– Versions with Symphony Orchestra, String Orchestra, Percussion Ensemble or Piano reduction.
– All versions available for sale in PDF

Opus #58
For Low C or regular 3-octave vibraphone.

I) The Roots
II) Interlude Pizzicato
III) In a Dream
IV) Celebration

Level: advanced
Duration: 20 min.

Click here to download SOLO PART for FREE 

Available for:

Solo Vibraphone and Symphony Orchestra (score and parts for sale in PDF format) (Fl,Ob,Cl,Bn,2Hrns,1 perc, Strings)
Conc Vib N.2 Orchestra Perusal score

Solo Vibraphone and String Orchestra (score and parts for sale in PDF format)
Conc Vib N.2 Strings Perusal score 

Solo Vibraphone and Percussion Ensemble (score and parts for sale in PDF format)
xyl/glock, mrb, bmrb, perc, drums, timpani
Conc Vib N.2 Perc Ens Perusal score

Solo Vibraphone and Piano (for sale in PDF format)

Program Note

The Concerto Nº2 for Vibraphone by Ney Rosauro was composed in Florianopolis, Brazil and Miami, FL from October of 2014 to March of 2015. It is originally written for string orchestra and low “C” vibraphone, although it can also be performed on the standard 3 octave instrument. As with the composer’s previous concerti, this work has multiple arrangements so that the soloist may perform the same solo part with orchestra, piano or percussion ensemble accompaniment.

The concerto lasts about 20 minutes and has 4 movements: I) The Roots, II) Interlude Pizzicato, III) In A Dream, IV) Celebration. The first and fourth movements each have their own distinct themes, yet share the main thematic material of the work. The concerto’s structure is well-balanced by the second and third movements, which differ stylistically yet compliment each other. The second movement, a short and graceful waltz, is characterized by the pizzicato sound of the string section. In the percussion ensemble arrangement, the pizzicato effect is approximated by a technique called “dead stroke”. The melody of the third movement was sung to the composer during his dreams. It suggests a place far above this world, and the hazy mood of both the introductory and coda sections creates a mystical atmosphere.

In the course of the concerto the soloist explores a variety of specialized techniques like “dead stroke” and “bell sound like”and also incorporates unusual implements such as a xylophone mallet and a double bass bow to color the work in a unique fashion. The spirit of the entire piece is represented in the title of the first movement, “The Roots”, as some of the ideas, themes, and harmonic passages are drawn from early and unpublished works of the composer.

Version for Orchestra with the OSPA (Porto Alegre, Brazil) directed by maestro Diego Naser


Version with Percussion Ensemble with the Georgia Southern Perc. Ens. directed by Matt Fallin.



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