Iannis Xenakis (1922-2001)

[snyprrr]

Anemoessa is so similar to Ligeti's Requiem that I'm curious what the composers thought of each other. Did they make any remarks in interviews about each other's music?

Everyone's getting the memo from me: New Mode Xenakis is Brain Melting Good!

[bhodges]

Everyone's getting the memo from me: New Mode Xenakis is Brain Melting Good!

So...you liked it, eh? 

The International Contemporary Ensemble are at the top of their game right now - and ditto percussionist Steven Schick - so I'm not surprised that the recording is good. I'm looking forward to hearing this soon.

--Bruce

[Mirror Image]

Yes, that was a shocking Xenakis moment for me. Frankly, you are going to have to check out that new Mode release. The samples won't prepare you. Frankly, I can't wait for someone else to hear this disc. It's going to make Xenakis new fans!

I'm definitely going to check it out, snyprrr. What do you think of the other Mode ensemble recordings?

[snyprrr]

No, I offered another perspective of your comment which was people who appear different from each other do have the possibility of admiring the other. The only thing smothered here is your ongoing snobbery and bigotry for anything that isn't deemed acceptable to the world of James. Moving along...

Anyway, let's get back to Xenakis shall we?

What do we make of this set everyone?

[asin]B004MBP7KQ[/asin]

That's good as a mate for the Timpani set. Actually, you begin to disturb me with your Xenakising and Feldmaning lately!! You have the Timpani? What have you enjoyed so far? There is much in Xenakis to potentially turn one off (tell me what you think of 'Bohor'), and you seem so spoiled picky!- haha- jus kiddin- but, anyhow, you're here, so- what do you think of Xenakian 'singing'??




btw- where's the Greg post in the middle of 3 Pages?? of the MI&James show? it seems, Greg, that it took 12 years to get the 'Zythos' World premiere (I mean, huuuh???). Never heard of any Lindberg/Kroumata recording,... there was a YT video, whether this was a preview of the Mode recording or something else, I don't know. Be prepared if you haven't heard this, it's one of the oddest ducks ever!

So...you liked it, eh? 

The International Contemporary Ensemble are at the top of their game right now - and ditto percussionist Steven Schick - so I'm not surprised that the recording is good. I'm looking forward to hearing this soon.

--Bruce

Oh, it's just unbelievable. If you have the old Wergo disc with 'Palimpsest' and 'Akanthos', and the Boulez 'Thallein', well, these are SpaceAge performances comparatively. The flow of Xenakis is these performances is how I imagine he actually heard them in his head, they're that good. Every performers' chops are beyond question, especially the percussionists under Schick (and he's very interesting in 'O-Mega').

The soprano Tony Arnold in 'Akathos' is miles beyond the wonderful Penelope Walmsley-Clark on Wergo, just absolutely riveting, sounding like the perfect Xenakian voice-instrument.

I was totally at first disappointed by the lineup (I mean, 'Echange' is on BOTH 'Ensemble Music 2' aaand 3??), but, after hearing these stunning performances, wow!- and 'Echange' here has a different atmosphere than the longer, earlier one (such a pliant Xenakis piece, one of my favorites, so dark and cosmic).

Yes, you will just have to go NOW!! to whatever store is downtown!!


And I said I spoke with Brian at Mode and he assured me three releases next year! With 'Linea Agon' in three versions for (interactive?) DVD!!

[snyprrr]

I'm definitely going to check it out, snyprrr. What do you think of the other Mode ensemble recordings?

Well, this whole current Xenakis series has been odd. It started with the Vandenberg CD 'Xenakis in New York', which is just one of the worst recorded CDs in all history it's so bad, and then 'Iannissimo', which sounded fine but had somewhat safe seeming performances, and then that group, the ST-X Ensemble under Boorstein, recorded their next two installments on Mode as 'Ensemble Music' 1-2. The sound, and choice of pieces, is variable. But, of course, I cherish them from that time around 1996 when Xenakis recordings were exploding.

