes even more essential with this revised edition containing over 50 of the most-requested audition pieces, including Mahler’s Das Lied von der Erde, Ravel’s Daphnis et Chloe, Stravinsky’s Petrouchka, and dozens more. This newly enhanced edition is packed with helpful tips and performance notes, additional errata, new and alternate fingerings, suggested tempi for all pieces, plus two updated, professional, principal flute audition lists. As required literature for more and more college courses, Orchestral Excerpts For Flute: Revised Edition is a must-have flute book for advanced players.
This book will be appreciated by professional flutists and all serious students of the flute. Congratulations to both Miss Baxtresser and Miss Rearick.
— Julius Baker, Former Principal NY Philharmonic
The excerpts are well chosen, and for my money, [Ms. Baxtresser’s] comments are right on the mark. Bravo!
— Donald Peck, Principal Flute, Chicago Symphony Orchestra
…it clears out many misprints or mistakes in the orchestral parts that we use every day in orchestral life, without having to look into the score… [This] book explains maximum concentration, control and creativity ‘from inside the music’…’
— Emmanuel Pahud, Principal Flute, Berlin Philharmonic
EXCERPTS
Debussy, Claude
Prélude a l’apres-midi d’un faune
Gluck, Christoph
Menuet and Dance of the Blessed Spirits (from Act II of Orpheus)
Hindemith, Paul
Symphonic Metamorphosis; Turandot, Scherzo, Movement II
Mahler, Gustav
Das Lied von der Erde; Movement VI, Der Abschied,
excerpts with vocal cues
Prokofiev, Sergei
Classical Symphony, from Movement II; Peter and the Wolf
Ravel, Maurice
Bolero; Daphnis et Chloë
Rossini, Gioacchino
William Tell Overture
Saint-Saëns, Camille
Carnival of the Animals, 10. Volière
Strauss, Richard
Dance of the Seven Veils; Till Eulenspiegel’s Merry Pranks
Stravinsky, Igor
Chant du Rossignol; Firebird Suite, 1919 Version; Petrouchka,
1947 Revised Version
Tchaikovsky, Peter Ilyitch
Symphony No. 4
ORCHESTRAL EXCERPTS FOR PICCOLO with Piano Accompaniment
Selected and Annotated by JACK WELLBAUM
Piano Reductions by MARTHA REARICK
Theodore Presser Company
414-41180 • $40.00
A collection of excerpts compiled during Jack Wellbaum’s many years in the Cincinnati Symphony. The selection of contents is based on those excerpts most frequently asked for in auditions. Orchestral Excerpts for Piccolo includes well-known (and sometimes feared) piccolo solos, such as Movement 3 of Tchaikovsky’s Symphony No. 4, Sousa’s The Stars and Stripes Forever, and Movement 2 from Shostakovich’s Symphony No. 8. Not only are the excerpts arranged so that page breaks coincide with page turns in the actual publication, but the expert piano reductions allow a student to understand how the solo relates to the rest of the orchestra.
With this book, the student can learn the solo, and then in the privacy of the studio, learn to perform the solo with all the harmonies and countermelodies of the orchestral part. This is a remarkable achievement; a book that every young piccoloist must master.
— Jan Gippo, Solo Piccolo, St. Louis Symphony
The publication of orchestral piccolo excerpts with piano accompaniment has been long awaited and is a boon to all piccolo players. Jack Wellbaum and Martha Rearick are to be congratulated on their excellent work… As orchestral flautists need to be able to play the piccolo to a reasonable standard these days, whether professional or amateur, this publication is essential for the library of all flute players as well as the piccolo specialists.
