Rebonds B, by Iannis Xenakis

Rebonds B, by Iannis Xenakis
Performed by Sam Um
Recorded at Yale University - School of Music
Hendrie Hall, Blocker Rehearsal Hall
Audio by Michael Laurello
michaellaurello.com/
Editing by 2X1 Media
www.2x1media.com/
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MALLETS
#vfM155 - Ensemble Series
vicfirth.com/products/keyboard...
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ABOUT THE PIECE:
After his first pieces for percussion ensemble, Persephassa (1969), and percussion solo, Psappha (1976), Iannis Xenakis went on to compose a number of other works for various combinations of percussion or percussion and other instruments. His second solo work, though, did not arrive until 1988. Rebonds was written for longtime colleague, Sylvio Gualda, who had also premiered Psappha and performed it (and other pieces) to great acclaim around the world. This piece is less ambitious (and utopic, in terms of performer difficulty!) than the earlier solo, but it is nonetheless a fascinating study of pulse and pattern.
Unusually for Xenakis, Rebonds is written as two autonomous movements. They can be performed in either order. The "A" movement begins with a repeating rhythmic phrase built from a continuous pulse. The pattern is varied as a matter of course, and the pulse is gradually filled in with faster and faster fills. As in Psappha, there are only a few instruments used in order not to distract or muddy the rhythmic structure: seven drums and five woodblocks. The momentum builds higher and higher, until the tension is dispersed with a fragmented return to the opening phrase.
Movement "A" is often performed after "B," which has a more complex design. The most obvious formal distinction is between sections featuring drums or sections featuring woodblocks (the final section combines the two). The organization within these sections is less linear than in "A," but there are variational processes used. The ongoing pulse is occasionally vaporized by the switch to continuous rolls, but there are also passages in which the layered succession of patterns creates fascinating textures of shifting accents.
- James Harley
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ABOUT THE PERFORMER
Sam Seyong Um is a percussion artist, performer, and educator. Sam has been featured in many music series and festivals such as YellowBarn, Musical Masterworks, Nasher Sculpture Center and appeared on the stages of renowned halls such as Carnegie Hall, Cite De la Musique of the Philharmonie de Paris, and Kennedy Center. Sam is also a member and social media manager of The Percussion Collective which emerged from one of the world’s foremost student percussion ensembles, the Yale Percussion Group. The Percussion Collective have commissioned “Seaborne” from a world-renowning composer, Garth Neaustadter and have given concerts in various places in the US, and in China. Sam will also appear as a soloist along side with the other members of The Percussion Collective with the Oregon Symphony Orchestra, and the Baltimore Symphony Orchestra. Sam has also appeared as a soloist with the Yale Philharmonia under the direction of Maestro Peter Ounjian as the winner of the concerto competition. He is also the winner of the Concerto Competition at the Eastman School of Music and a reciepient of 3rd place at the 2012 PAS Marimba Competition.
As an active educator, Sam has given lectures and clinics at The Curtis Institute, The Peabody Conservatory, The Eastman School of Music Summer at Eastman program, and New Life Foundation. Sam premiered many new works by well known composers such as Martin Bresnick, Christopher Theofanidis and Hannah Lash.
Sam is an active artist in community outreach/community engagement programs performing in various places in the world such as Spain, Mexico, Costa Rica, and various places in the United States with programs such as the YellowBarn Music Haul, and The New Life Foundation.
Sam earned his Masters degrees at the Yale School of Music with Havemeyer Scholarship under Robert van Sice. He earned his Bachelors degree at the Eastman School of Music with the Howard Hanson Scholarship and John Beck Scholarship under Michael Burritt and was honored with the prestigious Performer’s Certificate. Sam is currently a Doctoral teaching assistant at the Peabody Conservatory. Sam is a proud endorser of Vic Firth and Evans Drumheads.
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[@michaelkonomos]

Amazing. I cannot even imagine all the hours of practice that went into this incredible performance.

