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Iannis Xenakis
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![Eonta (part 1 of 3) [1963 - 64] by Iannis Xenakis [1922-01]](http://web.archive.org./web/20120923065320im_/http://i.ytimg.com/vi/sZbRujLEqDw/0.jpg "Rand Steiger conducts Eonta. Live performance recorded on December 3, 2007 at Zipper Concert Hall at the Colburn School in Los Angeles as part of the Monday Evening Concerts. More information at www.mondayeveningconcerts.org. Eric Huebner, Piano Ian Carroll, trombone James Miller, trombone Russell Moss, trombone Daniel Rosenboom, trumpet Aaron Smith, trumpet Rand Steiger, conductor Cameramen: Ross Karre and Jordan Albert Video Director: Ross Karre")
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Chandigarh (, ) is a union territory of India, that serves as the capital of two states, Punjab and Haryana. The name Chandigarh translates as "The Fort of Chandi". The name was coined from an ancient temple called Chandi Mandir, devoted to the Hindu Goddess Chandi, present in the city's vicinity. It is occasionally referred to as The City Beautiful. Chandigarh Capital Region (CCR) including Mohali, Panchkula and Zirakpur had a combined population of 1,165,111 (1.16 million) as per the 2001 census. Earlier the Chandigarh Capital region was also called 'Tricity' because of Panchkula and Mohali as adjacent cities but with mushrooming of other towns like Zirakpur, Kharar etc. with considerable population it is better called 'Chandigarh Capital Region'.
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India (), officially the Republic of India ( ; see also official names of India), is a country in South Asia. It is the seventh-largest country by geographical area, the second-most populous country with over 1.18 billion people, and the most populous democracy in the world. Mainland India is bounded by the Indian Ocean on the south, the Arabian Sea on the west, and the Bay of Bengal on the east; and it is bordered by Pakistan to the west; Bhutan, the People's Republic of China and Nepal to the north; and Bangladesh and Burma to the east. In the Indian Ocean, mainland India and the Lakshadweep Islands are in the vicinity of Sri Lanka and the Maldives, while India's Andaman and Nicobar Islands share maritime border with Thailand and the Indonesian island of Sumatra in the Andaman Sea. India has a coastline of .
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Iran ( ), officially the Islamic Republic of Iran is a country in Central Eurasia and Western Asia. The name Iran has been in use natively since the Sassanian era and came into use internationally in 1935, before which the country was also known to the western world as Persia. Both Persia and Iran are used interchangeably in cultural contexts; however, Iran is the name used officially in political contexts.
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IRCAM
IRCAM (Institut de Recherche et Coordination Acoustique/Musique) is a European institute for science about music and sound and avant garde electro-acoustical art music. It is situated next to, and is organizationally linked with, the Centre Pompidou in Paris. The extension of the building has been designed by Renzo Piano and Richard Rogers.
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London () is the capital of England and the United Kingdom, the largest metropolitan area in the United Kingdom and the largest urban zone in the European Union by most measures. London has been a major settlement for two millennia, its history going back to its founding by the Romans, who called it Londinium. London's core, the ancient City of London, largely retains its square-mile mediaeval boundaries. Since at least the 19th century, the name London has also referred to the metropolis developed around this core. The bulk of this conurbation forms the London region and the Greater London administrative area, governed by the elected Mayor of London and the London Assembly.
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Philips Pavilion
The Philips Pavilion was a World's Fair pavilion designed for Expo '58 in Brussels by the office of Le Corbusier. Commissioned by Philips, an electronics company based in the Netherlands, the pavilion was designed to house a multimedia spectacle that celebrated postwar technological progress. Because Corbusier was busy with the planning of Chandigarh, much of the project management was assigned to Iannis Xenakis, who was also an experimental composer.
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The Sorbonne (La Sorbonne) is a building of the Latin Quarter, in Paris, France, which has been the historical house of the former University of Paris. It is commonly used to refer to this historic University of Paris or one of its successor institutions (see below), but this is a recent usage, and "Sorbonne" has actually been used with different meanings over the centuries.