— Frederick A. Shade, Principal Piccolo, Melbourne (Australia) Symphony Orchestra
EXCERPTS
Bartók, Béla
Excerpts from Concerto for Orchestra, Rumanian Folk Dances
van Beethoven, Ludwig
Symphony No. 5, Symphony No. 9
Berlioz, Hector
La damnation de Faust, Symphonie fantastique
Borodin, Alexander
Polovetsian Dances (Prince Igor)
Brahms, Johannes
Variations on a Theme by Haydn
Britten, Benjamin
Excerpts from The Young Person’s Guide to the Orchestra
Delibes, Léo
Coppelia, No. 11: Musique des Automates
Dukas, Paul
The Sorcerer’s Apprentice
Hindemith, Paul
Nobilissima visione
Prokofiev, Serge
Birth of Kijé, Troika (Lieutenant Kijé)
Ravel, Maurice
Daphnis et Chloé, Concerto for Piano and Orchestra, Boléro,
Ma Mére L’Oye, Rapsodie Espagnole
Rossini, Gioacchino
Overture to La gazza ladra, Overture to La scala di seta,
Overture to Semiramide
Shostakovich, Dmitri
Excerpts from Symphonies 5, 6, 8, 9 and 10
Stravinsky, Igor
Variation de l’oiseau de feu, Fonde des princesses
(Firebird Suite, 1919 version)
Sousa, John Philip
The Stars and Stripes Forever
Tchaikovsky, Peter Ilyitch
Chinese Danse (The Nutcracker); excerpts from Symphonies 4 and 6
…plus more!
OPERA EXCERPTS FOR FLUTE with Piano Accompaniment
Selected and Annotated by MICHAEL PARLOFF
Piano Reductions by MARTHA REARICK
Theodore Presser Company
414-41183 • $40.00
The ultimate audition book for aspiring orchestral flautists in the world of opera. Michael Parloff, Principal Flutist with The Metropolitan Opera, brings his extensive real-world experience to bear in this indispensable handbook. Crammed with the most-requested audition pieces from the opera world, this book presents the flute part as you would see it, with notes, tips, and background by Parloff.
Add to this Martha Rearick’s precise piano reductions, which capture the tone of the orchestra, not just the notes. This helps to impart the feel of the work, to enhance rehearsal time.
If you are preparing for an opera orchestra audition, or need to get to know the Big Tunes, Michael Parloff advises, gives some background information, and provides a piano accompaniment so that you will be as well prepared as possible. All the well-known operas are here in one book. Michael has done a great job.
- Trevor Wye
Michael Parloff’s new book is a must-have for every flutist. It is incredibly well researched, and draws heavily on Mr. Parloff’s unique experience over many years at the Metropolitan Opera. The excerpts are presented clearly and with good humor, but the real stroke of genius is the reproduction of the ACTUAL flute parts that one will encounter in an opera production…You need this book!”
— Ransom Wilson, Soloist; Professor of Flute at Yale University
EXCERPTS
Bizet, Georges
Excerpts from Carmen, The Pearl Fishers
Donizetti, Gaetano
Excerpts from L’Elisir d’amore, Lucia di lammermoor
von Gluck, Christoph Willibald
Menuet and Dance of the Blessed Spirits (Orpheus and Eurydice)
Gounod, Charles
Introduction to Faust
Mozart, Wolfgang Amadeus
Excerpts from Così fan tutte, Don Giovanni and The Magic Flute
Puccini, Giacomo
Excerpts from La Bohème, Madama Butterfly,
Manon Lescaut, Tosca
Ravel, Maurice
Excerpt from L’Enfant et les Sortiléges
Rossini, Gioacchino
Excerpts from The Barber of Seville,
Overtures from Semiramide and William Tell
Saint-Saëns, Camille
Danse Bacchanale (Samson and Delilah)
Smetana, Bedrich
Excerpts from The Bartered Bride
Strauss, Richard
Excerpts from Der Rosenkavalier and Salome
Tchaikovsky, Piotr Ilyich
Excerpts from Eugene Onegin
Verdi, Giuseppe
Excerpts from Aïda, Don Carlo, Falstaff, I Lombardi,
Otello, Rigoletto and La Traviata
Wagner, Richard
Excerpts from Götterdämmerung, Lohengrin, Die Meistersinger
von Nürnberg, Parsifal, Siegfried and Tannhäuser
GREAT FLUTE DUOS from the Orchestral Repertoire
Excerpts for Principal, Second, and Alto Flute Auditions
Compiled and Annotated by JEANNE BAXTRESSER
Second Flute Commentaries by RENÉE SIEBERT (Second Flute, New York Philharmonic)
Alto Flute Commentaries by DAVID CRAMER (Associate Principal Flute, Philadelphia Orchestra)
Theodore Presser Company
414-41186 • $48.00
Jeanne Baxtresser has chosen the most-requested audition pieces and many of the most beautiful duets in the orchestral repertoire for Great Flute Duos. All flute parts are printed exactly as they appear in the most often used editions, retaining the original page breaks and turns to replicate the audition experience. Each excerpt is presented along with Ms. Baxtresser’s commentary and advice on preparation and performance.
