Konstantyn Napolov performs Rebonds B by Iannis Xenakis in The “K_Napolov” way!
The performance took place at the Muziekgebouw Frits Philips, Eindhoven, on Saturday 8th of November 2014 at 14:40 during the 1st round of the TROMP percussion competition.
ABOUT THE PIECE – Premiered on July 1st, 1988 in Rome by its dedicatee, Sylvio Gualda, Rebonds is an immense abstract ritual. It is a series of movements and hammerings, pure music of increased rhythms. Organized in two pieces of unequal length that can be played A then B or B then A, the work pursues the exploration of the beat as seen in Psappha and taken up again in Aïs (1980), Komboï (1981), Chant des soleils (1983), Idmen B (1985) and Okho (1989). But unlike Psappha, the work is devoid of dramatic dimension. Beat, periodicity, repetition, duplication, recurrence and imitation (accurate or otherwise) are the most obvious signs of change on a greater scale in the musician’s writing. According to Makis Solomos, the beat symbolises an overall idea that is stated in three ways: order, which regulates the rhythmic universe through opposition to disorder; minimal periodicity versus aperiodicity; and discontinuity as opposed to continuity of a primary time presumed to be infinitely smooth.
ABOUT THE COMPOSER – Iannis Xenakis (May 29, 1922 — February 4, 2001) was an ethnic Greek, naturalized French composer, music theorist, and architect-engineer. He is commonly recognized as one of the most important post-war avant-garde composers. Xenakis pioneered the use of mathematical models such as applications of set theory, varied use of stochastic processes, game theory, etc., in music, and was also an important influence on the development of electronic music. Among his most important works are Metastaseis (1953–4) for orchestra, which introduced independent parts for every musician of the orchestra; percussion works such as Psappha (1975) and Pléïades (1979); compositions that introduced spatialization by dispersing musicians among the audience, such as Terretektorh (1966); electronic works created using Xenakis’s UPIC system; and the massive multimedia performances Xenakis called polytopes.
Among the numerous theoretical writings he authored, the book Formalized Music: Thought and Mathematics in Composition (1971) is regarded as one of his most important. As an architect, Xenakis is primarily known for his early work under Le Corbusier: the Sainte Marie de La Tourette, on which the two architects collaborated, and the Philips Pavilion at Expo 58, which Xenakis designed alone.