[@powerinformation]

the wait for the wood blocks was worth it

[@frankalfar]

Percussion pieces are so underrated, its to bad this is a great performance, harkens me back to my college days. Barton,Crumb and Xenakis

[@stupidhatonthefloor3]

Those ruffs at the outset are probably the best I've heard, to say nothing of Sam's beautiful interpretation! Respect!!!

[@sharonkim2528]

Amazing, so much narrative felt in the music

[@mindbodylightsound10]

Haven't heard this in years! Enjoyed it very much.

[@SHdrummerguy08]

I love the tone choice. The bass drum sounds like a dominant to the tom's tonic

[@stixaw]

Beautiful performance I love this piece!

[@benjamin9901]

I have always enjoyed Xenakis' percussion works and this is a fine performance

[@pesto9]

This is fantastic

[@udomatthiasdrums5322]

love it!!

[@fortniteps5784]

Thats really good man. He has made a very good rythem and a Refrain.

[@Slangsam1]

Great performance!

[@standauphin1592]

Banger

[@ricardobovo2996]

Amazing!!!

[@klaudiarucinska4535]

Wonderful performance!

[@sebastianzaczek]

It would be epic to see Ferneyhough's "Bone Alphabet" in the Future

[@anti6868]

Well played!

[@jansmejkal6846]

3:05 And there he goes, into the octopus mode

[@funthomasio]

wow! good job!!

[@nbPercussion]

Yeah Sam!!

[@yeetthebeet]

incredible performance

[@raestipher9789]

🎉Thank you

[@Chadfleanthony]

at about 4:55 I thought he was about to start playing "Shape of you". Beautiful composition and I'm in love with the sound of the floor tom. Thanks for the video!

[@bigtimedrum]

I would like to see how the cameras and mics where set for this, I love the performance and the production.

[@fotismonocheir1446]

Seems like no mics, probably recorded and shot at different times

[@ChristopherHero]

That would be nearly impossible to line up after the fact. It's most likely some overhead and ambience mics out of the frame.

[@UncleWalter1]

While it certainly is feasible to get a pretty crisp sound with ambience mics out of frame, especially in a good, accurate room, this is definitely not live footage. It looks like he's synced to click track going into his right ear, which you can see glimpses of. Also at 1:58, it goes from what is clearly a close-up hand held shot straight to a wide shot without any camera operator getting into the wide shot. None the less, the recorded performance is pretty stellar.

[@adriannunez6813]

Yuhhhhh

[@Pacha_Nukaya23]

Master !!!

[@OurNeighborsCat]

3:18 is awesome, as is this whole thing

[@stepsofashaman...4283]

Reminds me of the drum Corp days.... phenomenal piece, executed perfectly.

[@kamikazedibujando3582]

Musicalidad!!!

[@Ollymin]

👍👍👍👍👍👍

[@tobiasts9281]

Bravo, gutes Tempo, sehr musikalisch !!

[@Docdug]

Wow

[@aaronmilam2290]

What are the pitches of those wood planks? Sounds similar to the atonal set from Rustic Percussion. I'm trying to make my own, so if anyone has suggestions on the pitches they used let me know! Thanks.

[@samuelthorn408]

Dang

[@andrewweatherhead4127]

🥁🥁🥁🔥🔥🙏🙏🤗🤗

[@davidhavens9929]

Where did you get the wood slats? Was curious to know if you made them or bought them. Thanks!

[@aaronfaehnle7310]

Sad this isn't on the UIL Prescribed Music List

[@user-kh8pd4uz4n]

It’s so nice! 1:49 What kind of wood block do he use?

[@TheType0negative]

how talented and being beyond his time Xenakis was

[@hervebonacoscia]

Which kind of woodblock ? I love it

[@courtneyellis8613]

Looks and sounds like it might be purpleheart, but I'm not sure

[@benjaminraife7774]

Is it 3 congas, bongos and a tom and bass? Along with the woodblocks that is

[@longlifetometal1995]

Yup

[@unsubscribefromthischannel6191]

Although I’m convinced that only 1 is used. I’ve watched through 2 times, and I haven’t seen him hit either of the 2 congas closest to him.