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Ray Charles Robinson (September 23, 1930June 10, 2004), better known by his shortened stage name Ray Charles, was an American musician. Ray was a pioneer in the genre of soul music during the 1950s by fusing rhythm & blues, gospel, and blues styles into his early recordings with Atlantic Records. He also helped racially integrate country and pop music during the 1960s with his crossover success on ABC Records, most notably with his Modern Sounds albums. While with ABC, Charles became one of the first African-American musicians to be given artistic control by a mainstream record company.
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Dr. Robert Arthur Moog (, respell|), commonly called Bob Moog (May 23, 1934 – August 21, 2005) was an American pioneer of electronic music, best known as the inventor of the Moog synthesizer.
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Sofia Asgatovna Gubaidulina, (, ) (born October 24, 1931) is a Russian composer of half Russian, half Tatar ethnicity.
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Stevland Hardaway Judkins (born May 13, 1950), name later changed to Stevland Hardaway Morris, known by his stage name Stevie Wonder, is an American singer-songwriter, multi-instrumentalist, record producer and activist. Blind from shortly after birth, Wonder signed with Motown Records' Tamla label at the age of eleven, and continues to perform and record for Motown to this day.
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Valery Abisalovich Gergiev (; ; born 2 May 1953) is a Russian conductor and opera company director. He is general director and artistic director of the Mariinsky Theatre and principal conductor of the London Symphony Orchestra. Valery Gergiev is the artistic director of the White Nights Festival in St. Petersburg.
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Xenakis, Iannis Filmography
- Stigmi apolithomeni (2010)
- Charisma X - Iannis Xenakis (2009)
- Um Filme Sem História (2002)
- The Revenge of the Dead Indians (1993)
- Écoute (1992)
- Peefeeyatko (1991)
- For the Whales (1989)
- L'héritage de la chouette (1989)
- La geste gibelline (1988)
- Polytopo Mykinon 1978 (1980)
- Radiotileskopio - spoudi (1976)
- Nyhtes (1976)
- Centro de calculo electronico (1970)
- L'illusion comique (1970)
- Orient-Occident (1960)
- Fer chaud (1957)
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Iannis Xenakis - Metastasis
- Order: Reorder
- Duration: 9:45
- Published: 09 Oct 2006
- Updated: 25 Aug 2012
watch in full screen! Iannis Xenakis / Metastaeis from www.uni-ak.ac.at
http://wn.com/Iannis_Xenakis_Metastasis
Iannis Xenakis - Metastasis (Spectral View)
- Order: Reorder
- Duration: 8:29
- Published: 15 Feb 2008
- Updated: 24 Aug 2012
Metastasis or Metastaseis ("dialectic transformations"), is an orchestral work by Iannis Xenakis, a Greek composer-architect and a major figure in the postwar development of musical modernism worldwide. He is particularly remembered for the pioneering use of stochastic mathematical techniques in his compositions, including probability (Maxwell-Boltzmann kinetic theory of gases, aleatory distribution of points on a plane, minimal constraints, Gaussian distribution, Markov chains), game theory, group theory, Boolean algebra and Brownian motion. Metastasis was inspired by Einstein's view of time (a function of matter & energy) and structured on mathematical ideas by Xenakis's colleague Le Corbusier. The 1st and 3rd movements don't have a melodic theme to hold them together, but rather depend on the strength of this conceptualization of time. The 2nd movement does have some sort of melodic element. A fragment of a 12-tone row is used, with durations based on the Fibonacci sequence (1,1,2,3,5,8,13,21,34...) The preliminary sketch for Metastasis was in graphic notation looking more like a blueprint than a musical score, showing graphs of mass motion and glissandi like structural beams of the piece, with sound frequencies on one axis and time on the other. In this video I tried to display this by presenting the frequency spectrum (0-20.000Hz) of the piece and how Xenakis actually "drew" music. SWF Symphony Orchestra Hans Rosbaud, conductor October 1955
http://wn.com/Iannis_Xenakis_Metastasis_Spectral_View
Mycenae Alpha
- Order: Reorder
- Duration: 9:39
- Published: 13 Jul 2007
- Updated: 24 Aug 2012
Iannis Xenakis created the music using the UPIC which makes sound based on drawings that Xenakis made.
