Wednesday 28 August, 11.00pmNel Giardino di Wagner
Simone Rubino, percussion

Sala dei Cavalieri di Villa Rufolo

Wednesday 28 August
Nel Giardino di Wagner
Sala dei Cavalieri di Villa Rufolo, 11.00pm
Simone Rubino, percussion
Unique seat € 25


Johann Sebastian Bach,
Suite n. 3 in C major BWV 1009, Prelude

Alexey Gerassimez

Johann Sebastian Bach
Suite nr. 3 in C major BWV 1009, Allemande

Roberto Bocca

Johann Sebastian Bach
Suite n.3 in C major BWV 1009, Corrente

Carlo Boccadoro
Power Station
Johann Sebastian Bach,
Suite nr. 3 in C major BWV 1009, Sarabanda

Astor Piazzolla

Johann Sebastian Bach
Suite n.3 in C major BWV 1009, Bourre I and II

Casey Cangelosi
Bad Touch

Johann Sebastian Bach,
Suite n.3 in C major BWV 1009, Giga

Iannis Xenakis
Rebonds B


The discovery of the percussion world is expanding, as confirmed by the young percussionist Simone Rubino, a graduate of the Turin Conservatory and perfected in Munich. In the future of percussion Rubino sees «a dizzying acceleration from a technical point of view. Already today there are kids who play things that are considered impossible. From a technological point of view, one of the lines of expansion will be the encounter with electronics. At the same time, there are unconventional instruments. Cage started with tin cans. Tan Dun sets notes with two stones and makes the water play”. The concert that Rubino presents in Ravello has the shape of a rondo, in which the recurring motif is Bach’s Third suite in C major, originally designed for lute and famous in the cello version. This is not a comparison between ancient and contemporary (Piazzolla and Xenakis, Boccadoro, Gerassimez, Bocca), although Bach is often present in the musical material of the “moderns”, it is more of “an exhibition”, Rubino explains. Each of the six dances in the Bach suite is coupled according to different and subtle similarities to a ‘new’ piece. Coupling by “rhythmic” proximity: the accentuation of the allemande on the weak tempos recalls the founding principle of jazz and is well connected to Esegesi (2015) for Roberto Bocca’s vibraphone; or by a common dancing matrix: Bad Touch (1981) by Casey Cangelosi with its mimic performance links percussion to dance. The future is about percussion: «composers’ competence in writing for percussion is constantly growing. That of percussion is a bit like a new language, which still has to be known and metabolized. “