The Percussion Canon
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Grab it!

Jacob ter Veldhuis
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JacobTV – Grab it!

In November 1999, the Dutch composer Jacob ter Veldhuis (also known as JacobTV) composed ‘Grab it!’ for tenor saxophone and boom box, a large, portable radio cassette recorder. Saxophonist Arno Bornkamp, for whom this composition was originally written, played its première at the World Saxophone Congress in Montreal in 2000. Shortly after, ‘Grab it!’ became very popular; musicians all over the world started performing it. JacobTV decided to make ‘Grab it!’ also playable for other instruments, among which the bass clarinet, electric violin and percussion. In this composition, JacobTV attempts to bring music and speech together. JacobTV, who grew up with jazz, blues and rock in the 1960s, is strongly influenced by American music. ‘Grab it!’ uses the sounds of American prisoners on death row, waiting for the death penalty to be executed. The voices from the loudspeakers are supported by the marimba, which follows the melody of the screaming prisoners. The title ‘Grab it!’ refers to the opposite of what these prisoners go through: life is worth living, so ‘Grab it’!

Asventuras

Alexej Gerassimez
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Alexej Gerassimez - Asventuras

The German percussionist and composer Alexej Gerassimez (*1987) composed ‘Asventuras’ (2011) for his own concerts. He premiered the piece at the prestigious TROMP Percussion Eindhoven competition. ‘Asventuras’ is a transcribed improvisation in which all kinds of different, unusual playing techniques are united. ‘Asventuras’ is a solo for snare drum, which is unique in its kind: the structure of the composition, the range of timbres, the variation in playing techniques, and its accessible nature set it apart from other snare drum solos: it was well-received by the audience. This is no mean feat, given that the snare drum may not seem a likely candidate for an extended solo. The snare drum is commonly heard played by snare drum sticks. In ‘Asventuras’, timpani mallets, brushes and hands are used to play the piece. This dynamic composition includes a short improvised section, which serves as the starting point for the finale.

Frum

Áskell Másson
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Askell Masson - Frum

‘Frum’ (1995) is a composition by the Icelandic percussionist, clarinettist and composer Áskell Másson (*1953). This composition, for ‘set up’, may be played separately, but also as part of the ‘Concerto for Percussion’. ‘Set up’ refers to a collection of instruments. ‘Frum’ requires thirteen instruments: four tom-toms, four octobans, four bongos and a bass drum. ‘Frum’ has become a favourite among percussionists, due to its diversity in moods, techniques, tempo, as well as its complex, complementary rhythms that are to be played on all instruments. ‘Frum’ is subtitled ‘A drum song’: indeed, the composition is a kind of ‘drum song’, finishing in a spectacular gamelan-like finale. The piece consists of a string of short movements, each with its own challenge: several rhythms that are played independent of each other using two sticks, fast rhythms that are played with one stick, quickly shifting rhythms, and a finale that consists of sixteenth notes that are played by two sticks in the left hand, triplets by two sticks in the right hand, and eighth notes by the foot on the bass drum. This can be compared to sending an email during a car drive while flying a helicopter.

Reflections on the Nature of Water

Jacob Druckman
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Druckman – Reflections on the Nature of Water

Jacob Druckman’s composition ‘Reflections on the Nature of Water’ (1986) for solo marimba was a commission from the American marimba-virtuoso William Moersch. During his career, Moersch has been a formative force in the American marimba literature by commissioning new compositions from a range of composers. ‘Reflections on the Nature of Water’ is an ode to Claude Debussy. The French composer’s ‘Preludes’ inspired Jacob Druckman (1928-1996) to compose one of the world’s most challenging compositions for solo marimba. Claude Monet’s paintings of reflections in water inspired Debussy to compose ‘Reflections in the Water’ from Images, Book One (1905). ‘Reflections on the Nature of Water’ is a very challenging piece: the composer knew exactly what he wanted to hear and was very much at home in the possibilities of the marimba. The notation, the dynamics, and the melodic and rhythmic characteristics of the piece are very complex. The piece consists of six movements, each with a distinctive mood. Each one expresses an aspect of water in nature.

