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“Rebonds A” by Iannis Xenakis


“Rebonds a” by Iannis Xenakis

Performed by Ayano Kataoka

Mallet Selection for this Piece:


T5 Wood T5

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Very hard. A special effects mallet.

L = 0"“, Dia. = .“


Rebonds A (1988)

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.


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.


Percussionist and marimbist Ayano Kataoka is known for her brilliant and dynamic technique, as well as the unique elegance and artistry she brings to her performances. A versatile performer, she regularly presents music of diverse genres and mediums. Last season, together with cellist Yo-Yo Ma at the American Museum of Natural History, Ms. Kataoka gave a world premiere of Bruce Adolphe’s Self Comes to Mind for cello and two percussionists, based on a text by neuroscientist Antonio Damasio, and featuring interactive video images of brain scans triggered by the live music performance.

A leading proponent of contemporary repertoire, Ms. Kataoka has participated in several consortiums to commission works for solo marimba or chamber ensemble from such composers as Charles Wuorinen, Martin Bresnick, Paul Lansky, and Alejandro Vinao. She is particularly drawn to compositions that involve the whole person, using standard percussion instruments and unique musical materials along with spoken voice, singing, acting, and elegant props.

A native of Japan, Ms. Kataoka began her marimba studies at age five, and percussion at fifteen. She started her performing career as a marimbist with a tour of China at the age of nine. She received her Bachelor of Music degree from the Tokyo National University of Fine Arts Music, her Masters of Music degree from the Peabody Conservatory, and her Artist Diploma from the Yale School of Music, where she studied with world-renowned marimba virtuoso Robert van Sice. Ms. Kataoka joined the faculty of the University of Massachusetts Amherst in 2008.

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