Michael Burritt

Having performed on four continents and nearly forty states Michael Burritt is one of the World’s leading percussion soloists. He is in frequent demand performing concert tours and master classes throughout the United States, Europe, Asia, Australia and Canada. Mr. Burritt has been soloist with the Dallas Wind Symphony, Omaha Symphony, Chautauqua Symphony Orchestra, Eastman Wind Ensemble, Ju Percussion Group (Taiwan), Percussion Art Quartet (Germany), Amores Percussion Group (Spain), Peaux (Sweden) and the Tempus Fugit Percussion Ensemble of Pittsburgh, PA. Mr. Burritt has three solo recordings —Perpetual, and Shadow Chasers and recently released his third entitled Waking Dreams on the Resonator Records label. All the recordings are comprised of Burritt’s original compositions as well as works written expressly for him. He has been a featured artist at seven Percussive Arts Society International Conventions. In 1992 he presented his New York solo debut in Weill Hall at Carnegie Hall and in 1998 performed his London debut in the Purcell Room at Queen Elizabeth Hall.

Mr. Burritt is also active as a composer, with two concertos to his credit, numerous solo and chamber works for marimba and percussion as well as two books of etudes. His works for solo marimba have become standard repertoire for the instrument and are consistently required repertoire on international competitions. Mr. Burritt is published with Ludwig Music, C. Allen and Keyboard Percussion Publications. Burritt is also an artist/clinician and product design/consultant for Malletech, where he has developed his own line of signature marimba mallets and an artist / educational clinician with the Zildjian Company. Mr. Burritt is a member of the Percussive Arts Society Board of Directors, a contributing editor for Percussive Notes Magazine and the chairman of the PAS Keyboard Committee.

Michael Burritt is currently Professor of Percussion and head of the department at the Eastman School of Music. He has the distinction of being only the third person in the history of this storied institution to hold this position. Prior to his appointment at Eastman Mr. Burritt was Professor of Percussion at Northwestern University from 1995–2008 where he developed a program of international distinction. Mr. Burritt received his Bachelor and Master of Music Degrees, as well as the prestigious Performers Certificate from the Eastman School of Music in Rochester, New York. His teachers have included John Beck, Gordon Stout, Paul Yancich and Herbert Flower.

From Michael Burritt

Azure

$21.00$24.00

A more discursive, lyrical and introspective Burritt style is developed in this piece. As is always the case with the music of Michael Burritt, the marimba writing is first-rate, idiomatic, fun to play and makes the marimba sound great.

A more discursive, lyrical and introspective Burritt style is developed in this piece. As is always the case with the music of Michael Burritt, the marimba writing is first-rate, idiomatic, fun to play and makes the marimba sound great.

Caritas

$15.00$18.00

Caritas is a three-movement piece that employs a traditional harmonic language throughout. It is a real crowd-pleaser for the educated as well as the uneducated audience.

Caritas is a three-movement piece that employs a traditional harmonic language throughout. It is a real crowd-pleaser for the educated as well as the uneducated audience.

Fandango 13 for Six Percussionists

$44.00$51.00

Fandango 13 is a virtuosic burst of energy from beginning to end. It was premiered by the Eastman Percussion Ensemble at PASIC 2013 and dedicated to those players who brought it to life so brilliantly.

Fandango 13 is a virtuosic burst of energy from beginning to end. It was premiered by the Eastman Percussion Ensemble at PASIC 2013 and dedicated to those players who brought it to life so brilliantly.

Marimba Quartet

$48.00$55.00

This work is an unsung hero of the marimba quartet literature. A classic that will bring smiles to the players’ faces at the first rehearsal (well, maybe the second rehearsal . . .), and the audience’s faces in the first 30 seconds.

This work is an unsung hero of the marimba quartet literature. A classic that will bring smiles to the players’ faces at the first rehearsal (well, maybe the second rehearsal . . .), and the audience’s faces in the first 30 seconds.

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