http://wn.com/Mycenae_Alpha
Iannis Xenakis : Pithoprakta
- Order: Reorder
- Duration: 9:44
- Published: 29 Jan 2010
- Updated: 22 Aug 2012
The wonderful "Pithoprakta" (1956), which I personally regard as Xenakis' greatest work from his early period... but then I suppose there's ST/4 and Achorripsis. Anyway, there's a better recording of this with Tamayo and the Orchestre Philharmonique du Luxembourg, but it's really worth buying.
http://wn.com/Iannis_Xenakis_Pithoprakta
Iannis Xenakis - Concret PH
- Order: Reorder
- Duration: 2:45
- Published: 04 Jan 2011
- Updated: 11 Aug 2012
Concret PH, for 2-track tape & at least 4 loudspeakers (1958) A casual listener may not be aware of Iannis Xenakis' early involvement in the field of architecture. He worked for Le Corbusier for close to thirteen years, and helped design a handful of projects for the famed architect throughout the 1950s. His most important contribution was the design of the Philips Pavilion for the 1958 World Fair in Brussels. Le Corbusier was occupied with a major project in India, so much of the work on the pavilion fell to Xenakis, who created a striking tent-like form based on hyperbolic paraboloid curves. Le Corbusier aimed to create a multimedia presentation for Philips, a "poème électronique," that would incorporate film, slides, lighting effects, sculpture, and music. Edgard Varèse created his only entirely electronic score for this installation, and Xenakis, too, contributed a brief electronic piece. Concret PH, the title being a reference to the architectural design and construction material, is a crackling two minutes of pointillistic sounds. Xenakis recorded the sound of burning charcoal, then layered and transposed the recordings to create evolving densities and ranges of snaps, crackles, and pops. This piece, along with Varèse's Poème électronique, remains a classic of the electroacoustic genre. [Allmusic.com]
http://wn.com/Iannis_Xenakis_Concret_PH
Iannis Xenakis Orient Occident
- Order: Reorder
- Duration: 10:59
- Published: 05 May 2009
- Updated: 23 Aug 2012
Iannis Xenakis - Electronic Music - Orient Occident Iannis Xenakis (Ιωάννης Ιάννης Ξενάκης) (May 29, 1922 February 4, 2001) was a Greek composer, music theorist and architect. He is commonly recognized as one of the most important post-war avant-garde composers.[1][2] Xenakis pioneered the use of mathematical models such as applications of set theory, varied use of stochastic processes, game theory, etc., in music, and was also an important influence on the development of electronic music.
http://wn.com/Iannis_Xenakis_Orient_Occident
Iannis Xenakis - S.709
- Order: Reorder
- Duration: 7:04
- Published: 19 Jan 2011
- Updated: 17 Aug 2012
S.709, for 2-track tape & at least 4 loudspeakers (1994) After composing GENDY3, Xenakis extended the GENDY program, adding the possibility of modulating the parameters of the dynamic stochastic synthesis algorithm. With this version of the program, Xenakis created S.709. S.709 premiered at a concert at La Maison de Radio-France in December 1994. Its title stands for Sequence 709. Sequence was the name that Xenakis gave to the sections created by the PARAG program. In a radio interview, Brigitte Robindoré, head of musical production at Les Ateliers UPIC, said about S.709: "It's unedited. It's unrestrained." It could then be inferred that S.709 consists of the output of only one PARAG program: it could be a PARAG section of 7 minutes in length. In this piece, the rapid and periodic modulation of the parameters creates voices that are constantly and widely fluctuating in pitch, amplitude and timbre. In the same radio interview, Robindoré mentions that S.709 "produces quite a polemical reaction in the audience." This is not surprising; this work is extremely original in its materials and in its construction; it does not resemble any other piece by Xenakis, nor any other piece that I have ever heard. [Sergio Luque, "The Stochastic Synthesis of Iannis Xenakis."]