Renée Siebert, Second Flute, New York Philharmonic, lends her wisdom and experience to the second flute parts, published in a separate pull-out book. A second pull-out from the volume includes rarely reprinted alto flute parts with advice on performance by David Cramer, Associate Principal Flute, Philadelphia Orchestra.
A virtual audition manual for aspiring orchestral flutists, special focus is given to the qualities of musical leadership needed in a principal flutist, the complex challenges of a second flute position and valuable suggestions for the performance of the major alto flute solos.
EXCERPTS
Bach, Johann Sebastian
Cantata No. 208, “Was Mir Behagt”: Sheep May Safely Graze,
Magnificat: Esurientes Impelerit Bonos, Mass in B minor: Kyrie eleison,
Qui Tollis, The Passion According to St. Matthew: Du lieber Heiland du
Buß und Reu, So ist mein Jesus nun gefangen, Andante
Symphony No. 1 in C minor, Symphony No. 2 in D Major,
Variations on a Theme of Joseph Haydn (Variation 3, Variation 5)
Britten, Benjamin
The Young Person’s Guide to the Orchestra: Variation A
Debussy, Claude
Prélude a l’apres-midi d’un faune
Dvorák, Antonín
Symphony No. 9 in E minor, “From the New World”
Holst, Gustav
The Planets (Saturn, the Bringer of Old Age, Neptune, the Mystic)
Mendelssohn, Felix
Incidental Music to “A Midsummer Night’s Dream”; Notturno,
Symphony No. 4 in A Major, “Italian”
Prokofiev, Sergei
Symphony No. 1 in D Major, “Classical”
Ravel, Maurice
Alborada del Gracioso; Daphis et Chloe, Suite No. 2;
Le Tombeau de Couperin; Forlane; Rigaudon; Ma Mère l’Oye;
Pavane de la Belle au bois dormant
Rimsky-Korsakov, Nicolai
Scheherazade: Mvt. II, Mvt. III, Mvt. IV
Shostakovitch, Dmitri
Symphony No. 5, Mvt. III, Symphony No. 10, Mvt. II, Mvt. IV,
Symphony No. 13, “Babi Yar”, Mvt. V
Smetana, Bedrich
The Moldau
Strauss, Richard
Till Eulenspiegel’s Merry Pranks
Stravinsky, Igro
The Rite of Spring
Tchaikovsky, Piotr Ilyich
Symphony No. 4 in F minor, Mvt. I, Mvt. III; Symphony No. 5 in E minor, Mvt. III, Mvt. IV; Suite No. 3, Mvt. IV, Var. 1, Var. 3
Verdi, Giuseppi
Rigoletto; “Caro nome”
ORCHESTRAL EXCERPTS FOR OBOE with Piano Accompaniment
Selected and Annotated by JOHN FERRILLO
Principal Oboe, Boston Symphony Orchestra
Piano Reductions by MARTHA REARICK
Theodore Presser Company
414-41189 • $40.00
• The most frequently requested oboe audition pieces, with Ferrillo’s advice and tips on each!
• Oboe parts are faithful reproductions of the editions most often used - some easy to read, some not! These are the parts from which you will likely be asked to read.
• Includes original markings and page turns.
• Includes a fascinating glimpse at the audition process through Ferrillo’s own trials and tribulations! Even the best aren’t often successful the first time around. Or the second. Or the third...
Your complete guide to and preparation for the audition experience. Includes Martha Rearick’s wonderful transcriptions of the orchestral background, designed to enhance and maximize your practice sessions.