I don't know what happened to that band, but this new one is so unbelievably great that one forgets. Much of this Mode Xenakis series has left me scratching my head ('Electronic Music 2' at 45mins.??), but much of it is sonically and musically amazing, 'Kraneerg' in particular. I just wish that it was proceeding a little quicker. Brian assured me that I needed worry about NOT hearing a certain piece, but Xenakis is the only Composer of High Modernism who hasn't has at least had all his pieces given a World Premiere recording. waaaah

[snyprrr]

Well, I've tried to clean all residual fecal matter from the thread, although that is more time-consuming than I care to undertake, what with having a life and all.

James, I fail to understand why you persist in posting in threads about which you haven't a single positive thing to say. A mature adult would move on to something that he DID like and stay there. It would distress me to have to force that to happen rather than having it happen by dint of rational decisions being made. Of course, I can live with being distressed.

MI, failing to engage in counter-argumentative rhetoric is not a sign of lack of fervor. When someone gets a big response to trolly behavior, it merely solicits more.

AMW, you left out the 'H', thus I had to delete your otherwise on-point post... 

GB

Gurn in the Xenakis Thread,... refereeing... have stranger things happened?  Hey, there's an actual Eb chord in 'Echange', you should hear this new recording, it does sound oddly BeerthHaydnesque!

[Mirror Image]

That's good as a mate for the Timpani set. Actually, you begin to disturb me with your Xenakising and Feldmaning lately!! You have the Timpani? What have you enjoyed so far? There is much in Xenakis to potentially turn one off (tell me what you think of 'Bohor'), and you seem so spoiled picky!- haha- jus kiddin- but, anyhow, you're here, so- what do you think of Xenakian 'singing'??

Trust me, I'm as surprised as you are that I've even arrived at Xenakis. But, I suppose what brought me here was Ligeti and Lutoslawski, so let's blame them. Anyway, yes, I do own the 5-CD Timpani set and I never heard so much glorious chaos in my life! But the thing I've been finding with Xenakis is, after you get over the initial shock to the senses, there's a lot to appreciate in the music. I just like the aggressive and barbaric nature of the music and really the sheer amount of energy it projects onto the listener. It's unlike anything I've heard and these aren't just 'bloop and plop' noises, he has direction for the music and it takes you into this violent landscape as if you're being thrown right into the middle of a war zone. I played my Mom the drum-dominated part of Jonchaies and she said she pictured someone being chased by a complete madman and when the music slows down this is the person catching their breath before the chase starts up again. Yeah, my Mom is cool. Anyway, I look forward to receiving this Alpha & Omega set.

[Pessoa]

Trust me, I'm as surprised as you are that I've even arrived at Xenakis. But, I suppose what brought me here was Ligeti and Lutoslawski, so let's blame them. Anyway, yes, I do own the 5-CD Timpani set and I never so much glorious chaos in my life! But the thing I've been finding with Xenakis is, after you get over the initial shock to the senses, there's a lot to appreciate in the music. I just like the aggressive and barbaric nature of the music and really the sheer amount of energy it projects onto the listener. It's unlike anything I've heard and these are just 'bloop and plop' noises, he has direction for the music and it takes you into this violent landscape as if you're being thrown right into the middle of a war zone. I played my Mom the drum-dominated part of Jonchaies and she said she pictured some being chased by a complete madman and when the music slows down this is the person catching their breath before the chase starts up again. Yeah, my Mom is cool. Anyway, I look forward to receiving this Alpha & Omega set.

The first time I felt something similar was when, as a kid, I used to play side B of a single my elder sister to listen to Yoko Ono´s 'Why'.

[Mirror Image]

The first time I felt something similar was when, as a kid, I used to play side B of a single my elder sister to listen to Yoko Ono´s 'Why'.

I would definitely take Xenakis over Yoko Ono any day. Ono can't sing while Xenakis actually knows what he's doing.