http://wn.com/Iannis_Xenakis_S709
Eonta (part 1 of 3) [1963 - 64] by Iannis Xenakis [1922-01]
- Order: Reorder
- Duration: 6:20
- Published: 28 Dec 2007
- Updated: 13 Jul 2012
Rand Steiger conducts Eonta. Live performance recorded on December 3, 2007 at Zipper Concert Hall at the Colburn School in Los Angeles as part of the Monday Evening Concerts. More information at www.mondayeveningconcerts.org. Eric Huebner, Piano Ian Carroll, trombone James Miller, trombone Russell Moss, trombone Daniel Rosenboom, trumpet Aaron Smith, trumpet Rand Steiger, conductor Cameramen: Ross Karre and Jordan Albert Video Director: Ross Karre
http://wn.com/Eonta_part_1_of_3_1963_64_by_Iannis_Xenakis_1922-01_
Xenakis- Persephassa (1/3)
- Order: Reorder
- Duration: 9:01
- Published: 26 Jan 2009
- Updated: 18 Jul 2012
Iannis Xenakis' Persephassa for Percussion Ensemble.
http://wn.com/Xenakis_Persephassa_1_3
Iannis Xenakis - Tetras
- Order: Reorder
- Duration: 14:46
- Published: 05 Feb 2011
- Updated: 16 Aug 2012
Tetras, for string quartet (1983) Arditti String Quartet Tetras stands as one of the very finest chamber compositions of Greek composer Iannis Xenakis. It is also one of the most original, profoundly challenging contributions to the string quartet genre. "Tetras" means "four" in ancient Greek, and the composer treats the four players as a single entity throughout most of the sixteen minutes of the piece. This multi-bodied, many-stringed organism vibrates with intense energy, the strings oscillating at lightning speed as glissando contours take shape across the registral continuum. It is no coincidence that Tetras was written for the Arditti String Quartet, a group that sealed its reputation as the leading proponent of challenging new repertoire with its exhilarating, awe-inspiring performances of such demanding works. While the glissando is the primary compositional element of this piece, others are important as well. After the opening section, in which the texture of the initial violin solo is gradually filled in, there is a long passage made up of a shifting timbral kaleidoscope: short grinding noises, bowing behind the bridge, knocking on the body of the instrument, extremely high harmonics, and the like. These strange sounds interrupt the texture at various other points in the piece, creating moments of surprise and theatricality. A later passage is built from scales; while the avant-garde aesthetic often avoids such banal material, Xenakis offers a new approach by <b>...</b>
http://wn.com/Iannis_Xenakis_Tetras
Yuji Takahashi_Herma(Iannis Xenakis)
- Order: Reorder
- Duration: 4:35
- Published: 13 Oct 2006
- Updated: 17 Aug 2012
Iannis Xenakis
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Xenakis - Psappha
- Order: Reorder
- Duration: 10:02
- Published: 26 May 2007
- Updated: 25 Aug 2012
Xenakis - Psappha Steven Schick
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Iannis Xenakis : Jonchaies {1/2}
- Order: Reorder
- Duration: 10:45
- Published: 24 Dec 2009
- Updated: 23 Aug 2012
from 1977.