Texas Hoedown

David Friedman
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Texas Hoedown – David Friedman


Performed on Dutch television! Check it out: http://www.vpro.nl/speel~POMS_VPRO_50...

Texas Hoedown is an infectiously driving groove piece for solo vibraphone by David Friedman with a written out solo section. David's gifted vibraphone student, Taiko Saito, premiered this piece at the 3rd World Vibe International Competition in France in October, 2005.

Composer: David Friedman
Performer: Niek KleinJan
Dance: Suzanne Zeegers
Video: Erik Verwiel & Eva van Weeghel
Music recording: Frerik de Jong

For more info about Niek KleinJan: http://www.niekkleinjan.com

?Corporel

Vinko Globokar
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?Corporel - Vinko Globokar

Composer: Vinko Globokar (b.1934) 
Performer: Niek KleinJan 
Video: N&H Videos

?Corporel (1985) was written as part of Laboratorium, a large collection of solo and chamber works for an ensemble of ten players including two percussionists. In Laboratorium, Globokar wrote one piece for ten players, two pieces for nine players, three pieces for eight players, and so on, including two percussion solos: Toucher (1973) for Jean-Pierre Drouet and ?Corporel for Gaston Sylvestre. In Laboratorium, Globokar studied and focussed on a single issue in each piece, and in ?Corporel, he examined the issue of sound by using the body as the instrument. Original sound sources were mapped out using a male body. Globokar speaks about how he found his sound sources: 

''I first determined the different ways to produce the sound: finger, fist, flat hand, hitting, caressing, sliding, etc. I then explored the places on the body where to produce the sounds, considering areas where the bones are just under the skin like in the head, or if there are muscles separating bones and skin like in the stomach or thigh. Later, I added vocal sounds with the idea to imitate percussion sounds produced on the body using the voice. Finally, I introduced a spoken verse written by the French poet Reneé Char.'' 

From: The Cambridge Companion to Percussion 

For more info about The Percussion Canon: http://www.thepercussioncanon.com 

For more info about Niek KleinJan: http://www.niekkleinjan.com


Prím

Áskell Másson
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Clip no. 7

Composer: Áskell Másson (b.1953)

Performer: Niek KleinJan

Video: Martijn Hak (MANOMEDIA PICTURES)

Áskell Másson: ''With Prím (Prime) I continued my attention to the possibilities of the snare srum 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.

Evelyn Glennie has now played this piece in most parts of the world, but it was commissioned by the Danish percussionist Gert Mortensen, and written in 1984.''

For more info about Niek KleinJan: http://www.niekkleinjan.com

Land

Takatsugu Muramatsu
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Clip no. 8

Composer: Takatsugu Muramatsu (b.1978) 

Performer: Niek KleinJan 

Video: Martijn Hak (MANOMEDIA PICTURES) 

Land was written for marimbist Momoko Kamiya by composer Takatsugu Muramatsu. This beautiful and elegant piece incorporates a very rubato tempo, allowing the performer to be very expressive within the framework laid out by Muramatsu.

For more info about Niek KleinJan: http://www.niekkleinjan.com

Suomineito

Nebosja Jovan Zivkovic
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Clip no. 9 

Vibraphone: Niek KleinJan

Video: Elhadji N'Diaye 
Audio: Cees Oosterhuis

"SUOMINEITO is Finish, the language of "Suomi" people, as the Fins call themselves and it means "Finish girl" This quiet melancholic composition was inspired by an original folk song from Finland called "Heili Karjalasta". In Suomi language this means "a friend from Karelia", a region that in the past used to be part of Finland. However, the original folk song is in a very fast tempo and in a happy mood, a kind of Finish Polka called "Humpa". Suomineito is my personal reflection on Finland and on one Suomineito whom I met there during on of my concert tours." - Nebojsa Jovan Zivkovic

For more info about Niek KleinJan: http://www.niekkleinjan.com