[Mirror Image]

Well, this whole current Xenakis series has been odd. It started with the Vandenberg CD 'Xenakis in New York', which is just one of the worst recorded CDs in all history it's so bad, and then 'Iannissimo', which sounded fine but had somewhat safe seeming performances, and then that group, the ST-X Ensemble under Boorstein, recorded their next two installments on Mode as 'Ensemble Music' 1-2. The sound, and choice of pieces, is variable. But, of course, I cherish them from that time around 1996 when Xenakis recordings were exploding.

I don't know what happened to that band, but this new one is so unbelievably great that one forgets. Much of this Mode Xenakis series has left me scratching my head ('Electronic Music 2' at 45mins.??), but much of it is sonically and musically amazing, 'Kraneerg' in particular. I just wish that it was proceeding a little quicker. Brian assured me that I needed worry about NOT hearing a certain piece, but Xenakis is the only Composer of High Modernism who hasn't has at least had all his pieces given a World Premiere recording. waaaah

Thanks, I'll definitely be getting the rest of the series at some point. This new recording Ensemble Music 3 must be pretty damn good for you to keep talking about it. I don't think I've seen you so excited before. As I mentioned before, I do have Kraanerg on Mode en route.

[mahler10th]

I have looked at some Xenakis scores (online)...they are magnificent, such a change from treble clef infested scores and suddenly I am interested in this composer because of those scores.  Never having heard Xenakis, and knowing what I will hear is going to challenge me at every level, I'm going to listen to some Xenakis online...I might last forever, but it may be that I don't last long at all.  I'll give it a shot.  The mention of Lutoslawski as a 'step' to Xenakis is also helpful, as I am a true admirer of the brain scattering antics of Lutoslawski.
So...here goes, I'll find something online and have a listen...he was a qualified Architect after all, so I may find this music 'designer'...

10 Mins Later:  I listened to Pithoprakta here:  http://www.youtube.com/watch?v=SZazYFchLRI&list=RDsWdQBblec0M
Fat lot of good that did me.     Who knows what that was about.   

[Mirror Image]

For me, Hiketides is one of Xenakis' most 'beautiful' works for orchestra:

http://www.youtube.com/v/RoUyzXr-aT4

http://www.youtube.com/v/GFZQ_VzKoFg&list=RDRoUyzXr-aT4

[Mirror Image]

I have looked at some Xenakis scores (online)...they are magnificent, such a change from treble clef infested scores and suddenly I am interested in this composer because of those scores.  Never having heard Xenakis, and knowing what I will hear is going to challenge me at every level, I'm going to listen to some Xenakis online...I might last forever, but it may be that I don't last long at all.  I'll give it a shot.  The mention of Lutoslawski as a 'step' to Xenakis is also helpful, as I am a true admirer of the brain scattering antics of Lutoslawski.
So...here goes, I'll find something online and have a listen...he was a qualified Architect after all, so I may find this music 'designer'...

10 Mins Later:  I listened to Pithoprakta here:  http://www.youtube.com/watch?v=SZazYFchLRI&list=RDsWdQBblec0M
Fat lot of good that did me.     Who knows what that was about.   

I understand the 'shock' you must be in right now, John, but please try and persevere. Listen to this when you have time:

http://www.youtube.com/v/Gb-9j04PGN8

Take the most brutal moments of Stravinsky's Le sacre du printemps and Bartok's Miraculous Mandarin and throw them in a blender at warp speeds and this Xenakis work is what you'll have.

[mahler10th]

I understand the 'shock' you must be in right now, John, but please try and persevere. Listen to this when you have time:

http://www.youtube.com/v/Gb-9j04PGN8

Take the most brutal moments of Stravinsky's Le sacre du printemps and Bartok's Miraculous Mandarin and throw them in a blender at warp speeds and this Xenakis work is what you'll have.

Many thanks John.  I have listened to it.  Brutal is a good word.  I'm going back to Schnittke...thanks anyway John.   

[Mirror Image]

Many thanks John.  I have listened to it.  Brutal is a good word.  I'm going back to Schnittke...thanks anyway John.   

At least you listened and sometimes that's all anyone could have asked for. BTW, going from Xenakis to Schnittke is very interesting. Schnittke sounds like a conservative compared to Xenakis!

