BRAKE DRUM PERCUSSION
Transcript
BRAKE DRUM PERCUSSION
1/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 1 Concert Proposals BRAKE DRUM PERCUSSION Concert Season 2008 (onwards) Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 1/32 2/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 2 INDEX _ Curricula p. 3 _ Concert Proposal 1: Gli Storici Italiani p. 6 _ Concert Proposal 2: Musica del Ventesimo-Primo p. 13 _ Concert Proposal 3: Anelito all’In-aud-ito p. 18 _ Concert Proposal 4: Metal, Wood, Fire and Water p. 22 _ Master Class 1: Vibraphone and Marimba Jazz p. 28 _ Master Class 2: Military Drum Tradition p. 29 _ Master Class 3: Afro-Cuban Percussion p. 30 _ Cachets p. 31 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 2/32 3/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com The 3 Brake Drum Percussion (percussion ensemble) was founded in 1983 by its Artistic Director, percussionist Pietro Bertelli. Since the very beginning, the BDP worked in close link with many composers, giving commissions for pieces for percussion instruments. Focusing the attention on the repertory of the 20th and 21st Centuries, with special regards to the Contemporary Music for Percussion, the BDP managed soon to spread its concert activity from Italy to all over Europe. The ensemble can now count on a variable line-up of 12 percussionists who, throughout the years, performed pieces of the most important composers of the 20th Century such as the Italians: Nono, Donatoni, Scelsi, Brizzi, Scannavini, Cisternino, Centazzo, Correggia; Europeans: Xenakis, Radulescu, Dufourt, Holten and Louvier; and Ultra-Europeans: Cage, Reich, Riley, Nishimura and many others. Thanks to the intense promotion of the Contemporary culture and to the commissions, the BDP has world premièred more that 30 compositions. The BDP has been working with other ensemble such as the Mitteleuropa Orchestra with Andrea Centazzo as Artistic Director, Nuove Sincronie in Milan, Octandre in Bologna and the Symphonic orchestras of Belluno, Treviso, Udine, Pordenone, Vicenza and Venezia. ‘[…] it is the sound that the Brake Drum Percussion achieves from the composition that amazes and inspires enthusiasm’. Andrea Centazzo The BDP has performed in the most important Italian music festivals such as the Biennale d’Arte e Musica Contemporanea and Sonopolis (Venice), Progetto Siddharta (Mestre, 1997), Settembre Musica and Festival Andtidogma (Turin, 1998), Finestre sul ‘900 (Treviso), Musica Verticale, Nuova Consonanza, Roma Incontra il Mondo (Rome), Ather Forum (Ferrara), Cinema Ritrovato (Bologna), Computer Art Festival (Padova), Times Zones (Bari), Accademia Chigiana (Siena); Summer Laboratory of Architecture of the PennState University (Padova), Festival Luigi Nono (Trieste, broadcasted live by Radio3Suite), Festival del Cinema Muto (Pordenone) and Settant’anni di Sylvano Bussotti (Asolo); and European Festivals such as Expo’92 (Seville), Lucero Festival (Paris), Les Semaines Musicales Intérnationales d’Orleans, Staadtische Museum (Heilbronn), Auditorium Nacional (Madrid). The BDP has recorded several CDs cooperating with other ensembles and two alba on its own: in 1995 Pléiades by Iannis Xenakis and Ketiak by Akira Nishimura and in 1999 an album dedicated completely to Italian Composers: Scelsi, Correggia, Donatoni, Giommoni and Cisternino. The intense determination and the serious commitment towards the contemporary music and culture, allowed the group to experiment a new approach to music, combining performance and teaching in order to stimulate the interest of the young generation in Contemporary Music. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 3/32 4/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com Pietro Bertelli, Founder and Artistic Director 4 (12/10/1954 Carcassonne (FRANCE) -). Percussionist, Italian. Specialized in the music of the 20th and 21st Century music, with a special emphasis on the Contemporary Music for percussion. Studied multi-percussion with M°G. Mortensen, focusing his attention on the solo repertoire, jazz drum-set with M°E. Lucchini, timpani and vibraphone with M°D. Searcy, djembe with M°E. Genevois and deepened his knowledge in the American snaredrum tradition with M°Mike Queen. As a percussionist, took part in many important Italian Festivals as La Biennale Musica (Venice), Nuova Consonanza (Rome), Arteforum (Ferrara), Festival di Musica Contemporanea della Città di Udine (Udine), In Battere (Reggio Emilia). Moreover, performed many jazz concert with outstanding players as G. Schiaffini, L. Malaguti, M. Periotto and C. Actis Dato. Since 1983 I have been working with the Mitteleuropa Orchestra, M°A. Centazzo conductor, Ensemble’900, M°S. Mazzoleni conductor and Ex-Novo Ensemble, M°C. Ambrosini conductor. Founder of the Brake Drum Percussion, in the same year, toured Italy, Spain, France and Germany. With the BDP, I have worked with some of the most important Contemporary European composers such as: I. Xenakis, H. Dufourt, H. Radulescu, H. Flammer, S. Bussotti, N. Sani and N. Cisternino, performing many world premières of their pieces. I have taken part in many theatre productions, working with important directors such as Mario Mattia Giorgetti, Eugenio Monticolle, Simone Benmussa. The prolific recording activity includes