Works
Many of Maslanka’s compositions for winds and percussion have become established pieces in band repertoire. Among these pieces are “A Child’s Garden of Dreams,” “Rollo Takes a Walk,” and numerous concertos featuring a wide variety of solo instruments, including euphonium, flute, piano, marimba, alto saxophone, and (most recently) trombone. Maslanka’s second and fourth symphonies have become particularly popular wind literature. His works for percussion include “Montana Music: Three Dances for Percussion,” “Variations of ‘Lost Love,’” “My Lady White,” “Arcadia II: Concerto for Marimba and Percussion Ensemble,” and “Crown of Thorns.” Maslanka has also written a complete Mass for full choir, soprano, and baritone soli, with accompaniment by full symphonic band. Having spent his childhood in the New England area, a number of Maslanka’s compositions were influenced by his close relationship with the ocean (Alexander 1998). “Sea Dreams,” for example, as well as the second movement of his second symphony, reference large bodies of water. Maslanka’s works have been recorded and produced primarily by Albany Records, as well as Cambria, Crest, CRI, Klavier, Mark, Novisse, St. Olaf, and Umass labels. Most of his music is published by Carl Fischer. See full list of compositions by David Maslanka.
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Famous quotes containing the word works:
“I lay my eternal curse on whomsoever shall now or at any time hereafter make schoolbooks of my works and make me hated as Shakespeare is hated. My plays were not designed as instruments of torture. All the schools that lust after them get this answer, and will never get any other.”
—George Bernard Shaw (1856–1950)
“Most works of art are effectively treated as commodities and most artists, even when they justly claim quite other intentions, are effectively treated as a category of independent craftsmen or skilled workers producing a certain kind of marginal commodity.”
—Raymond Williams (1921–1988)
“Artists, whatever their medium, make selections from the abounding materials of life, and organize these selections into works that are under the control of the artist.... In relation to the inclusiveness and literally endless intricacy of life, art is arbitrary, symbolic and abstracted. That is its value and the source of its own kind of order and coherence.”
—Jane Jacobs (b. 1916)