[Mirror Image]

BTW, snyprrr, you'll be VERY happy with my current purchases.

[Mirror Image]

A guide to Iannis Xenakis's music
The Greek composer trained as an architect, and created works of shattering visceral power that still astound today



It sounds like something out of a film script. A Greek man in his early 20s fights for his homeland as part of the Communist resistance at the end of the second world war. Shrapnel from a blast from a British tank causes a horrendous facial injury that means the permanent loss of sight in one eye. He is sentenced to death after his exile to Paris (a sentence that was later commuted to a prison term, with his conviction finally quashed with the end of the junta in 1974). By the time he returns, he has become one of the leading creative figures of the century: an architect who trained, worked, and often transcended the inspiration of his mentor and boss, Le Corbusier; an intellectual whose physical and mathematical understanding of the way individual particles interact with each other and create a larger mass - atoms, birds, people, and musical notes - would produce one of the most fertile and prophetic aesthetic explorations in musical history; and above all a composer, whose craggily, joyously elemental music turned collections of pitches and rhythms and instruments into a force of nature, releasing a power that previous composers had only suggested metaphorically but which he would realise with arguably greater clarity, ferocity, intensity than any musician, before or since. This is the music of Iannis Xenakis.

When you hear Xenakis's music – any piece of what we recognise as his mature work, starting with 1954's Metastasis, onwards – you're confronted with an aesthetic that seems unprecedented according to any of the frames of reference that musical works usually relate to. You won't hear vestiges of things like familiar forms, or shapes, or languages. Even the furthest-out reaches of early 1950s serialism sound resolutely conventional next to Xenakis's works of the same period. It's music whose sheer, scintillating physicality creates its own territory in every piece, whether it's for solo cello or huge orchestra. As Ben Watson has put it, Xenakis's work is "an alien shard, glimmering in the heart of the West". When Xenakis approached Olivier Messiaen in Paris for composition lessons, Messiaen turned him down, because, "I think one should study harmony and counterpoint. But this was a man so much out of the ordinary that I said... 'No, you are almost 30, you have the good fortune of being Greek, of being an architect and having studied special mathematics. Take advantage of these things. Do them in your music'."

And that's exactly what Xenakis would do, and was already doing - which is both one explanation of his music's shocking otherness (it was heard as "alien" even by the hipsters of the early 1950s; the 1955 premiere of Metastasis at the Donaueschingen Festival was one of the scandals of postwar music) and a revelation of this music's deep, primal rootedness in richer and older phenomena even than musical history: the physics and patterning of the natural world, of the stars, of gas molecules, and the proliferating possibilities of mathematical principles. Xenakis resisted the label of being a mere mathematician in music just as surely as he refused the idea of his music's political or social message, and it was of course how he used those scientific principles (outlined in his book, Formalized Music) to create pieces of shattering visceral power.

His architectural output offers ways into his music's imaginative world. Take the Philips Pavilion that Xenakis designed for the Brussels World's Fair in 1958 and for which he and Edgard Varèse wrote electronic music to animate its still gorgeously futuristic-looking parabolas, swoops, curves. The maths underlying its construction, and the shapes it makes, have a direct correlation in the way Xenakis uses the instruments of the orchestra in Metastasis, organising the entries of the instruments, and the pitches they play, according to the working-out of mathematical and statistical formulae, translating the space of architectural planes into musical time. (Take a look at his near-contemporary design for a "Cosmic City", a gloriously sci-fi vision of the metropolis of the future - and what happens when Dan Dare meets curvy brutalism.) Xenakis also designed what he called "polytopes", high-art son-et-lumière installations that involved his lighting designs, his sets, his music, and his sound projection to create vivid multi-media experiences, in places from Canada to Iran to Greece. And he designed a system for the conversion of graphic stimuli into sound, a programme he called UPIC and which has now morphed into more sophisticated computer software like IanniX. (More than a decade before Boulez founded IRCAM, Xenakis had set up his own institute for music-technological research in Paris called EMAMu, which now exists as CCMIX.)