radio broadcastings for the Sudwestrundfunk in Germany, Austrian and Swiss Radio, Radio TV Capodistria, R.A.I. (Radiotelevisione Italiana) and CD recordings for record industries such as Ariston, Fonit, Cetra, Ictus Record, Nuova Musica, Rivo Alto, Nota Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 4/32 5/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 5 Stefano Mazzoleni, Conductor Specialyzed in the music of the Twentieth Century, studied piano, double bass, choral music, choral conducting and experimental composition at the Fiesole School of Music with Sylvano Bussotti. Studied orchestral conducting at the Hochschüle für Musik in Vienna. I have conducted many orchestras in various countries, including prestigious soloists, in symphony concerts and opera, in Europe, Japan, China, U.S., Central and South America (Orchestra di Padova e del Veneto, Orchestra Filarmonia Veneta, Orchestra Scarlatti di Napoli, Sapporo Symphony in Japan, Beijing Symphony in China, New Philarmonia of Hong Kong, Orquesta Sinfonica Nacional and Orquesta del Teatro Colon in Buenos Aires, Orquesta Filarmonica de la Ciudad de Mexico, Orquesta da Camara de Bellas Artes and Orquesta del Estado de Mexico in Mexico, USC Symphony Orchestra in Columbia (South Carolina), Chamber Ensemble of London, Radiotelevision Symphony Orchestra of Zagreb etc. Founder and conductor of the chamber music ensemble, Ensemble 900, specialised in 20th century and Contemporary music and of the Finestre sul ‘900 festival in Treviso in 1995 of which he is the artistic director. Over 12 years the festival programmed more than 100 concerts including numerous Italian and WP. As a composer, some of his pieces have been performed by San Paolo Audiovisivi. Stefano made his debut in January 2000 at the Theatre du Roind-Point in Paris, with incidental music to the play “Matricule” by Luc Bassong. In 1991 he founded the musical magazine “Diastema”, one the most important italian magazines, specialising in musicology and analysis – the only Italian magazine cited in the new edition of the German “Algemeine Enziclopädie der Musik. Stefano is president of the publishers Ensemble 900, who specialise in musical texts, with around 50 titles to their credit. In 2001 he was a jury member for the “Mario Gusella International Competition for Orchestral Conductors” in Pescara, and in 2002 he was on the jury of the “Mario del Monaco International Opera Competition, in Castelfranco Veneto. He teaches masterclasses for the chamber orchestra of Kranjska Gora, in Slovenia. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 5/32 6/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 6 Concert Proposal n°1 – Gli Storici Italiani. An anthology of the 20th Century masterpieces for percussion instruments written by Italian composers. Nicola Cisternino Do’Tsoh 2003 Giacinto Scelsi I Riti. Funerali d’Achille 1950 Sylvano Bussotti Regina. (Quintettino Mozart) 1985 Filippo Del Corno Dogma #4 2006 Enrico Correggia Il Canto di Los 1998 * * * Pieces that can be included but require a large instrumentarium Giacinto Scelsi Trio 1950 Franco Donatoni Darkness 1984 Giacomo Manzoni D’Improvviso 1987 Sylvano Bussotti Passo d’Uomo 1978 Nicolo Castiglioni Cronaca del Ducato d’Urbino 1991 Luigi Nono Con Luigi Dallapiccola 1979 Luigi Nono Risonanze Erranti** 1987 **For this piece in particular we will cooperate with Fabricciani (flute), Schiaffini (tuba), Vidolin (live electronics), who were the original Nono’s staff. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 6/32 7/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 7 Programme Notes Nicola Cisternino (1957 -), Do’Tsoh, 2003: Composed between July 2002 and January 2003, Do’Tsoh is the third –together with Awithlaknannai (1993) and Auke-nui-a-iku (1998-99)- work of a cycle dedicated to the percussive sounds and their exploration. Do’Tsoh is a composition for six musician-percussionist-shamans who play touching the instruments mainly with their bare hands. The name is borrowed from one of the almost thirty sandpictures which, in the old tradition of the Navajo represented the essential means for the recovery rites. Such rites were accompanied by songs and prayers during which the ill, sitting in the middle of the sand-pictures, facing east, was slowly covered in sand by the shaman. Do’Tsoh is the fourth of seven parts in La Via della Grandine (hail), which tells the painful return of Niltsá-éshki who gambled and lost a turquoise talisman given by his father and who was, for that, compelled away from his family and his tribe. The six percussionists represent the six Do’Tsoh (stylized fleas, considered messengers between men and the superior entities) and, with a few instruments, they follow the six rings of the rite over twenty minutes. Such rings are physically shaped in the venue by the six shamans who play ocean-drums in different shapes and dimensions following the indications on circular scores. Enrico Bertelli (trans.), Nicola Cisternino Giacinto Scelsi (1905 – 1988), I Riti. Funerali d’Achille, 1962: The Funerali d’Achille opens a trilogy of funerals –Achille, Alessandro Magno and Carlo Magno- using percussion instruments characterized by a primitive timbre, chosen for their acoustic relevance. The composition is structured for a solo part