http://wn.com/Iannis_Xenakis_Jonchaies_1_2_
Rebonds
- Order: Reorder
- Duration: 10:46
- Published: 22 May 2008
- Updated: 23 Aug 2012
Rebonds B and A, by Iannis Xenakis
http://wn.com/Rebonds
Iannis Xenakis - Oresteïa I
- Order: Reorder
- Duration: 9:44
- Published: 07 Nov 2009
- Updated: 17 Jul 2012
Iannis Xenakis: Oresteïa (1966) I. Agamemnon II. Kassandra (1987) III. Agamemnon (suite et fin) IV. Les coephores V. Les Euménides Spiros Sakkas - Baritone Sylvio Gualda - Percussion Maitrise de Colmar Ensemble Vocal d'Anjou Ensemble de Basse-Normandie Dominique Debart Robert Weddle From the time of his youth, Xenakis found solace and inspiration in the writings of the ancient Greeks, and his handful of stage works draw on these sources exclusively. One of the composer's earliest commissions came from Alexis Solomos, originally of the Greek National Theater, who had been engaged to direct a series of performances of Greek dramas in Ypsilanti, Michigan in the summer of 1966. Xenakis was hired to provide the music for Aeschylus' tragic trilogy, Oresteïa. Evidently, he provided almost two hours of music for this production; as it was not recorded nor ever again presented, little is known about the original score. Soon after the premiere, though, Xenakis produced a concert suite which was subsequently published and performed. The suite is in three parts, following, in abbreviated fashion, the outline of the original trilogy: "Agamemnon," "The Libation Bearers," and "Eumenides." In fashioning the suite, Xenakis used only excerpts from the choruses, setting them in the original Greek and attempting to follow the rhythmic and melodic contours of the language as much as possible. The instrumental writing, while more restrained than that in Xenakis' other works, is nonetheless <b>...</b>
http://wn.com/Iannis_Xenakis_Oresteïa_I
"CHARISMA X - IANNIS XENAKIS" by Efi Xirou (1)
- Order: Reorder
- Duration: 2:16
- Published: 09 Sep 2009
- Updated: 23 Aug 2012
CHARISMA X - IANNIS XENAKIS by Efi Xirou. Documentary, 64 min. - 2008. This is a documentary film on the life and work of the composer Iannis Xenakis, the architect of sound, whose visionary work reconciles art with science. The film develops in such a way to show how Xenakis's philosophy, architectural experience, mathematics and political background morph into music and how physical phenomena are transformed into musical expression. Iannis Xenakis' multidimensional work is presented through excerpts of his musical compositions, his architectural work, his interviews and archive material from Oresteia and Polytopes, the grand spectacles of sound and light. The camera follows the musicians Francis-Marie Uitti, Lori Freedman, Elisabeth Chojnacka, Christophe Roy and Benny Sluchin. They are performing, specifically for this film, such works as Charisma, Naama Nomos Alpha and Keren. The venues they are performing are: Delphoi, La Tourette Convent and Xenakis' house in Paris. The film includes interviews of Françoise Xenakis, Mâkhi Xenakis, Georges Aperghis, Curtis Roads, François-Bernard Mâche, Sharon Kanach, Makis Solomos, Gérard Pape, Elisabeth Chojnacka, Giorgos Koumendakis and Roviros Manthoulis, Spyros Tsouvelis, Mosha Theologitou.
http://wn.com/CHARISMA_X_IANNIS_XENAKIS_by_Efi_Xirou_1
Iannis Xenakis- Mists (1/2)
- Order: Reorder
- Duration: 5:53
- Published: 21 Aug 2008
- Updated: 16 Aug 2012
One of Xenakis' five solo piano pieces, here is "Mists", which is probably the least-performed of the three major pieces, which includes "Herma"- Musique Symbolique (which happens to be my favorite piano piece of all time) and Evryali. Aesthetically, one might almost call this piece a juxtaposition of Herma and Evryali; chaos splattered across a fairly rigid framework, interspersed with little flurries of aggravation. It's not as technically monstrous as either of those two pieces, luckily, so I just don't understand why it's not performed as much. Personally, I prefer it over Evryali, which I find very interesting academically but somewhat lacking in musical substance. The excerpt you see is in fact from this piece. Iannis Xenakis Mists for Solo Piano, 1981 Aki Takahashi performs
http://wn.com/Iannis_Xenakis_Mists_1_2
Xenakis: "Antikhthon" Part One
- Order: Reorder
- Duration: 7:59
- Published: 17 Nov 2008
- Updated: 17 Aug 2012
Iannis Xenakis: "Antikhthon" (1971) for 86 or 60 players.