Those are some clues to the elemental concerns of his music. But what happens when you hear his music goes beyond even the sensation of teeming natural phenomena or landscapes transmuted into music. Listen to this piece - Synaphaï - for piano and orchestra. You'll hear a piano part of mind-bending complexity, which has the unique distinction, as far as I'm aware, of having a separate stave for each finger. You did read that right: Xenakis uses 10 staves in this piece. You'll hear clouds of minutely detailed orchestral sonority wrap around the solo part, like flocks of small birds mobbing an avaricious raptor; and you'll hear a near-continuous rhythmic intensity and textural violence that takes your breath away. Hearing this piece is as awesome an experience as watching some life-changing natural spectacle. Synaphaï has all the teeming unpredictable power of a glacier, the thrilling complexity of shape and movement of a mass animal migration.

But there's something else as well. This music is expressive: not in a conventionally emotional way, perhaps, but it has an ecstatic, cathartic power. Xenakis's music – and its preternaturally brilliant performers - allows its listeners to witness seismic events close at hand, to be at the middle of a musical happening of cosmic intensity. (That's literally true in Terratektorh, in which the orchestra perform from within the audience – it would have been fun to be part of this performance conducted by Matthias Pintscher...) Xenakis has said that his war-time experience informed his desire to create his new kind of sound-experience. (He described the play of sirens, gunfire, and spotlights in Athens in the 1940s as like a "large-scale spectacle") Yet his music sounds, to me at least, to be purged – or perhaps to be a purging - of the sort of existential darkness that György Ligeti's music, say, never escapes. (Among the closest Xenakis comes to a direct emotional utterance is in his Nuits for chorus; music that sounds like a primordial cry, an impassioned scream.)

There's a huge amount to discover in Xenakis's music, and much of his vast output is out there on YouTube. Some highlights: the non-stop dynamism of Keqrops for piano and ensemble, the epic scale of the 75-minute long Kraanerg for ensemble and tape; the dagger-like pointillism of Khoai for solo harpsichord; or the devastating virtuosity of Tetras for string quartet. The piece that converted me, though, was Jonchaies for orchestra, composed in 1977, and quite simply one of the most exciting experiences you can have in music. Listen to it as loud as you can and convert all your neighbours to Xenakis too.

Jonchaies embodies the elemental truth about all of Xenakis's music. Beethoven described nature in the Pastoral Symphony, Sibelius was terrified by it in Tapiola, but it took Xenakis for music to become nature. On holiday in Corsica, Xenakis would pilot his canoe into the teeth of the biggest storm he and his paddle could manage. When you're listening to his music, you also go out there into the eye of a musical storm that will invigorate, inspire, and awe. See you out there...

[Article taken from The Guardian]

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Is this post James worthy or what? But seriously, it does have some good information in it IMHO.

[mahler10th]

Very interesting post there John.  I looked up the Philips Pavilion which he designed, what a beautiful piece of architectural design!  Reading the above article has kept me interested in this composer - I am very much attracted to his ideas for music and the synthesis of mathematics, science and music - cosmic music! - all of that I find very exciting, but I'm not yet finding it in his music.  Well, not too bad old bean, I've only listened to two pieces by him, but what I've read there should help me 'meet' him better.  I won't give up on him yet.

[Mirror Image]

Very interesting post there John.  I looked up the Philips Pavilion which he designed, what a beautiful piece of architectural design!  Reading the above article has kept me interested in this composer - I am very much attracted to his ideas for music and the synthesis of mathematics, science and music - cosmic music! - all of that I find very exciting, but I'm not yet finding it in his music.  Well, not too bad old bean, I've only listened to two pieces by him, but what I've read there should help me 'meet' him better.  I won't give up on him yet.

Yeah, this article has helped me out as well. Very interesting read for sure. I hope you don't give up on him like I have with Messiaen.

[mahler10th]

Metastaseis (1953-1954)
...It is Abstract Tone Painting of the highest order...
...the Math of God...

I just read that piece.  Very god good.  I can work with this composer some more...