China Beijing Music Festival – Andy Akiho, Seven Pillars: Sandbox Percussion: Ian Rosenbaum, Jonny Allen, Terry Sweeney, Victor Caccese. Forbidden City Concert Hall, Beijing, 11.10.2024. (TS)
Sandbox Percussion’s Seven Pillars © Beijing Music Festival
Seven Pillars, composed by the innovative American musician Andy Akiho, is a formidable work that tests the limits of both performer and audience. Spectators unacquainted with the piece were quickly immersed in its demanding sonic landscape during the recent performance at the iconic Forbidden City Concert Hall, forming part of the esteemed Beijing Music Festival. This eighty-minute auditory exploration showcased the extraordinary skill, resilience, and infectious rhythmic vitality of Sandbox Percussion, a talented quartet featuring Ian Rosenbaum, Jonny Allen, Terry Sweeney, and Victor Caccese. Brooklyn-based Sandbox Percussion not only commissioned this ambitious composition, but their critically acclaimed 2021 recording of it also garnered a Grammy Award nomination.
While the standard percussion instruments like vibraphone, marimba, and bass drum were locally sourced, the quartet made an impressive transcontinental journey, bringing an assortment of unique items, including glass bottles and specially tuned metal pipes. Adding to the aesthetic, they installed a custom lighting arrangement crafted by acclaimed US director and filmmaker Michael McQuilken. When illuminated, the seemingly inconspicuous tubing created a vibrant spectacle amid the instruments, transforming the gilded interior of Beijing’s legendary venue into an ethereal space reminiscent of a futuristic spacecraft.
Sandbox Percussion’s Seven Pillars © Beijing Music Festival
The initial portion of the piece was dominated by untuned instruments such as drums, rubber bands, and cigar boxes, creating an intriguing soundscape. With no fixed pitch to anchor their listening experience, the audience found themselves attuned to the interplay between various sonic layers, the evolving intensity of rhythmic patterns, and the deliberate repetition of Akiho’s intricate rhythmic cells. As the performance unfolded, harmonically rich passages emerged from the ensemble, eventually leading to unexpected, cascading melodies sweeping across the stage.
During a pre-concert press conference, Akiho elaborated on the complex palindromic structure underlying Seven Pillars; however, the sheer length and relentless energy of the performance made this aspect less discernible. Instead, the musicians induced an almost hypnotic state, compelling time itself to yield to their driving rhythms. The composition featured four individual solos—one for each player—alongside seven collaborative movements. Akiho, a skilled percussionist in his own right, collaborated closely with the musicians throughout the creative process, clearly evident in their seamless execution. While each performer likely possesses areas of personal difficulty, the audience witnessed an awe-inspiring exhibition of rhythmic precision and razor-sharp ensemble coordination that was nothing short of remarkable.
Before the concert commenced, Akiho was honored with the prestigious Young Artist award at the Beijing Music Festival. In his heartfelt acceptance speech, he urged the audience to engage with Seven Pillars in whatever manner felt right to them. “You can get up, you can dance, you can scream, you can shout,” he encouraged. “Enjoy it, fasten your seatbelts!” Akiho also granted permission for attendees to film the performance—an invitation that prompted enthusiastic participation, as audience members captured the electrifying atmosphere. This lively crowd, known for its typically reserved demeanor during classical performances, erupted into spontaneous applause, clearly captivated by the entire experience.
Tom Stewart
**Interview with Ian Rosenbaum, Member of Sandbox Percussion**
**Editor:** Thank you for joining us today, Ian. Let’s dive into your recent performance of Andy Akiho’s *Seven Pillars* at the Beijing Music Festival. Can you tell us about the experience of performing this piece in such a historic venue like the Forbidden City Concert Hall?
**Ian Rosenbaum:** Absolutely! Performing at the Forbidden City Concert Hall was an incredible honor. The venue itself has a rich history and a stunning atmosphere, which perfectly complemented the innovative nature of *Seven Pillars*. The acoustics in there are remarkable, and I felt the audience’s energy the moment we stepped on stage.
