BRAKE DRUM PERCUSSION

Transcript

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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)
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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
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The
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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.
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Pietro Bertelli, Founder and Artistic Director
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(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
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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.
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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.
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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
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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.
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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
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TECHNICAL REQUIREMENTS:
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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
_ 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 indian rattle
_ 3 timpani 23”, 26”, 29
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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
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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
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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
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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.
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INSTRUMENTARIUM
Do’Tsoh
_ 6 Ocean Drums different measures
_ 2 Timpani: 29” and 26”
_ 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
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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
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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
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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.
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NB: we will need 8 music stands with lights and 4 lamps for the piano players plus 1
stand with lights for the conductor.
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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
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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.
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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.
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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.
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Technical Requirements
Stage (in m): 8x4
White Lights
Available 5 hrs before the show
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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
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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).
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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)
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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.
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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
NOTES:
Concert Proposal n°3: Anelito all’In-aud-ito
Cachet for eight (8) percussionists, four (4) piano players and conductor: € 5,500.00 net
• Rental of the films from the Cineteca di Bologna (Italy) or similar
NOTES:
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Concert Proposal n°4: Metal, Wood, Fire and Water
Cachet for one (1) musician: € 500.00 net
Instruments rental if needed
NOTES:
Master Class Proposals (First, Second and Third):
TBC
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BRAKE DRUM PERCUSSION

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