This is the book for all orchestral oboists!
View the complete Table of Contentsonline or as PDF (125KB)
Sample Excerpts
Oboe Part
Piano Accompaniment
Brandenburg Concerto No. 1
Johann Sebastian Bach
Click thumbnails for sample pages.
La Mer
Claude Debussy
Click thumbnails for sample pages.
John Ferrillo
Principal Oboe, Boston Symphony Orchestra
Boston Symphony Orchestra Mildred B. Remis chair,
endowed in perpetuity in 1975
John Ferrillo joined the Boston Symphony Orchestra as principal oboe at the start of the 2001 Tanglewood season, having appeared with the orchestra several times as a guest performer in recent seasons. From 1986 to 2001 he was principal oboe of the Metropolitan Opera Orchestra. Mr. Ferrillo grew up in Bedford, Massachusetts, and played in the Greater Boston Youth Symphony Orchestra. He is a graduate of the Curtis Institute, where he studied with John deLancie and received his diploma and artist’s certificate. He also studied with John Mack at the Blossom Festival and has participated in the Marlboro, Craftsbury, and Monadnock festivals.
Prior to his appointment at the Metropolitan Opera, Mr. Ferrillo was second oboe of the San Francisco Symphony, and was a faculty member at Illinois State University and West Virginia State University. A former faculty member of the Mannes School of Music and Juilliard School of Music in New York City, he has taught and performed at the Aspen and Waterloo festivals and at the Mannes Bach Institute, and currently serves on the faculty of the New England Conservatory. (www.bso.org)
“The music is intimate, elegant, and autumnal, and Ferrillo played it with pinpoint dynamic control, astonishing beauty of tone and span of breath, wit, and quietly radiant feeling.”
-- Richard Dyer, Boston Globe
“The performance of Bernard Rands’ Concertino for Oboe and Ensemble was never in danger of lacking shape or direction: from the very opening gesture, it was clear that solo oboist John Ferrillo was in charge... Ferrillo’s command over every aspect of the instrument during the demanding cadenzas was inspiring.”
-- Brad Balliett, Classical Review, The Tech (M.I.T.)
“There was dazzling solo playing from the fearless high attacks of James Sommerville (horn) and John Ferrillo (oboe) at the opening right through to the end.”
-- Richard Dyer, Boston Globe
ORCHESTRAL EXCERPTS FOR TIMPANI with an Audio CD of orchestral performances
of each excerpt, plus pracitce tracks
Selected and Annotated by RANDY MAX
Theodore Presser Company
414-41194 • $39.95
Orchestral Excerpts for Timpani contains authentic parts for 57 of the most-requested audition excerpts for timpani. The enclosed 78-track audio CD includes these excerpts played by major orchestras, plus 21 play-along practice tracks. This unequalled collection is enriched by comments and performance suggestions by Randy Max, timpanist of the Rotterdam Philharmonic, who also offers detailed tuning plans, advice for practicing timpani and ear training, and historical information. The latest addition to the hit Orchestral Excerpts series, this unique book with audio provides indispensable audition preparation material for timpanists of all levels, from student to professional.
Editions
Tempo Lists
The Audio CD
Tuning Plans
Commentaries
Errata Listings
and Biographies and Historical Information
Decide for yourself whether Orchestral Excerpts for Timpani is the best timpani excerpts book ever.
Check out the following excerpts, then see what timpanists have been saying about this important new resource and browse the extensive list of contents!
Orchestral Excerpts for Timpani is a spectacular book! Wonderfully annotated and researched with many helpful suggestions both musical and technical. It should be in every timpanist’s library. I think it may become a classic!
Stanley Leonard,
Principal Timpani
Pittsburgh Symphony (retired)
Your book is simply outstanding! Congratulations on what is by far the best orchestral timpani book ever written. The work and research you have put into it is clearly monumental. It has everything one could ask for and more. I find the practice tracks simply an amazing idea, and to have indicated the various tempos of recordings of each excerpt is something out of the ordinary. Also great are the explanations of how to go about playing the excerpts, and the historical content which is very unique for an excerpt book. I have already recommended this book many times and will keep on doing so.