http://wn.com/Xenakis_Antikhthon_Part_One
Iannis Xenakis Interview (1 of 3)
- Order: Reorder
- Duration: 9:35
- Published: 05 Mar 2008
- Updated: 16 Aug 2012
An interview with the composer Xenakis. (1 of 3) The interviewer is Harry Halbreich (Belgian musicologist) Not sure who "owns" the footage so I claim "fair use".(original title said "By GK", appears to be from 1995) Original footage not well shot or edited so I have reframed some of it and added some pauses (for emphasis). Also I have peak limited the audio and added new titles (the music underneath is Xenakis, but which piece?, answers on a postcard). The original was one file and was higher res/less compressed but wouldnt fit on YouTube (276mb) so I had to split it into three. I will try and find a free server to upload the whole file to at some point. complementinversion.blogspot.com
http://wn.com/Iannis_Xenakis_Interview_1_of_3
Iannis Xenakis, Thallein
- Order: Reorder
- Duration: 8:23
- Published: 22 Dec 2008
- Updated: 05 Jul 2012
Ensemble Intercontemporain under Michael Tabachnik
http://wn.com/Iannis_Xenakis,_Thallein
Iannis Xenakis - Oresteïa V
- Order: Reorder
- Duration: 9:19
- Published: 18 Nov 2009
- Updated: 17 Jul 2012
Iannis Xenakis: Oresteïa (1966) I. Agamemnon II. Kassandra (1987) III. Agamemnon (suite et fin) IV. Les choephores V. Les Euménides Spiros Sakkas - Baritone Sylvio Gualda - Percussion Maitrise de Colmar Ensemble Vocal d'Anjou Ensemble de Basse-Normandie Dominique Debart Robert Weddle From the time of his youth, Xenakis found solace and inspiration in the writings of the ancient Greeks, and his handful of stage works draw on these sources exclusively. One of the composer's earliest commissions came from Alexis Solomos, originally of the Greek National Theater, who had been engaged to direct a series of performances of Greek dramas in Ypsilanti, Michigan in the summer of 1966. Xenakis was hired to provide the music for Aeschylus' tragic trilogy, Oresteïa. Evidently, he provided almost two hours of music for this production; as it was not recorded nor ever again presented, little is known about the original score. Soon after the premiere, though, Xenakis produced a concert suite which was subsequently published and performed. The suite is in three parts, following, in abbreviated fashion, the outline of the original trilogy: "Agamemnon," "The Libation Bearers," and "Eumenides." In fashioning the suite, Xenakis used only excerpts from the choruses, setting them in the original Greek and attempting to follow the rhythmic and melodic contours of the language as much as possible. The instrumental writing, while more restrained than that in Xenakis' other works, is nonetheless <b>...</b>
http://wn.com/Iannis_Xenakis_Oresteïa_V
Iannis Xenakis - Bohor (1/2)
- Order: Reorder
- Duration: 10:03
- Published: 04 Jan 2011
- Updated: 04 Jul 2012
Bohor, for electro-acoustic sounds (1962) Iannis Xenakis, who had been working as an engineering and architectural assistant to the famed Le Corbusier from 1947, was drawn to the electronic music studio, and its capacity for scientific experimentation. He began working at the Groupe de Recherches Musicales (GRM) studio in Paris in 1955, and continued to produce tape works there until 1962. Studio founder Pierre Schaeffer had developed an approach to the discipline of electroacoustic music based on the classification and recombination of recorded sounds recognizably taken from the real world. He termed this approach "musique concrète," and it remains an important facet of the new compositional genre of pre-recorded or synthesized sounds. Xenakis, on the other hand, was primarily interested in studying the phenomenon of density, and the creation of noisy textures that were often quite nebulous in terms of semantic identity. Bohor, produced and premiered in 1962, was his most extreme work in this vein, and it marked the end of his association with the GRM studio (Pierre Schaeffer is reported to have hated it!). At over 20 minutes in length, Bohor is a substantial piece, and would have been all the more impressive in its original eight-channel form. It is a radical study in formal construction, shaped from an absolutely continuous texture -- always loud, always noisy, and always unsettling. The shifts of density and introduction of new layers of sonority as the piece goes <b>...</b>
http://wn.com/Iannis_Xenakis_Bohor_1_2
Xenakis Concret PH
- Order: Reorder
- Duration: 2:44
- Published: 21 Aug 2008
- Updated: 23 Aug 2012
Iannis Xenakis (Ιάννης Ξενάκης) (May 29, 1922 - February 4, 2001) was a Greek modernist composer and architect. Iannis Xenakis (Γιάννης Ξενάκης, también transliterado en francés como Yannis Xénakis), fue un compositor y arquitecto de ascendencia griega nacido el 29 de mayo de 1922 en Brăila, Rumania; se nacionalizó francés y pasó gran parte de su vida en París, donde murió el 4 de febrero de 2001. Es aclamado como uno de los compositores más importantes de la música contemporánea.