essentially rhythmical -4th percussion- as opposed to the other parts, resonant and coloured. The leader marches as a great Master, with his wide and dynamic themes, while the other soldiers follow in submission. The sensation of ritual march, with a constant feeling of pushing forward, is created by the consistent use of short rhythms which generate effective polyrhythms. In particular, the widespread use of anacrusis deletes the heavy stillness of the conventional binary metre, associated with military music. We could quote Plutarco in his De musica where he underlined the necessity of the art of sound in the life and thought of a human being. In an attempt to demonstrate how music is used by man in different occasions, he remembers that Homer represented Achilles controlling his anger towards Agamemnon thanks to the magic of sound. Appointed Achilles as the cantor of the glory of Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 7/32 8/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 8 heroes and semi-gods, Homer said that music was the ‘best exercise for its effects and its pleasantness, towards the negation of action’. Enrico Bertelli (trans.), Pierre Albert Castanet Sylvano Bussotti (1931 -), Regina (Quintettino Mozart) -1985: The subject of this percussion quintet is the Queen of the night, inspired to the Magic Flute. Originally Commissioned by Teatro alla Scala and by Comune di Milano in 1985 and dedicated to Olivier J. Franck, Regina is a homage from Bussotti to his musical brotherhood with Mozart. The Italian composer chooses a particular set of instruments which, apart from marimba and timpani, are metallic idiophones (triangles, gongs, nailed cymbal, vibraphone, cow bells, bells) which recall the brightness of the Magic Flute. This choice seeks to manifest the alchemical combination created by the duality between Regina and Sarastro. The singing, too often confined to a linear melodic process, becomes fluid, characterized by an overwhelming shining. One can see it from the agogics on the score: sempre il più veloce possibile (always as fast as possible) and nel rispetto scrupoloso del testo scritto (respecting thoroughly the written text). The Quintettino is followed by a short composition, Solfeggio in Re della Regina, whose relation to the earlier composition is described by Bussotti as follows: ‘both compositions were commissioned for special occasions in Milan and Venice. The first defined Quintettino Mozart per percussioni and the other Paginetta Mozart per un a solo di tromba, they conjugate unambiguously, I wish divertimento to everyone’. Enrico Bertelli (trans.), Nicola Cisternino. Filippo Del Corno (1970 -), Dogma #4, 2006: March 13th 1995: Lars von Trier and Thomas Vinterberg, cinema directors, proclaim their vote of chastity with DOGMA 95. This manifesto includes ten rules that a director should follow if he or she is willing to follow the DOGMA. With this piece I attempted to transpose such rules into my composition, creating a new set of laws for musicians. My aim is to create a set of ten pieces, each entitled DOGMA, followed by a number stating the number of the instruments used (or performers in this case). Among the rules: the piece must not be based on a pre-determined form; it has to be written straight on the score; handwritten, with no IT support except for the final release; live-electronics are prohibited; it must not contain effects for their own sake; no extra-musical inspiration; no quotations or recognizable contaminations; one movement, no change of pulse; the composer must not take part in the actual performance. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 8/32 9/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 9 Enrico Bertelli (trans.), Filippo del Corno Enrico Correggia (1933 -), Il Canto di Los, 1998: Owing its title to the Prophetic Books by William Blake, the name is likely to have been derived from the Latin word Sol read in the reverse), but also possibly as a parallel to the English word ‘loss’. Los is Tempo (time), the designer of the world. Being an expression of the world of the Creative Imagination, Prophet of Eternity, who reveals the fundamental truths, he represents the Poetry. The composition is formally subdivided in nine sections of seventeen bars each, with an extension of the middle section just after the golden section after bar 103. I was inspired by Blake’s writings as I found in them the right sparks for my composition, but I could not add anything more. When I compose, besides the rudimental structure I have just explained, I sum up the thoughts that I collect during my everyday life, without particular aesthetic or language problems. As a matter of fact, quoting Blake, ‘Freedom is to be able to use one’s own genius against any restrictive rule, in order to let the Energy overwhelm the Reason’. Enrico Bertelli (trans.), Enrico Correggia Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 9/32 10/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 10 TECHNICAL REQUIREMENTS: Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 10/32 11/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 11 INSTRUMENTARIUM Do’Tsoh _ 6 Ocean Drums different measures _ 2 Timpani: 29” and 26” _ 1 snare drum with stand _ 1 large tam-tam with stand _ 1 large