| Opus | Title | Instrumentation |
|---|
| 1 | Preludes 1, 2, & 3 | Solo Marimba |
| 2 | Grand Fantasy in C Major | Solo Marimba |
| 3 | Preludes 4, 5, & 6 | Solo Marimba |
| 4 | Movements for Marimba and String Quartet | |
| 5 | Movement for Marimba and Harpsichord | |
| 6 | Sonata Brevis | Solo Vibraphone |
| 7 | Passacaglia for Percussion Ensemble | |
| 8 | Scherzo and Adagio for Viola and Piano | |
| 9 | Concerto for Marimba and Large Orchestra | |
| 10 | Three Etudes for Five Tympani | |
| 11 | Duo Concertante | Violin and Marimba |
| 12 | Toccata Fantasy in e-flat minor | Solo Marimba |
| 13 | Adagio lamentoso | Solo Violoncello |
| 14 | Preludes 7, 8, & 9 | Solo Marimba |
| 15 | Theme with Six Variations “Composer Variations” | Solo Marimba |
| 16 | Adagio (A second movement for Bach’s Brandenburg Concerto III) | 2 Vlns., Vla, and Continuo |
| 17 | Adagio and Allegro: Movements for Clarinet and Strings | B-flat Clarinet and String Orchestra |
| 18 | The Well-Tempered Marimbist: Book I | Solo Marimba |
| 19 | The Well-Tempered Marimbist: Book II | Solo Marimba |
| 20 | Nocturne | B-flat Clarinet and Marimba |
| 21 | Concerto for Marimba and Percussion Ensemble | |
| 22a | Divertimento for Viola and Harp | |
| 22b | Divertimento for Viola, ‘Cello, and Marimba | |
| 23 | VIGIL | Sop., Hrn, Hrp, & Large String Orch. |
| 24 | Goblin Dance | Solo Marimba |
| 25 | Diabolic Variations | Large Perc. Ens. |
| 26 | Chamber Symphony in g | E. Hrn., 2 F Hrns., & Strng Orch. |
| 27 | Memorare | Sop., Org., Small Wind/Brass Group |
| 28 | Preludes 10, 11, & 12 | Solo Marimba |
| 29a | Symphonic Variations on an Original Hymn Tune | Full Orchestra |
| 29b | March from Symphonic Variations | Concert Band |
| 30 | | |
| 31 | | |
| 32 | Legend of Faust | Large Percussion Ensemble |
| 33 | Crucifixus | SATB choir, Brass 5tet, Tymp., & Org. |
| 34 | Marimba Concerto in a | Marimba Solo and Chamber Orch. |
| 35 | Sermo Animi: Violin Concerto | Violin Solo, Sop, Large Orch. |
| 36 | Marian Cycle | Sop., Chamber Orch. |
| 37 | Preludes 13, 14, & 15 | Solo Marimba |
| 38 | DarkWood | Vln., Vla., Cel, Clar., & Mrmba |
| 39 | March Suite | Concert Band (Grade II – III) |
| 40a | Christmas Oratotorio | SATB choir, STB soloists,Small wind ensemble, percuss., Tymp., org. |
| 40b | Christmas Oratotorio | SATB choir, STB soloists,Chamber orch., percuss., Tymp., org. |
| 40c | Christmas Oratotorio | SATB choir, STB soloists, Wind Ensemble |
| 41a | Concertare | Large percuss. Ens. |
| 41b | Concertare | 2 marimbas |
| 42 | Sanctus – Benedictus | |
| 43 | Quintetto alla Beethoven | Mrmba & String 4tet |
| 44 | RedWood | String 4tet, Bsn., & Mrmba |
| 45 | Alchemie (A piece wherein the composer attempts to turn lead into gold.) | Full Orchestra |
| 46 | De profundis clamavi (Psalmus CXXX) | SATB choir, pno., or org. |
| 47 | Dragon of Wyckham | Solo marimba & concert band |
| 48 | Missa in Tempore Iubilaei | SATB choir, S & T soloists, orch. & org. |
| 49 | Hynos I | Percussion ensemble |
| 50 | King Lear | Full Orchestra |
| 51 | Anima Christi | SATB a capella choir |
| 52 | Galop Brillant | Concert Band |
| 53 | The Four Horsemen | Full Orchestra |
| 54 | Duo Concertante | Marimba Solo and Vibraphone |
| 55 | Easter Oratorio | SATB choir, SATB soloists, full orch. |
| 56a | Heroic Fanfare | Brass ensemble, & percuss. |
| 56b | Antiphonal Fanfare and Fantasia | Large brass orch., & percuss. |
| 57 | Viola Concerto | Solo vla., & full orch. |
| 58 | Hypnos II | Percussion ensemble |
| 59 | Prelude and Rondo | Percussion ensemble |
| 60 | Carpathian Rhapsody | Concert Band/Wind Ensemble |
| 61 | Multum in Parvis | Percussion ensemble |
| 62 | Night Music | Solo tymp., multi-percuss 4tet |
| 63 | O Magnum Mysterium | SATB choir, piano, ‘cel., mrmba |
| 64 | Lament & Prayer | Mmezzo-sop., SATB choir, full orch., optional org. or brass choir |
| 65 | S.S. Ouran Medan | Solo euphonium, concert band |
| 66 | SilverWood | Flute & Marimba |
| 67 | Triptych: Three poems of J.W. von Goethe | Sop., brass & ww choirs, harp, percuss, pno. |
| 68 | Sonare | Percussion ensemble |
Life
Raymond Helble began composing at the age of 10 and conducting at 12.
Although self-taught in composition, and never having had a private music lesson, he was accepted at Julliard, the Manhattan School of Music, and the Eastman School of Music due to his highly developed compositional technique: a technique gained by reading music theory textbooks and studying scores from the local library while a young boy.
Mr. Helble chose to do his undergraduate and graduate studies at the University of Rochester’s Eastman School. His teachers included Samuel Adler, Warren Benson, and Pulitzer Prize winner, Joseph Schwantner. His musical education also included conducting studies with Willis Page and Walter Hendl.
Mr. Helble’s music is recognized for its technical excellence, distinctive motivic material, contrapuntal dexterity, and highly polished finish, whether he writes in a tonal, modal, atonal, or serial manner. Of his 50+ published works, many have been in print for 30 years, and continue to find a market.
Due to his long association with marimba virtuoso Leigh Howard Stevens, Helble has produced a large set of works both for the marimba and the percussion ensemble that are standard repertoire.
Percussionists, chamber groups, and choral groups, and orchestras perform Mr. Helble’s music all over the world, and he has received ASCAP awards every year since 1990.
Sources — links
Concerts
Events
© 1995–2012 Jos Smeets —
Quixote; Last update: 2011-05-02 12:40:15.
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