Recital: Doyeon DY Kim '24, Percussion

Johann Sebastian Bach | Violin Partita No. 2 in D Minor, BWV 1004

arranged for solo marimba

Allemande
Courante
Sarabande
Gigue
Chaconne

INTERMISSION

Iannis Xenakis | Rebonds B (1987-89)

Program note

Iannis Xenakis was a Greek-French composer and architect. Rebonds A and  B were written for a solo percussionist and is a masterpiece that demonstrates his innovative approach to rhythm, structure, and percussion music. Xenakis' unconventional notation and use of complex rhythms make the composition interesting and demanding for performers and audiences. Rebonds B  is a structured piece that heightens complex rhythms, and counter-intuitive contrasts based on various skinhead instruments including very extreme ranged pitches such as Bass Drum, Tom-Tom, conga, and bongo along with a set of 5 wood blocks. 

Changjin Ha '24 | Crescendissimo (2023)

Program note

Dedicated to Doyeon Kim, Crescendissimo is inspired by the concept of the ultimate crescendo. The piece doesn't simply get louder; it includes quieter moments that serve as stepping stones to even grander surges, reflecting life's challenges and triumphs. To achieve the most balanced crescendo, the Golden Ratio and Fibonacci sequence provide the fundamental structure of the composition. Just as the end of a crescendo is always oriented towards the future, I sincerely hope that our lives will unfold in the grandest of crescendos—a true "crescendissimo." Congratulations on your graduation, Doyeon!                                                   
– Changjin Ha

Andy Akiho | Stop Speaking (2011)

Program note

Stop Speaking  was composed for solo snare drum and digital playback by contemporary composer and percussionist Andy Akiho and was commissioned by Tom Sherwood, the 2011 Modern Snare Drum Competition host. This piece is an innovative piece that does not offer typical tempo concepts such as 4/4 or BPM but instead requires you to perform difficult techniques, such as thumb rolls, finger techniques, and the use of various types of sticks accompanied by a digital playback voice. Through Stop Speaking, Akiho demonstrates the composer's ability to challenge our preconceptions about music. The composition of this piece is thought-provoking and emotionally engaging, inviting you to experience snare playing in a completely fresh and unexpected way.

Bram Fisher '24 | Miami 2063 (2023)

Program note

Miami 2063 is a tribute piece to a city which may soon be partially underwater, as climate models predict two feet or more of sea-level rise over the next four decades and potentially $23.5 billion worth of property lost to daily tidal flooding. Scored for chamber ensemble and pre-recorded tape, which features a soundscape of news reports, vintage commercials, and audio clips recorded in South Florida, Miami 2063 explores the convergence of glamorization, leisure, nostalgia, and now apprehension associated with this storied vacation magnet. The soundscape draws partially on audio clips recorded in Miami: environmental sounds, street music, a conversation about urban redevelopment with a Cuban immigrant Uber driver, and other nostalgic reminiscences. Other recordings include recent or historical paraphernalia, either advertising Miami’s paradise destination or else warning of weather patterns, natural disasters, and climate change. Among several street recordings is a passing refrain from Rauw Alejandro’s 2021 disco hit, Todo De Ti, contrasted with sobering news clips and scientific perspectives, a fragment from Billy Joel’s apocalyptic Miami 2017, and an anecdotal excerpt from my grandfather’s book relating his experience surviving Hurricane Andrew. The written music serves as an extension of the timbres and sentiments of the soundscape, tracing a trajectory from low to high, echoing the ebb and flow of the ever-rising coastal tides. Miami 2063 looks simultaneously to both the future and the past, comparing projections of Miami’s next forty years with audio memorabilia from a century prior.                                                                          
– Bram Fisher

John Psathas | from "One Study One Summary"

I. Etude (2005)

Program note

One Study One Summary  was commissioned by Pedro Carneiro with funding from Creative New Zealand. Psathas composed this piece for 5-octave marimba, junk percussion, and digital audio. John Psathas employed a diverse palette of musical techniques to create a piece that challenges the performer's technical abilities while inviting the listener to embark on a journey of discovery. The first movement, Etude, is a captivating exploration of rhythmic intricacies and textural contrasts through marimba, and junk percussion such as frying pans, salad bowls, metallic objects, Chinese wok, and a variety of cymbals and gongs along with digital audio.