china cymbal with stand _ 1 bass drum with stand I Riti. Funerali d’Achille _ 2 wood-blocks _ 1 pair of finger cymbals (or similar small bells connected in couples) _ 1 maracas _ 2 snare drum with stand _ 1 gong with stand _ 1 china cymbal _ 1 tam-tam with stand _ 1 bass drum _ 1 pair of congas with stand _ 1 pair of bongos with stand Regina (Quintettino Mozart) _ 1 triangolo _ 1 hi-hat _ 2 gongs with stand _ 1 glockenspiel _ 1 cymbal with stand _ 1 vibraphone _ 2 tin cans (medium) as in Cage Third Construction _ 1 marimba _ 5 cowbells _ 1 8ve of tubular bells _ 1 snare drum with stand _ 1 indian rattle _ 3 timpani 23”, 26”, 29 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 11/32 12/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 12 Dogma #4 _ 2 marimbas _ 2 vibraphones _ 4 tom-toms with four independent stands _ 4 temple blocks with four independent stands Il Canto di Los _ 3 timpani 23”, 26”, 29” _ 3 vibraphones _ 3 sets of 3 cymbals one on top of the other as a pyramid (as in the image) _ 3 sets of 3 wood-blocks on a small table _ 1 xylophone _ 3 set of 3 temple blocks with stand _ 3 set of 2 gongs thaj and 1 tam-tam with stand _ 3 set of 3 tom-toms ___ ___|___ ____|____ Trio _ 1 wood-block _ 1 small bell _ 2 finger cymbals _ 1 gong with stand _ 1 marimba _ 1 vibraphone Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 12/32 13/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 13 Concert Proposal n°2 – Musica del Ventesimo Primo A concert made up of brand new compositions commissioned to Italian composers by the BDP Nicola Cisternino Do’Tsoh 2003 Filippo Del Corno Dogma #4 2006 Stefano Bellon 60 and 140 rocks 2007 Carlo Boccadoro Stick Control 2007 TBC – 2 pieces work in progress Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 13/32 14/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 14 Programme Notes Nicola Cisternino (1957 -), Do’Tsoh, 2003: Composed between July 2002 and January 2003, Do’Tsoh is the third –together with Awithlaknannai (1993) and Auke-nui-a-iku (1998-99)- work of a cycle dedicated to the percussive sounds and their exploration. Do’Tsoh is a composition for six musician-percussionist-shamans who play touching the instruments mainly with their bare hands. The name is borrowed from one of the almost thirty sandpictures which, in the old tradition of the Navajo represented the essential means for the recovery rites. Such rites were accompanied by songs and prayers during which the ill, sitting in the middle of the sand-pictures, facing east, was slowly covered in sand by the shaman. Do’Tsoh is the fourth of seven parts in La Via della Grandine (hail), which tells the painful return of Niltsá-éshki who gambled and lost a turquoise talisman given by his father and who was, for that, compelled away from his family and his tribe. The six percussionists represent the six Do’Tsoh (stylized fleas, considered messengers between men and the superior entities) and, with a few instruments, they follow the six rings of the rite over twenty minutes. Such rings are physically shaped in the venue by the six shamans who play ocean-drums in different shapes and dimensions following the indications on circular scores. Enrico Bertelli (trans.), Nicola Cisternino Filippo Del Corno (1970 -), Dogma #4, 2006: March 13th 1995: Lars von Trier and Thomas Vinterberg, cinema directors, proclaim their vote of chastity with DOGMA 95. This manifesto includes ten rules that a director should follow if he or she is willing to follow the DOGMA. With this piece I attempted to transpose such rules into my composition, creating a new set of laws for musicians. My aim is to create a set of ten pieces, each entitled DOGMA, followed by a number stating the number of the instruments used (or performers in this case). Among the rules: the piece must not be based on a pre-determined form; it has to be written straight on the score; handwritten, with no IT support except for the final release; live-electronics are prohibited; it must not contain effects for their own sake; no extra-musical inspiration; no quotations or recognizable contaminations; one movement, no change of pulse; the composer must not take part in the actual performance. Enrico Bertelli (trans.), Filippo del Corno Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 14/32 15/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 15 Stefano Bellon (1955 -), Sixty and One-hundred-and-forty rocks, 2007: Rock. That’s wot we r talkin ‘bout. I am usually not very interested in this genre, but I firmly believe that a contemporary composer with a traditional academic background should, at least once, try this challenge. Beyond the basic concept of the steady pulse, lies the ‘feeling’ needed to play Rock music, which has much more expressive potential, especially when used within a formal and stylistic concept different from the norm. It seems to me that the self-righteous repetition of a simple pattern is not very charming but, if I could to borrow the rhythmic conception – detatched from the obvious re-iteration of a symmetric grid – I would then be able to take advantage from it, arranging it within structures derived from an idea of musical writing, as opposed to the extemporaneous conception. The subject matter is delicate: if it is true that the pulse in Rock music owns its value to the simplicity of the rhythmic idea from which it originates, taking the distances from such concept could cost the loss of the expressive power. Sixty and One-hundred-and-forty Rocks was born from this conflict and is made up of two complex but repeated structures of 60 and 140 quaver notes. The organizing structure is based on two sequencies originated by the multiplication of a couple of asymmetric series: 8-7-6-5-4-3-2 and 5-4-3-2-1. The composition has been commissioned by the Brake Drum Percussion and is dedicated to M°Pietro Bertelli. Enrico Bertelli (trans.), Stefano Bellon Carlo Boccadoro (1960 -), Stick Control, 2007: The composer has deliberately decided not to include any programme note. Further programme notes to be confirmed. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 15/32 16/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 16 TECHNICAL REQUIREMENTS: Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 16/32 17/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 17 INSTRUMENTARIUM Do’Tsoh _ 6 Ocean Drums different measures _ 2 Timpani: 29” and 26” _ 1 snare drum with stand _ 1 large tam-tam with stand _ 1 large china cymbal with stand _ 1 bass drum with stand Dogma #4 _ 2 marimbas _ 2 vibraphones _ 4 tom-toms with four independent stands _ 4 temple blocks with four independent stands Fortyeight 48 rock _ 2 vibraphones _ 1 marimba _ 1 glockenspiel _ standard drum-set 5 pieces plus ride and crash cymbals _ 10 gongs Thaj (pitches TBC) Stick Control _ 2 marimbas _ 1 xilofono _ 1 vibrafono Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 17/32 18/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 18 Concert Proposal n°3 – Anelito all’In-aud-ito A unique collection of live soundtracks for cinema masterpieces of the early 1920s. René Clair Entr’Acte (1924) music by Erik Satie Man Ray Le retour à la Raison (1923) music by Marco Dalpane Fernand Léger Le Ballet Mécanique (1924) music by George Antheil TBC (2007) music by Graham Fitkin Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 18/32 19/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 19 Programme Notes René Clair (1898 – 1981) and Francis Picabia, Entr’Acte, 1924, with music by Erik Satie: Picabia did not miss out on the chance to goad future spectators by writing on the program: ‘I prefer to hear yells than applause’. On Satie’s part, after stating that he had composed a piece of pornographic music for us guys, he softened the remark by adding that he had no intention to make either a lobster or an egg blush. […] From the very first images, a clamor of sneers and mumbles arose from the crowd of spectators, and a slight shudder ran through the rows. Thus the storm was heralded, and soon it broke out. Picabia, who had hoped to hear the audience, could consider himself completely satisfied. Noise and whistling blended with the melodic tomfoolery produced by Satie, who, as an expert in the field, most likely appreciated the sonorous reinforcement provided by the protests. […] An unflappable Roger Désormière, with disheveled hair and a severe expression, seemed to simultaneously direct the orchestra and set off a hurricane of tricks with his imperious wand. And so was born, in sound and frenzy, this small film that, in the end, won applause, howls and whistles in equal parts. René Clair Man Ray (1890 – 1976), Le retour à la raison, 1924, music by Marco Dal Pane: With this film, Man Ray pulverizes everything done in cinema until now. Not only does he show that it is possible to make a film in one day, almost, with laughable means, without intertitles, actors or a script, and even without a movie camera. In addition to that, with no respect for standard relationships between images, he organizes a visual collision between frames and emphasizes filmic discontinuity, creating a new cinematographic object from unsuspected potential. The film also reveals the extreme sensuality of this attitude. The filmmaker touched and manipulated the film, he placed objects on it with great delicacy, he played with the light: joy of the hand and the eye which expresses itself at the same time through Kiki’s naked back and the visual explosion of ‘passages built on the rayograph, where discontinuity between shots reigns’, as Paul Sharits said. Christian Lebrat Fernand Léger (1881 – 1955), Le Ballet Mécanique, 1924, music by George Antheil: Let me speak to you a bit about Ballet Mécanique. It has a simple story. I made it between 1923-24. At that time, I made paintings where the active elements were objects completely devoid of atmosphere. Painters has already destroyed the story. Just as avant-garde film had supposedly destroyed the descriptive screenplay. I thought that neglected object could take on a value of its Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 19/32 20/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 20 own in the cinema as well. On that basis, I worked on the film. I took very ordinary objects and transposed them onscreen, giving them mobility and rhythm, chosen and calculated very carefully. Contrast between objects, slow and rapid passages, pauses, moments of greater intensity, the entire film is built on these foundations. I used the close-up, the sole cinematographic invention. I also