[@user-fl6jf4pn2o]

Rebonds B only calls for one conga. It could be that he was recording/playing rebonds in its entirety, however. Rebonds A calls for 3 toms, the two other congas could be serving as two toms in addition to the one actual tom

[@abhinavkhokhar362]

Siiickkkkk

[@sandboxpercussion]

yeah sam!

[@greyman8005]

What is the device in the right ear (seen at 1:02, 2:24, 2:45, 3:06)?

[@candreel]

30 neighbors of Mr. Iannis Xenakis viewed this video.

[@Mike-sf5cg]

0:57

[@tyson703]

I'd love to see how this was mic'd up

[@camille7751]

Actually it wasn't, looks like it was recorded elsewhere and filmed without being recorded :)

[@nickmccabe7444]

@@camille7751 Classical mic technique is usually some stereo configuration, placed optimally in the room. Spaced pair, ORTF, Decca Tree - though the latter would be overkill for one percussionist. Blumlein is nice for this kind of thing. Rare to see 'spot mics' in this kind of thing let alone close mics.

[@user-fl6jf4pn2o]

@@nickmccabe7444 This level of audio quality is unbelievably unlikely with stereo mic set ups. Vic Firth videos are known to record audio and video separately.

[@nickmccabe7444]

@@user-fl6jf4pn2o we aren't talking iPhone. Please google the above techniques.

[@user-fl6jf4pn2o]

@@nickmccabe7444 LMAO nobody mentioned an iPhone. I know this guy and have recorded this piece before as well. Spot mics are almost always used for solo percussion recordings in some form or fashion. If you don’t see them in the final product it’s because they recorded audio and video separately. I’ve been behind the scenes for a few of these Vic Firth recordings (although not this one specifically)

[@DanielMendoza-dt9ms]

Where can I found the partiture of this? Please

[@juanamado9508]

Give this man a bass drum pedal, and he would rule the world!

[@NateSassoonMusic]

you could build a meshuggah song around this

[@ArveBergstrom]

What mallets were used?

[@misterfunnybones]

what? no stick trix?

[@Shukinomura]

Meditation...

[@udol.4612]

Very musically differenciated!.. - good energy... clear accents und structure...virtous but I think the modern interpretes have not the courage to give the natural power of Xenaxis in the music...

[@TlhOnYT]

Turned into Legend of Zelda when he introduced the wood blocks

[@dmacrolens]

Ill

[@ZOB4]

Great performance, don't care for the sound of the bass drum though - the tom is more like what I would want the bass drum to sound like, with the tom tuned higher.

[@RonaldRumRaisin]

I was thinking that the bass is usually hit with a bigger mallet. The marimba mallets aren't heavy enough to get the fundamental note.

[@nielsemilbechnaumann]

the floor tom is just right, the bass drum doesnt say what it could, de to wrong mallets and such

[@thebrickstudios9]

I think the bass drum was more for texture, Vic firth knows what they are doing. If they wanted the actual sound of a bass drum they would set up a kick drum instead of a concert basd

[@user-fl6jf4pn2o]

@@thebrickstudios9 Bro there are so many wild comments here 😂 This has nothing to do with what Vic Firth wants. The piece he’s playing calls for a Gran Cassa, a concert bass drum.

[@user-fl6jf4pn2o]

@@RonaldRumRaisin Those aren’t marimba mallets, they’re xylophone mallets. Also, the bass drum isn’t being used in a traditional setting, but rather a multi-percussion setting.

[@user-iz9ez2ng7e]

Yo, what in the f**k!~.. Uh. Yeah, well done! Ok... Maybe I should try this one too at someday on some point. As a musician and~ Wait! Are there any of the charts.?? Like this one? Y’all let me know or I should find it on all my own self! Alright. I guess I gotta go. So Bye. Now. ~~~ 👍

[@Sitemetespierdes]

Hacía falta escribir una partitura tan larga para hacer eso? X favor

[@jefferywyss8740]

Great ideas, intriguing and beautiful too, but Xenakis suffers from the problems of most contemporary composers: a sense of proportions, a sense of when to stop.

[@error.418]

I could not possibly disagree more

[@zgart]

Yeah no