Andrei Malashenko,
Principal Timpani
Montreal Symphony
Orchestral Excerpts for Timpani is a must for the student, teacher, and professional. It contains a complete inventory of excerpts and is a tremendous help with preparing for auditions. For many of the excerpts there are several options for executing the passage, allowing the player to choose what will be the most effective method under various conditions. I have also found this book very helpful for any professional to re-evaluate and solidify what can become stagnant under years of performances. Congratulations, Randy!
Rick Holmes,
Principal Timpani
St. Louis Symphony Orchestra
Thank you, Randy, for creating THE timpani excerpt book for which we’ve all been waiting.
Gordon Gottlieb,
NY studios, regular guest-NY Philharmonic
Faculty, The Juilliard School
Lifetime member-Impèrio Serrano Escola de Samba, Rio de Janeiro
This is the best timpani repertoire book in the past 20 years by a mile!! I’m so glad you used the real (authentic) parts and made really great comments on everything; and the CD is the icing on the cake!
Tom Freer,
Assistant Principal Timpani/Section Percussion
The Cleveland Orchestra
Randy Max has provided timpanists with the most comprehensive orchestral excerpt book in print. Invaluable are the technical insights, historical performance practice, and an audio CD of orchestral performances plus practice tracks. This book goes far beyond the written part to focus on details that will enlighten and enhance the performance. Orchestral Excerpts for Timpani belongs in every timpanist’s library.
James Campbell,
Director of Percussion Studies
University of Kentucky
Your book is very interesting for everyone, even for older timpanists who already have orchestral playing experience. It is especially interesting, though, for younger players who do not yet have very much experience and are still taking auditions. I think that this book gives many answers and ideas about how to handle difficult bars of pieces. The CD helps very much, too, to be able to listen to how the excerpts should sound. I want to recommend this book to every timpanist, both students and professionals.
Lassi Erkkilä,
Principal Timpani
Finnish Radio Symphony
I’ve had a good look and listen to your book and CD and think this is a wonderful addition to the training of prospective timpanists. It’s a new approach, indicating stickings and tuning plans of respected colleagues, giving students a feeling for the range of possibilities for their own musical development and style.
David Punto,
Professor and Chair of the Timpani and Percussion Department
Univerität der Künste Berlin
For anyone interested in learning the repertoire – be it a young student, a seasoned graduate preparing for an audition or a grizzled professional looking for new inspiration, this book suddenly seems indispensible. It is certainly the most thorough book geared toward actually playing the music I’ve come across: very specific, practical, and yes, fun to work from. Take a deep breath and enjoy!
Erik Charlston,
Co-Chair, Percussion Department, Manhattan School of Music
Randy Max's Orchestral Excerpts for Timpani is now at the top of the list of Must Have books for the serious timpani student. It is simply unsurpassed in it's comprehensiveness, detail and clarity. Bravo Randy!
Jim Atwood,
Louisiana Philharmonic Orchestra
Cloyd Duff Timpani Masterclasses
For some people auditions can be more mental than physical. Your book really helps overcome some of those anxiety problems and will help to bring about confidence in the player’s performance. Congratulations on a job well done.
Gerald Carlyss
Philadelphia Orchestra and Indiana University (retired)
Randy Max’s Orchestral Excerpts for Timpani examines the repertoire from every angle. This mass of information is delivered clearly and concisely, in an advisory rather than dictatorial manner. Furthermore, the introduction contains many invaluable ideas on practising excerpts, audition preparation, and ear training. An essential resource for any student or professional.
Matt Perry
Royal Philharmonic Orchestra
Royal College of Music
Trinity College of Music
I have heard the statement “too much knowledge is dangerous”; however when it comes to preparing for an audition, the more knowledge you have the more prepared you are. Randy Max has written a book that gives you not only the music but information about the variations of tempi one can expect for the excerpt, historical facts about the music, BIOs of the composers and suggestions for practicing, tuning and sticking for both American and German style timpani playing. All this and a CD that accompanies the book so the excerpts can be heard and practiced. Orchestral Excerpts for Timpani is a “must have” book for the serious timpanist preparing for an audition. The 57 compositions represent the most requested audition excerpts and are done in a well organized, informative and easy to read manner. Highly recommended.