employed the fragment of an object; by isolating it, it is given personality. All this work led me to consider the event of objectivity as a new value with a very contemporary nature. The music by Georges Antheil: The ensemble for four pianos and twelve percussion, also includes two airplanes engines, or at least, their sound. It is well known that in some fields, such as motor racing for instance, experts and lovers are able to recognize the ‘musical’ sound of a twelve cylinder Ferrari, just like in aeronautics where each period is characterized by specific engine design. These distinctions may seem a little captious to some, nevertheless, just as a double bass is never mistaken for a cello or a Boehm for a Baroque flute, differences in sound volume, tone, nuance among different engines are equally important. Fernand Léger and Sergio Miceli Further programme notes TBC. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 20/32 21/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 21 TECHNICAL REQUIREMENTS: NB: we will need 8 music stands with lights and 4 lamps for the piano players plus 1 stand with lights for the conductor. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 21/32 22/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 22 Concert Proposal n°4 – Metal, Wood, Fire and Water Iannis Xenakis Rebonds b 1988 Paul Smadbeck Rhythm Song 1982 Franco Donatoni Omar. Primo Pezzo 1985 Askell Masson Prim 1984 Keiko Abe Variations on Japanese Children’s Songs 1991 Per Nørgård I Ching IV mvt Fire over water: Towards Completion 1982 Enrico Bertelli - solo Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 22/32 23/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 23 Programme Notes Iannis Xenakis (1922-2001), Rebonds b, 1988: Premiered by Sylvio Gualda in the picturesque venue of Villa Medici, during the pleasant Roman summer of 1988, Rebonds is seen as the direct descendant of Psappha, written by the same composer twenty-four years earlier. The drive of the hi-bongos, characterizes the piece throughout accompanying the fast phrases which, played by the left-hand on the drums, land heavily on the bass-drum. As usual, Xenakis’ writing for percussion requires the performer to make some compromises, as some elements on the score cannot be played. I created my own interpretation combining my solutions to those adopted by Gualda himself. Paul Smadbeck (1945? -), Rhythm Song, 1982: I was lucky enough to be able to prepare this piece with marimbist Michael Burritt (Northwestern University – IL) who premiered it with Smadbeck over twenty years ago. Originally written for solo, today I will play it at unison with myself, pre-recorded on the tape. A huge thanks goes to Jack White who helped me in recording and mixing the track. Based on elements of Minimalism, the piece is meant to be played as a drum-set solo, with contrast between a steady 4/4 groove and an African 6/8 feel. The simplicity in harmony AMaj and C#min, and in the themes (F#, G#, A, B) help focusing the interest on the texture, a combination of usually three layers that can be mixed in real-time by the performer, creating endless variations. Franco Donatoni (1927-2000), Omar. Primo Pezzo, 1985: Dedicated to the Italian vibraphonist Maurizio Ben Omar, the piece exploits the dry and crisp timbre of the instrument through progression of chords and fast outburst of single notes or bichords. The tonal language, sometimes pentatonic, is hidden by the use of polytonalities and the addition of intervals conventionally classified as dissonant. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 23/32 24/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 24 Askell Masson (1953 -), Prim, 1984: ‘With Prím (Prime) I continued my attention to the possibilities of the snare drum as a solo instrument, having earlier written a Concert Piece (Konzertstück) for snare drum and orchestra. Prím is based on a rhythmic pattern which the first fifteen of the prime numbers (1,2,3,5,7,11,13,17,19,23,29,31,37,41,43) give, when one uses 32nd-part notes as a basic unit.’ (Askell Masson). In Prim the snare drum bites, caresses and sings. It manages to please the ears and fulfill the most educated musical years through themes, flavoured with effects that are never there just for their own sake. Every phrase flows into the following without solution of continuity. The result is an unicum that, through explosions and whispers, has to be tasted from the first to the last emotion. Keiko Abe (1926 -), Variations on Japanese Children’s Songs, 1991: Probably the most important composition by the outstanding Japanese soloist Keiko Abe, the Variations are the first piece ever written for the YM-5000, the five-octave marimba, that has become the standard instrument today in, almost, all concerts. In this piece, Abe exploits the differences in timbre throughout the register of the instrument, very bright on top and dark and deep at the bottom, voicing the mallets accordingly. Many of the innovative techniques such as the single hand rolls or the use of bounce, probably inspired to the Japanese traditional theatre. Per Nørgård (1932 -), I Ching IV mvt. Fire over water: Towards Completion, 1982: Based on a pattern that, due to its shape on the score, I like to call Xoox, the IV movement is entirely based on an Infinity Series. Aka ‘The sun and moon music’, such hierarchical series can be defined as a musical matrioska varied in pitch, with accents and with elisions. Nørgård uses the famous ‘wave’ in the first cadenza, just before the ‘drum talk’ section in which, at a slower tempo, four drums start a tumultuous conversation carried on the vibraphone and woodblocks, towards completion. The flamboyant conclusion, once again based on the Xoox, reaches completion in the deep sound of the gong. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 24/32 25/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 25 Enrico Bertelli (Montebelluna (TV – ITA) 29/08/1984 - ) Italian Percussionist, Musicologist. Deeply interested in Contemporary Music, with a special emphasis on the Percussion music repertory. A rich background mixes the theoretical preparation achieved through university, with the instrumental skills gained through intense studies at the Conservatoire and at the various master classes. Since moving to the UK, worked closely with composers, investigating the possibilities of percussion instruments and trying to push the conventional boundaries. This demonstrated by work with composer Jack White in the duo Percatronics for percussion instruments and live electronics. Firmly convinced of the importance of an informed performance, constantly approaches every piece both as a performer and as a musicologist. This duality helps achieve a better understanding of the music and enables communicating with the audience with sounds and words. The academic qualifications include a Diploma in Strumenti a Percussione c/o Conservatorio F.E. dall’Abaco (Verona – Italy) awarded with top mark, Undergraduate Degree in Tecniche Artistiche e dello Spettacolo (TARS) c/o Ca’Foscari University (Venice – ITALY) top mark with lode) and an MA in Performance Studies (Contemporary Percussion) c/o the Cardiff University – School of Music, with Distinction. Among the master classes attended: Ruud Wiener (vibraphone), Igor Lesnik (multipercussion), Jasmin Kolberg (marimba), Matteo di Francesco (marching band) at the Giornate della Percussione at the Conservatorio `G.B. Pergolesi` in Fermo (ITALY). Michael Burritt (marimba) from Northwestern University (Evanston – IL). Current Teachers: Chris Brannick and Richard Benjafield (multi-percussion and Ghanaian music), Michael Skinner (Basle drumming and orchestral techniques) at GSMD (London). Recent Performance Experience and Awards: (* principal positions) • 2006/2007: Cardiff University *Chamber Orchestra; *Contemporary Music Group; *Cardiff Collective New Music Ensemble; Percatronics Duo with composer Jack White. Regular solo performer at the CU lunchtime concerts. • 2006: Second Prize Concorso del Teatro Filarmonico di Verona (ITALY). • 2001 to 2006: Youth Orchestras *Ecce Gratum and *La Réjouissance, Wind Band *Francesco Visentin with solo playing and tv broadcastings. Since 2007 I am assistant to the Artistic Director of the Brake Drum Percussion. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 25/32 26/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 26 Technical Requirements Stage (in m): 8x4 White Lights Available 5 hrs before the show Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 26/32 27/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 27 INSTRUMENTARIUM Rebonds b: _ 1 set of 5 temple blocks in line with stant _ 1 thumba with stand _ 1 tom-tom with stand _ 1 bass drum (horizontal) with stand _ 1 pair of bongos with stand Rhythm Song: _ 1 concert marimba 4 octave and 1/3rd (4 1/3) Omar. Primo Pezzo: _ 1 concert vibraphone (standard wide bars) Prim: _ 1 snare drum 14” (metal shell) with stand Variations on Japanese Children’s Songs: _ 1 concert marimba 4 octave and 1/3rd (4 1/3) I Ching: _ 1 bass drum with pedal _ 1 hi-hat _ 2 flat gongs, Chinese or Korean (30cm circa) with stand _ 1 concert vibraphone (standard wide bars) _ 1 set of 5 temple blocks in line with stand _ 1 angklung (literally, just one, not the whole set) _ 1 deep gong with stand _ 1 mark three or wind chimes with stand _ 5 tom-toms. If possible, 2 with natural heads, 3 with pin-stripe with stand _ 2 pairs of bongos with stand _ 2 small tables to hold the sticks Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 27/32 28/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 28 MASTER CLASS PROPOSALS First Proposal : Vibraphone and Marimba Jazz Length: 4-5 days (flexible) Target: Grade 8 (UK), Quinto anno di Conservatorio (ITA) or equivalent Aims: To show and explain the basics of the Jazz harmony and the techniques relevant to develop the improvisation skills. The lessons (hands-on) can be collective as long as 2 vibraphones and 2 marimbas are available. As soon as the student understands the rudiments, I will immediately start playing, trying to stimulate his/her musical intuition and to create ensemble music. I will provide, in advance if needed, a complete bibliography of books, treatises, recordings and videos. The final lesson could well be an open concerts with the students. Relevant Bibliography: Building the chords, inversions and use of voicing: • • • Jamey Abersold, Turnarounds Cycles & II/V7’s, Published by the author, New Albany (IN, 1979). Thomas L. Davis, Voicing and Comping for Jazz Vibraphone, Hal Leonard Corporation, (WI, Milwaukee, 1999). Richard Muller, Vibes Entertainment, Alfonce Production, (Clermont-Fd, France, 2003). Practical Improvisation Studies: • Hein de Jong, Jazz Vibraphone, De Haske Publications, (Holland, Heerenveen, 2001). Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 28/32 29/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com Second Proposal : 29 Military Drum Tradition Length: 4-5 days (flexible) Target: Grade 8 (UK), Quinto anno di Conservatorio (ITA) or equivalent Aims: A survey of the Classic and Contemporary repertory for the snare drum, discussing and comparing the American and European schools. The lesson can be collective, with a maximum of six simultaneous students for each group. A better eresult can be achieved if each student will have a drum-pad and a music stand. I will provide, in advance if needed, a complete bibliography of books, treatises, recordings and videos. The final lesson could be an open concert with marches from the American and European traditions. Relevant Bibliography: Rudiments • VV.AA., N.A.R.D. drum solos, Ludwig Music Publishing Co., (IL, Chicago, 1962). • Charley Wilcoxon, Modern Rudimental Swing Solos for the Advanced Drummer, Published by the author (1942 and 1969), Ludwig Music Publishing, Co (OH, Cleveland, 1979). Relevant comparisons to the PAS (Percussive Arts Society) list of rudiments since 1980. Control and omogeneity of sound between the right and left hand: • George Lawrence Stone, Stick Control for the Snare Drummer, George B. Stone & Son Inc., (Mass, Boston, 1935). American Tradition: • VV.AA., Musical Selections for Fife and Drum.,The Company of Fifers and Drummers, Vol I (1974) or Volume II (with errata corrige). • Les Parks, 15 Diversions for the Snare Drum, Sam Fox Publishing Company INC, (NY, New York, 1966). Basle Drumming: • VV.AA., Trommelmaersche. Band I and II. Der Basler Marschsammlung vor Dr. Berger, Trommelverlag, (Basel, 1965) Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 29/32 30/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com Third Proposal : 30 Afro-Cuban Percussion Length: 4-5 days (flexible) or 10 meetings, 15hrs total Target: Students of every age, with at least 3-4 years of studying. Groups of maximum 6 students would be preferred. Instruments: the whole Conga family (Quinti, Congas, Tumbas, Tumbadora), Timbales, Bongos, various Cowbells, Claves and Maracas Aims: Throughout the 10 meetings (flexible) we will study the various techniques used for the different instruments, together with the basic rhythms and patterns. The attention will be focused on the creation of ensemble/chamber music, using arrangements of various rhythms with three to four voices. In so doing, beyond the percussive skills, the student will develop his/her musical ear and his/her own musicianship. The maximum number of six students per lesson is due to musical reason (voices and arrangements). The voices can also be doubled but they will require a larger instrumentarium. I will provide, in advance if needed, a complete bibliography of books, treatises, recordings, videos and handwritten material. Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 30/32 31/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 31 CACHETS Concert Proposal n°1: Gli Storici Italiani Cachet for six (6) musicians and conductor: € 3,500.00 net Such cachet does NOT include: • Travel costs for musicians and instruments • Accommodation and catering/food • Instruments rental if needed NOTES: We will be happy to travel with low cost companies. The instruments could be rented or transported from Italy (depending on location and costs) Concert Proposal n°2: Musica del Ventesimo-Primo Cachet for four (4) musicians and conductor: € 3,000.00 net Such cachet does NOT include: • Travel costs for musicians and instruments • Accommodation and catering/food • Instruments rental if needed NOTES: We will be happy to travel with low cost companies. The instruments could be rented or transported from Italy (depending on location and costs) Concert Proposal n°3: Anelito all’In-aud-ito Cachet for eight (8) percussionists, four (4) piano players and conductor: € 5,500.00 net Such cachet does NOT include: • Travel costs for musicians and instruments • Accommodation and catering/food • Instruments rental if needed • Rental of the films from the Cineteca di Bologna (Italy) or similar NOTES: We will be happy to travel with low cost companies. The instruments could be rented or transported from Italy (depending on location and costs) Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 31/32 32/32 Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY Landline: +39 0422958812; [email protected]; www.brakedrumpercussion.com 32 Concert Proposal n°4: Metal, Wood, Fire and Water Cachet for one (1) musician: € 500.00 net Such cachet does NOT include: • Travel costs for musicians and instruments • Accommodation and catering/food Instruments rental if needed NOTES: We will be happy to travel with low cost companies. The instruments could be rented or transported from Italy (depending on location and costs) Master Class Proposals (First, Second and Third): TBC Brake Drum Percussion, Artistic Director: Pietro Bertelli Vicolo Sottana 2/E, 31038 Padernello di Paese (TV) – ITALY 32/32