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Daniel Pessalano
Program notes
Rebonds
Iannis Xenakis
Born- May 1922, Braïla
Died- February 2001, Paris
Before becoming one of the most important post World War II avant–garde
composers, Iannis Xenakis was heavily interested in mathematics and engineering.
He spent his early career doubling as architect and composer, becoming influenced
by the leaders of the musical avant-garde such as Varèse and Messaien. The
systematic organization associated with mathematics and engineering is most
evident in Xenakis’ musical compositions. He is known for his radical new concepts
of sound composition such as the use of mathematical models in music. In 1988 he
composed Rebonds for solo percussionist, which would be become one of the most
famous pieces in the solo percussion repertoire.
Rebonds is a work in two movements, Rebonds A and Rebonds B. The order of
movements is not fixed, but Xenakis does ask for them to be performed without
interruption. Rebonds A is orchestrated for just membrane instruments: two bongos,
three tom-toms, and two bass drums. Rebonds B is scored for two bongos, tumba (an
Afro Cuban barrel drum), tom-tom, bass drum, and five wood bocks varying in pitch.
The movements differ in style. Rebonds A sounds reminiscent of ritualistic war
drumming. Rebonds B, which is often performed as a lone standing piece, consists of
relentless ostinatos across the skins with the occasional interruption of the
woodblocks, which mark new sections. It also believed that Rebonds B is composed
with the Golden Section ratio in mind, which is a compositional technique Xenakis
was fascinated with.
Suite No. 1 in G Major for Unaccompanied Cello, BWV 1007
Johann Sebastian Bach
Born- March 1985, Eisenach
Died- July 1750, Leipzig
Bach wrote his six suites for unaccompanied solo cello around the year 1720 while
he was working as Kapellmeister at the court of Anhalt-Cöthen. It is believed that at
the time Bach was focused on composing for unaccompanied solo instruments. This
is made evident by the existence of his famed Sonatas and Partitas for Solo violin,
which were also written during this time. Bach’s six cello suites are an essential part
of the cello repertoire and are regularly performed by many of today’s most
celebrated cellists. In addition to being performed on cello, the suites are often
transcribed for numerous other instruments, including tonight’s performance on
marimba. Cello repertoire adapts to marimba especially well, as it will often display
the marimbas rich lower register.
Each of Bach’s cello suites contains a collection of movements highlighting popular
dances of the time period. Each suite consists of a Prelude, Allemande, Courante,
Sarabande, Galanterie, and Gigue. The prelude of Suite No. 1, which consists of
flowing arpeggiated chords leading to a well-placed climax, is most notable of the
movements. It is often heard away from concert halls in television commercials and
films. The prelude is one of Bach’s most recognizable contributions to music. The
suites movements, each contrasting in feel, tempo, and style, ultimately conclude
with a lively gigue in the feeling of 6/8.
Eight Pieces for Four Timpani
Elliot Carter
Born- December 1908, New York
Died- November 2012, New York
Elliot Carter, who was one of the most respected composers of the 20th century,
wrote the first six of his pieces for timpani in the year 1950. Carter’s pieces for
timpani were composed as studies in proportional tempo changes, or metric
modulation as it would later be termed. This compositional technique, along with
highly complex polyrhythmic figures, is explored thoroughly in the pieces for
timpani. These early explorations of rhythm and meter would become a focal point
in Carter’s later compositions, and ultimately became one of the largest contributing
factors to his legacy as great musical innovator.
The eight pieces for timpani were an instant tour de force for percussionists.
Successful performance requires a great attention to detail, as Carter includes very
specific playing instructions to obtain different timbres from the instruments. The
notational system indicates three different playing positions on each drum. The
direct middle of the drum, which is seldom used by timpanist because of its less
resonate “dead” sound, is specifically used for contrast in color. In addition to this
and the “normal” playing position, Carter writes for notes to be played on the rim of
the timpani, which creates a remarkably brighter tone. Carter also indicates specific
sticks, each varying in hardness and articulation, to achieve even more contrast in
sound. These details, in addition to other extended techniques such as rapid
glissandos and use of the drums sympathetic vibration, allow for more of an
orchestra of sound rather then what you might expect from just four timpani. Elliot
Carter’s eight pieces for timpani remain as a test of the physical and mental
virtuosity of today’s greatest percussionists.
Peter Hoffmann. "Xenakis, Iannis." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed February 12,
2014,http://borodin.bostonconservatory.edu:2082/subscriber/article/grove/music/30654.
David Schiff. "Carter, Elliott." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed February 12,
2014,http://borodin.bostonconservatory.edu:2082/subscriber/article/grove/music/05030.
Christoph Wolff, et al. "Bach." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed February 12,
2014,http://borodin.bostonconservatory.edu:2082/subscriber/article/grove/music/40023pg10.
Schick, Steven. The percussionist's art: same bed, different dreams. Rochester, NY: University of Rochester
Press, 2006.
Beyer, Greg. “All is Number, Golden Section in Iannis Xenakis’ Rebonds”, Percussive Notes Magazine,
accessed February 12,
2014, http://higherlogicdownload.s3.amazonaws.com/PAS/ed5fde94-e779-49f5-933147aa0cb1e9a1/UploadedFiles/f0d5b71ae8c94c6780618f39ce3e304b.pdf
Soderburg, Steven, “The Bach Cello Suites”, Library of Congress,
Accessed February 12,
2014,http://www.academia.edu/900243/The_Bach_Cello_Suites