John H. Beck,
Professor Emeritus of Percussion,
Eastman School of Music
Orchestral Excerpts for Timpani by Randy Max on how to study and learn the repertoire is by far the best volume I've ever read. Everything from dealing with practicing and studying each part to preparing for auditions is very well covered in every aspect. The repertoire list is carefully picked and very well presented. The audio CD of orchestral performances of each excerpt and the practice tracks are presented in a very intelligent way. This volume is a must for everyone who wants to explore the art of orchestral timpani playing. Congratulations, Randy!
Tom Vissgren,
Principal Timpanist,
Oslo Philharmonic Orchestra
Nothing is more significant in taking an audition than knowledge of the repertory and experience performing with an orchestra. In this remarkable book, Randy Max has chosen specific and pertinent works that appear at auditions. To my knowledge, nothing in the literature for timpani has so richly created the vicarious experience of performing with an orchestra.
Even more remarkable is the wealth of information concerning the pieces: technical considerations, variations in historical interpretations (tempi, etc.), and so many gems of wisdom pertaining to the practical as well as sophisticated aspects of performance. On top of all that, he includes orchestral recordings to play along with!
One may say it is necessary to follow the conductor. There is always an intrinsic necessity to listen to the orchestra reacting to the conductor’s beat, to the intricacies of fitting in with rhythmic details, to dynamics and overall volume, and to the shaping of phrases. At the risk of being redundant, listening to the orchestra cannot be overemphasized.
What happens if the conductor makes a mistake or gets lost? What if the conductor’s beat becomes vague or unclear? The timpanist is thrown into a very responsible position! The power of the timpani is equal to any entire section of the orchestra and therefore has the ability to draw the orchestra together. There were a few instances in my own experience where such mishaps have taken place. Of course, the reverse of this is a mistake by the timpanist – but let’s not talk about that! For all these reasons, I seriously recommend thoroughly studying every entire piece with both score and recording.
I am quite privileged to write this preface for Randy’s book because it is a historical document, a compendium of vital information, and an essential tool in preparation for a life as a professional timpanist.
William Kraft
Santa Barbara, California; January 2010
Composer-in-Residence, Los Angeles Philharmonic Orchestra (1981-85)
Timpanist, Los Angeles Philharmonic Orchestra (1962-81)
Randy Max covers all of these excerpts —
SAMUEL BARBER Medea’s Meditation and Dance of Vengeance
[28] - [32]
BÉLA BARTÓK Concerto for Orchestra
Mvt. 4, bars 42-50
Mvt. 5, bars 5-59
Mvt. 5, bars 383-412
Mvt. 5, bars 550-572 Music for String Instruments,
Percussion, and Celesta
Mvt. 2, bars 301-338
Mvt. 4, bars 26-63 Piano Concerto No. 2
Mvt. 1, bars 95-109
Mvt. 3, bars 3-44 Violin Concerto No. 2
Mvt. 1, bars 291-297
Mvt. 2, bars 11-18
Mvt. 3, bars 442-503
Mvt. 3, bar 615 to the end
LUDWIG VAN BEETHOVEN Symphony No. 1
Mvt. 3, Menuetto, 1 before [A] to bar 79
Mvt. 3, Trio, bars 124-137 Symphony No. 5
Mvt. 3, [C] to the end
Mvt. 4, bars 1-22 (374-395 in some editions) Symphony No. 7
Mvt. 1, bar 89 to 1 after [C]
Mvt. 1, bars 409 to the end
Mvt. 4, 3 before [K] to the end Symphony No. 8
