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“Kim” by Askell Masson – Performed by Timothy Feerst


“Kím” by Áskell Másson

Performed by Timothy Feerst

Product Selection for this Piece:


Tim Genis General (STG)

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Designed with great balance to cover all aspects of concert snare drumming. In persimmon to produce a dark, full-bodied sound.


Heritage Brush (HB)

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A retractable wire brush featuring light gauge wire and a smooth rubber handle. Fast and easy to play.


KÍM means germ or embryo and the idea is roughly to start on something simple which then gradually grows and takes on a new form, like a plant.

The work is a continuation of my exploitation of the possibilities of the snare drum as a solo instrument, using sounds and polyrhythms which I hadn´t in the earlier pieces (PRÍM and KONZERTSTÜCK).

The piece has a metric pattern of 3/8, 7/8 & 11/8 which is repeated 32 times. With the aid of brush and a practise pad as well as the instrument itself, one of my aims was to establish rhythms in various timbres which would develop constantly new wievpoints by putting these into permutational combinations.

Commissioned and premiered by the Danish master percussionist Gert Mortensen, the piece was premiered in Fredericia, Denmark in January 2002.

(taken from http://www.askellmasson.com/WorksPercussionPage.php?10)


Played by the best orchestras, ensembles and soloists, his music reflects a powerful sense of drama. The variety of rhythms and sounds, the combination of lyrical and percussive moments, give to his compositions a unique intensity. Áskell Másson (b. 21. November 1953) is amongst Iceland´s leading composers. With a varied background as a woodwind player and percussionist, he was appointed composer and instrumentalist of the Ballet of the National Theatre in Reykjavik in l973 and in his early tventies he worked considerably in the theatre though always composing concert music. His early works were often heard at Scandinavian music festivals from 1974 and onwards, but in 1980 his Clainet Concerto was presented at the Rostrum of Composers in Paris, and being a specially recommended piece by a composer under the age of thirty, this was an important recognition of his compositional work. In the seventies, he was a pioneer in the field of percussion in Iceland and elsewhere, playing and composing, using new methods and instrumental combinations and techniques. In 1978-1983 he worked as a producer at the Iceland State Radio after which he has devoted his time exclusively to composition. He was Secretary General of the Society of Icelandic Composers in 1983-85, and President/Vice President of the Performing Rights Society (STEF) l989-99 being still on the board today. After his childhood studies in music he went to London to study privately percussion with the renowned James Blades and harmony and counterpoint with Patrick Savill. He has worked with some of the finest soloists (Christian Lindberg, Evelyn Glennie, Ole Edvard Antonsen, Roger Woodward) orchestras (New York Philharmonic, Cleveland Orchestra, Wienna Radio Orchestra, BBC Scottish Symphony, Oslo Philharmonic) and conductors (Esa-Pekka Salonen, Leif Segerstam, Leonard Slatkin, Jerzy Maksymiuk) in the world, often staying periodically in artists´residences worldwide.

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