Heartland Marimba

Celebrating classical marimba year-round with communities, artists, and students!

Program notes for HMcollective's summer 2017 tour

• the artists •

Matthew Coley is extremely excited to see how the HMF organization has been able to grow in just 3+ years. The upcoming 2017 season has more than 25 events planned. Matthew especially enjoys the opportunities to work with a wonderful variety of artists and perform for many lovely communities! This HMC tour is particularly exciting because he will get to perform more than 20 glissandi on the marimba throughout the concert. In addition to traveling as a marimba soloist, directing HMF, and operations manager of the wcfsymphony, Matthew enjoys biking, running, traveling, cooking, and trying other people's cooking.

Scott Eiklenborg (intern) is a 3rd year percussion performance major at Wartburg in Waverly, Iowa, and is notorious for playing music throughout the day and night whether it is drums, percussion, piano, his siblings old instruments or sometimes the clamor is from made up instruments like the air xylophone (insert imagination here) or it is made from the strange percussion sounds with his mouth and hands. Scott has been playing percussion since he was two if you count pots and pans "playing percussion." He spends all of his limited free time thinking about his future or hanging out with his friends and girlfriend.

This is Jaime Esposito's (apprentice) first time in Iowa and she's super excited for the opportunity to be playing with HMC. When she's not playing marimba she's binge watching a show on Netflix or playing with her doggo Rimsky. Rimsky can roll over, lay down, spin, sit pretty, leave it and play dead. This summer we're learning how to speak in English and drop it. 

Bridget Olenik is the Director of Music at Urbana University where she oversees the instrumental and vocal ensembles on campus. Additionally, she performs as a classical and contemporary percussionist in a variety of venues and genres ranging from regional symphonies to jazz combos. In her free time, she enjoys traveling, making music with her tuba-playing husband, trying every cupcake she comes across, and playing with her cats. Bridget holds percussion degrees from Iowa State University and Indiana University and proudly endorses Vater sticks and mallets and Sabian cymbals.

• the tour plan •

June 8 – 7pm - Coralville, IA - West Music Recital Hall

June 11 – 11:30am - Omaha, NE - Omaha Summer Arts Festival

June 13 – 6pm - Cedar Rapids, IA - Whipple Auditorium, Main Library

June 15 – 7pm - Ames, IA - First United Methodist Church

June 21 – 7pm - LaPorte City, IA - Auditorium, Union High School

June 22 – 6:45pm - Waterloo, IA - RiverLoop Amphitheatre

June 23 – 12:15pm - Cedar Falls, IA - Overman Park, Sturgis Falls Celebration

June 25 – 2pm - Independence, IA - Community Room, Public Library

June 27 – 7:30pm - Waterloo, IA - Brown Derby Ballroom

June 29 – 6:30pm - Waverly, IA - Kohlmann Park

July 11 – 7:30pm - Stevens Point, WI - HMF Academy at University of Wisconsin-Stevens Point


• the music •

Chromatic Grand Galop by Franz Liszt (1811-1886)/arranged by Matthew Coley (b.1979)

The Grand galop chromatique figures prominently in Liszt’s own recital programs, and its enormous popularity probably accounts for the quick publication of the simplified version and the version for piano duet. But Liszt returned to the concert version on several occasions over the years, adding ossia passages and extending the overall structure. The present version represents his fullest extension of the original. The obvious lightness of the work’s character made this piece an instant crowd-pleaser, but the imaginative undercurrent throws in a marvelous sequence of whole-tones and some wickedly unresolved chromatics at the coda.


Michelangelo 70 by Astor Piazzolla (1921-1992)

Michelangelo 70, which references the name of a Buenos Aires cafe where the composer’s quintet performed in the 70s, is an intriguing piece that is centered on a repeated three-note theme, composed as a sort of musical exercise.


Fantasy on St. Patrick's Day by Henri Vieuxtemps (1820-1881)/arranged by Clair Omar Musser (1901-1998)/adapted by R. K. LeVan

Henri François Joseph Vieuxtemps was a Belgian composer and violinist. He occupies an important place in the history of the violin as a prominent exponent of the Franco-Belgian violin school during the mid-19th century.


Whirlwind by Joe Green/arranged by William Schinstine

A classic rag.


Fantasy on Yankee Doodle by Henri Vieuxtemps (1820-1881)/arranged by Clair Omar Musser (1901-1998)/adapted by R. K. LeVan

Musser's "Fantasy on Yankee Doodle" is based on a transcription on Vieuxtemp's "Souvenir d' Amérique Opus 17" (for violin and piano) which was a set of variations on the ubiquitous "Yankee Doodle." It has been adapted for marimba trio from Musser's original transcription for marimba and piano. 


Triple Treble Trio // The Flight of the Bumblebee by Daniel Krumm (b.1984) // Nikolai Rimski-Korsakov (1844-1908)


Por una Cabeza by Carlos Gardel (1890-1935)/arranged by HMCollective

Carlos Gardél's Tango por una cabeza is familiar from two films, "Scent of a Woman" and "Easy Virtue." Por una cabeza ("by a head") compares loving a woman to betting over and over on a noble horse that fades in the stretch. The man swears off betting—till the next likely pony catches his eye. The song made a marvelous vehicle for the author, a celebrated Argentine composer, singer and actor known as "The King of the Tango."


Tamborin Chinois by Fritz Kreisler (1875-1962)/arranged by HMCollective

Tambourin Chinois is one of Fritz Kreisler's most famous works for violin. It has become one of the standards in solo xylophone literature over the years due to its speed and technical nature.


Stubernic by Mark Ford (b.1958)

I dedicated Stubernic to Stefan and Mary K. Stuber. I went to college with both of these individuals and we have been friends ever since. In 1988 the Stubers went to Guatemala and Nicaragua for a year for humanitarian aid purposes. When they returned they told me stories of their adventures and the many marimba bands they heard, especially in Guatemala. I was writing a vibraphone/marimba duet at the time. However I decided to make it a trio on one low A marimba in the style of the Latin American marimba bands. Although I did not cite any music from Latin America in Stubernic, I did hope to capture the spirit and energy of their music. The title Stubernic comes from the Stuber's last name with the 'Nic" coming from Nicaragua (which is where they spent most of their time that year).