In April, 2023 I received an email from the Canadian conductor Jordan de Souza asking for some advice about the cymbal part in Debussy’s La mer. Jordan’s questions and my reply are below. Dear Bob, I’m a young Canadian conductor working mostly in Europe. I’m studying La mer for concerts in Dortmund… Read more »
Several weeks ago I received a request to answer a series of questions about my composition Mudra. The questions were answered in April, 2023. My name is Jack Johnson and I am a grad student at Kansas State University working towards my master’s in percussion performance. I recently performed Mudra on my recital and… Read more »
Morton Feldman had this to say about Jo Kondo: “Jo Kondo…fell madly in love with the cowbells, and uses them very hauntingly and very rightly in his piece which gives the music a lot of distinction. I have no rapport with a cowbell so it’s very, very interesting.” In 1996 Robin Engelman made the acquaintance… Read more »
In 1989 Nexus was chosen to be a recipient of the prestigious Toronto Arts Award. It was an honour that included a cash bursary, as well as a professional photo shoot meant to provide high quality PR material for the group. The Arts Council selected Toronto photographer Doug Forster for the job, and he… Read more »
In the early days of NEXUS many of our “instruments” were various found objects – things not originally designed to be used in musical contexts. At that time I particularly enjoyed browsing for unusual-sounding implements in hardware stores and kitchenware departments. During the 1970s many common household items were still manufactured using quite high-quality materials…. Read more »
In July, 2021 I received an additional series of questions from percussionist Lan KaiPo regarding my composition Never in Word, as well as some general questions about my compositional method. LKP is currently continuing research for his doctoral dissertation “An Analysis and Performance Guide of Bob Becker’s Never in Word” at James Madison University. His… Read more »
In October 2020 percussionist Jonny Smith asked me a series of questions regarding my experience with the music of Steve Reich, and my relationship with his ensemble. Jonny interviewed other members of Reich’s ensemble as well, and wrote a paper: “Relationship and Community in the Creative Process: The Steve Reich and Musicians Ensemble”, which is… Read more »
In January 2021 percussionist Antti Ohenoja asked if I would answer a series of questions about drum rudiments from members of the N.A.R.D. in Finland. The original National Association of Rudimental Drummers was organized in the United States in 1933, and was responsible for choosing the “thirteen essential rudiments” still taught and practiced today. I… Read more »
In June, 2020 I received a series of questions from SGM Mark Reilly, rudimental champion, composer and Corps Sergeant Major of the U.S. Army Old Guard Fife and Drum Corps. Mark’s questions and my answers follow. MR. Who was your first big inspiration and why? BB. I should say that my first teacher, James S…. Read more »
In August, 2020 I received a series of questions from percussionist Lan KaiPo regarding my piece Never in Word (1998). Below are Lan’s questions and my answers. LK. When notating percussion instruments that are transposed (bells and crotales) do you ever question whether you should write the actual sounding pitch instead of the traditional lower… Read more »
Tragedy. “A drama typically involving a person destined to experience downfall or destruction, as through a character flaw, or conflict with some overpowering force such as fate or an unyielding society.” Hubris. “An extreme and unreasonable feeling of self-confidence.” Posthumous. “Published after the death of the author.” In May of 2001 I began work on… Read more »
In September 2020 I was invited by British percussionist Jonathan Curtis to take part in his snare drum research project. Details about his work can be viewed HERE. Jonathan was particularly interested in some of the ideas in my book Rudimental Arithmetic, as well as more generally about composing music for solo snare drum…. Read more »
GG: Hi Bob, I am writing a book with a series of interviews with the important marimba and xylophone artists of the 20th century and I would be honored if you would please answer the questions below. It is some biographical information but mainly about what you studied to get better and, as time went… Read more »
In 1993 two major composers – Michael Colgrass and Bruce Mather – began work on commissions for NEXUS. Mather, an intimate friend of Robin Engelman, had already composed two quartet pieces for us: Clos de Vougeot (recorded on the LP Changes in 1982) and Clos d’Audignac (recorded on the CD Rune in 1997). The new… Read more »
In 1989 Carnegie Hall announced a series of commissions to celebrate the hall’s 100th anniversary season in 1990/91. A former member of our management team, Costa Pilavachi, recommended NEXUS be the featured soloists in a new piece by Toru Takemitsu, to be premiered with the Boston Symphony Orchestra and Seiji Ozawa. A concerto by Takemitsu… Read more »
