Adélaïde Ferrière

As winner of 15 awards in France and abroad (France, Austria, Netherlands, USA), Adélaïde Ferrière was the first percussionist ever to be named one of the "24èmes Victoires de la Musique Classique".

Today we are proud to announce that Adélaïde Ferrière will from now on represent the name Kolberg worldwide as "Kolberg Percussion Artist". In addition to her virtuosic skills and her extraordinary musical expression, it was her personal history that led us to this partnership.
As is also a Kolberg tradition, Adélaïde comes from a family of musicians and has dedicated her life to music since her earliest childhood. She often breaks new ground and can be admired, for example, in her interpretation of Rhapsody in Blue - played and recorded above the rooftops of New York.


Her concerts and guest appearances at festivals have taken her to stages all over the world - from Paris or Monte-Carlo to Dublin, Colombia or Latvia. She has been described as a "star of classical percussion" by Radio Classique, for example, and „The Times" is delighted with the "impressive flair" of her music.


See for yourself:
Official Website: http://www.adelaideferriere.com/en/clips/
Youtube Channel: https://www.youtube.com/c/AdélaïdeFerrièreOfficiel 

We are looking forward to the cooperation and the great music that will be made possible.

Video with Adélaïde Ferrière



Kolberg Artist Adélaïde Ferrière performs “Rebonds B” by Iannis Xenakis (1922 - 2001) – recorded 2021 at Kolberg Percussion in Germany performed on Kolberg instruments and stands.

THE PIECE:
"Rebonds B" is a composition for percussion solo by the Greek composer Iannis Xenakis. The work was composed between 1987 and 1989. He dedicated the composition to the percussionist Sylvio Gualda, to whom he also dedicated other works such as "Komboï".

The work "Rebonds" is divided into two independent movements, "Rebonds A" and "Rebonds B". However, Iannis Xenakis himself explicitly stated that the order of the movements is free. Rebonds is the composer's only solo work for percussion apart from "Psappha". He relied on mathematical principles in the composition.
The work has increasingly established itself as an elementary part of the solo, concert and competition literature.