Mvt. 4, 6 before [K] to the end Symphony No. 9
Mvt. 1, bars 16-35
Mvt. 1, 4 before [K] to 7 after [L]
Mvt. 1, 18 before [S] to the end
Mvt. 2, [F]-[H]
Mvt. 4, bar 849 to the end Piano Concerto No. 5, “Emperor”
Mvt. 3, bars 17-42
Mvt. 3, bar 402 to the end Violin Concerto
Mvt. 1, bars 1-9
HECTOR BERLIOZ Symphonie Fantastique
Mvt. 4, bars 1-17
Mvt. 5, 3 before animato (bar 493) to the end
JOHANNES BRAHMS Symphony No. 1
Mvt. 1, bars 1-9
Mvt. 4, bar 375 to the end
BENJAMIN BRITTEN The Young Person’s Guide to the Orchestra
Variation M (percussion), bars 1-10
ELLIOTT CARTER Variations for Orchestra
Bars 601-623
EDWARD ELGAR Variations on an Original Theme, “Enigma” Variation 7 (Troyte)
Variation 13, Romanza (***)
PAUL HINDEMITH Symphonic Metamorphosis on
Themes by Carl Maria von Weber
Mvt. 2, 5 after [S] to [T]
Mvt. 2, 5 after [V] to 8 after [W]
GUSTAV MAHLER Symphony No. 5
Mvt. 1, bar 316 to [15]
Mvt. 5, 12 after [34] to the end Symphony No. 7
Mvt. 5: [223] to 3 before [227]
Mvt. 5, 6 before [260] to 4 after [261]
Mvt. 5, 3 after [290] to [291]
FRANK MARTIN Concerto for 7 Winds, Timpani, Percussion, and Strings
Mvt. 3, 6 after [18] to 7 after [22]
WOLFGANG AMADEUS MOZART Symphony No. 39
Mvt. 1, bars 1-21
SERGEI PROKOFIEV Symphony No. 6
Mvt. 2, 4 after [49] to 4 after [50]
WILLIAM SCHUMAN New England Triptych
Mvt. 1, “Be Glad Then, America” bars 1-13
Mvt. 1, “Be Glad Then, America” bars 122-152
DMITRI SHOSTAKOVICH Symphony No. 1
Mvt. 4, solo cadenza at [35]
RICHARD STRAUSS Burleske
Bar 1 to [A] 7 after [L] to 22 after [L] Der Rosenkavalier Suite
Quick Waltz, 6 after [62] to the end
IGOR STRAVINSKY The Rite of Spring
[189] to the end
PIOTR ILYITCH TCHAIKOVSKY Symphony No. 4
Mvt. 1, 4 before [T] to 2 before [V]
Mvt. 4, bars 272 to the end
RICHARD WAGNER Götterdämmerung
Siegfried’s Funeral March, bars 1-29
ABOUT RANDY MAX —
Randy Max joined the Rotterdam Philharmonic as principal timpanist in 1988, where he performed the European premiere of the Timpani Concerto No. 1 by William Kraft. He has also performed extensively as timpanist with the Budapest Festival Orchestra, with whom he has appeared as soloist and toured North and South America, Europe and Russia.
Randy earned his undergraduate degree at the St. Louis Conservatory, where he studied with Rick Holmes and John Kasica. He received his Master’s Degree from The Juilliard School, where he studied with Roland Kohloff, Buster Bailey, and Walter Rosenberger, and attended master classes with Saul Goodman. Upon graduation he was appointed timpanist and percussionist of the Radio City Music Hall Orchestra by former Radio City timpanist and personnel manager Robert Swan. In New York, Randy was also timpanist and percussionist with the Orchestra of St. Luke’s, with whom he played on many recordings including John Adams’ Nixon in China.
He spent two summers as timpanist with the National Repertory Orchestra and attended Tanglewood as a timpani/percussion fellow. Randy has given master classes in the United States and Europe, and co-presented the Roland Kohloff Memorial Master Class at PASIC 2006. He has performed with many ensembles including the Flemish Radio Orchestra, New York Philharmonic, Orchestre de Paris, Philharmonia Virtuosi (New York), Royal Flemish Philharmonic, St. Louis Symphony, and San Francisco Symphony, and has performed as soloist with the Amsterdam Percussion Group.
Randy is the founder of MAXmallets (www.maxmallets.com) and since 2007 has served as Visiting Professor of Timpani at Trinity College of Music in London.
ABOUT RANDY MAX —