Delusions of Grandeur, for multiple percussion solo, includes one score.
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Review from Percussive Notes (2021):
Delusions of Grandeur
Charles Lipp
“Delusions of Grandeur” is a roughly four-minute- long multi-percussion solo written as a duet between a harmonic language, on vibes, and a timbral language, found in the remainder of the percussion setup. The vibes begin the piece with a dissonant tonality that presents a complete chromatic collection within the first two measures. The timbral language is formed between skins and metals, offering a metronomic yet lyrical complement to the vibes. Each surface within the timbral language family consists of high, medium, and low sounds, with the skins offering five gradations of pitch that the composer notes should be evenly spaced. The score is not bound, but rather comes in a supportive cardstock folder with handwritten music notated on oversized manuscript paper that is easy to read.
The title is quite fitting, as each of the instruments included in the piece can be seen separately as striving for greatness as solo concert instruments—not to mention, multi-percussion solos are not generally as popular as those on piano or violin. While all of the instruments are essential to many ensembles, in this configuration they lack the depth, range, and observable cliches often associated with grandeur in music, making the title quite perfect.
Despite the perfect title there are some setup concerns that the performer will have to grapple with. On a few occasions the piece calls for drums and vibes to be played in quick succession, making an appropriate setup critical. Additionally, pedaling is not notated but is implied using dampening markings, making this an additional consideration when organizing the setup and learning the piece.
“Delusions of Grandeur” is a brief and interesting musical exploration that is worth consideration for a professional or advanced degree recital.
It is a welcome departure from more standard repertoire without moving too far away from the multi-percussion style we are familiar with, not to mention the small number of written markings offer a great opportunity for interpretation. Despite its use of dissonance, I believe a diverse audience would appreciate the piece due to its brevity, choreography, and engaging title. “Delusions of Grandeur” is sure to offer the audience a deep and meaningful experience in a format they can easily digest.
—Quintin Mallette