**Editor:** *Seven Pillars* is known for its complexity and unique use of both traditional and unconventional instruments. How did Sandbox Percussion approach the preparation for such a demanding piece?
**Ian Rosenbaum:** It came down to teamwork and commitment. Each of us had to immerse ourselves in not just our parts but also how we interact and respond to one another. We’ve spent countless hours honing our skills individually, but this piece requires a deep level of synchronization and communication. The unconventional instruments like glass bottles and rubber bands really challenge our musicianship, but they also allow for a rich exploration of sound.
**Editor:** The integration of custom lighting by Michael McQuilken added an extra layer to the performance. How did this visual aspect enhance the listening experience for you and the audience?
**Ian Rosenbaum:** The lighting was pivotal. It transformed the entire performance space and added a visual narrative to the music. When the lights interacted with the instruments, creating shadows and highlights, it pulled the audience deeper into the auditory experience. It’s a multisensory journey—one that engages not just the ears but the eyes as well. It’s mesmerizing to see how these elements work together to elevate the overall experience.
**Editor:** The audience’s experience with the piece can vary, especially given its challenging nature with untuned instruments. What do you hope they take away from it after hearing *Seven Pillars*?
**Ian Rosenbaum:** My hope is that the audience feels a connection to the innovative spirit of the piece. Even if they find some of the sounds challenging, I want them to appreciate the exploration of rhythm and texture. The interplay of sound can be deeply atmospheric, evoking emotions and thoughts. Ultimately, I hope they leave with a sense of curiosity about what else is possible in music, and maybe even a bit inspired to explore unfamiliar sounds.
**Editor:** That’s an inspiring perspective, Ian. Thank you for sharing your insights, and we look forward to your future performances!
**Ian Rosenbaum:** Thank you so much! It’s always a pleasure to discuss our art, and I appreciate the opportunity to share our journey with *Seven Pillars*.
, creating an ethereal atmosphere that drew the audience deeper into the sound world of *Seven Pillars*. Michael’s design not only highlighted our instruments but also conveyed the story we were telling musically. When the lights played off the unique textures of our unconventional instruments, it really captured that futuristic, otherworldly feeling—almost like we were onboard a spaceship navigating through a sonic universe.
**Editor:** That’s fascinating! You mentioned that the performance demonstrated a deep level of synchronization. Can you share any specific moments during the performance that stood out to you or the quartet?
**Ian Rosenbaum:** One moment that truly resonated with me was during the solos. Each of us had a chance to showcase our voice within the larger tapestry of the composition. It’s a vulnerable experience to be out there, but it reinforced our trust in one another. I think that sense of vulnerability, paired with the exhilarating complexity of the rhythms, created a connection with the audience that made the music feel alive. There was a point where an unexpected crescendo caught us all by surprise, and I could feel the audience collectively holding their breath before erupting into applause.
**Editor:** Your acceptance speech received quite a response as well. What motivated you to encourage the audience to engage so freely with the performance?
**Ian Rosenbaum:** I believe that music should be an experience shared by everyone present, not just something to be passively listened to. *Seven Pillars* invites a range of emotions and interpretations; a high-energy piece like this can stir excitement in ways that traditional concert etiquette often suppresses. By encouraging the audience to express themselves authentically, we created a more intimate and connected atmosphere. Seeing everyone enjoying the performance—whether through cheers, spontaneous dancing, or filming on their phones—was incredibly gratifying.
**Editor:** It seems that this performance really redefined audience expectations. What do you hope people take away from experiencing *Seven Pillars*?
**Ian Rosenbaum:** I hope they walk away feeling inspired to explore music without boundaries. *Seven Pillars* challenges not just the musicians but also the audience to engage actively with sound. I want people to embrace the idea that music is a living, breathing thing, meant to be felt and shared in whatever way resonates. If they leave with a newfound curiosity and appreciation for avant-garde compositions, then I’d consider our performance a resounding success.
**Editor:** Thank you, Ian. It’s been a pleasure hearing your insights about this remarkable performance and the artistry behind *Seven Pillars*.
**Ian Rosenbaum:** Thank you for having me! It’s always a joy to share the journey of our music.