http://wn.com/Xenakis_Concret_PH
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21 Sep 2012
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Iannis Xenakis’ diverse cello repertoire
03 Jan 2012
The Examiner
At the beginning of last November, æon released a single CD covering the complete works for cello by Iannis Xenakis, all performed by the Belgian cellist Arne Deforce. Only two of the works on this recording are for unaccompanied cello, the 1966 “Nomos Alpha,” and...(size: 10.1Kb)
Iannis Xenakis: sites and sounds
17 Nov 2011
The Guardian
A student of both Messiaen and Le Corbusier, Xenakis combined his two passions to conceive a new musical language. Christopher Fox looks at a singular creative mind Operating on a different frequency ... Iannis Xenakis in 1999. Photograph: Ulf Andersen/Getty Images...(size: 8.7Kb)
Iannis Xenakis: Composer, Architect, Visionary
03 Nov 2010
Flavorpill
This exhibition explores the sketches, drawings, and musical scores of Iannis...(size: 0.5Kb)
Iannis Xenakis and Aki Takahashi (and friends)
29 Aug 2010
The Examiner
Among today's pianists, Aki Takahashi is one of the most ambitious when it comes to taking on many of the most complex challenges of recent compositions. This past April, in a background piece I prepared about Morton Feldman, I discussed Feldman's progression towards writing compositions of longer...(size: 5.6Kb)
Newsvine
Greek composer Iannis Xenakis (1922-2001) first-hand experience with extreme violence in the streets of Athens...(size: 0.7Kb)
Iannis Xenakis
27 Feb 2001
Scotsman
Iannis Xenakis, composer and architectural engineer Born: 29 May, 1922, in Braila, Romania Died: 4 February, 2001, in Paris, aged 78 IANNIS Xenakis was one of the most controversial composers of the postwar period. He gave his listeners - and the performers who played his music - few touchstones...(size: 3.8Kb)
Iannis Xenakis, innovative composer
05 Feb 2001
The Miami Herald
Associated Press PARIS -- Composer Iannis Xenakis, known as one of contemporary music's most innovative and erudite creators, died Sunday in his Paris home, the Association of Friends of Xenakis said. He was 78. Xenakis, who was also a mathematician and engineer, first attracted attention as an...(size: 2.4Kb)
Iannis Xenakis; Avant-Garde Composer
05 Feb 2001
The Los Angeles Times
By MARK SWED, Times Music Critic Iannis Xenakis, a leading figure in the post-World War II avant-garde and a composer of some of the most formidably complex works ever written, died Sunday at his home in Paris. The 78-year composer had been in failing health for several...(size: 6.5Kb)
Architect/musician Iannis Xenakis dies -
05 Feb 2001
CNN
PARIS, France -- Iannis Xenakis, an architect who turned to music and discovered tunes in burning charcoal and coupling train cars, died Sunday. He was 78. Born in Romania in 1922, Xenakis studied engineering before coming to music in a roundabout way. He was a member of the Resistance during World...(size: 2.4Kb)
Composer Iannis Xenakis Dead at 78
04 Feb 2001
Las Vegas Sun
ASSOCIATED PRESS PARIS (AP) -- Composer Iannis Xenakis, known as one of contemporary music's most innovative and erudite creators, died Sunday in his Paris home, the Association of Friends of Xenakis said. He was 78. Also a mathematician and engineer, Xenakis first attracted attention as an...(size: 2.6Kb)
Iannis Xenakis (Greek pronunciation: [ˈʝanis kseˈnakis], Greek: Γιάννης Ξενάκης) (May 29, 1922 – February 4, 2001) was a Greek composer, music theorist, and architect-engineer. After 1947, he fled Greece, becoming a naturalized citizen of France. He is commonly recognized as one of the most important post-war avant-garde composers.[1][2] Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic music. He integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances.
Among his most important works are Metastaseis (1953–4) for orchestra, which introduced independent parts for every musician of the orchestra; percussion works such as Psappha (1975) and Pléïades (1979); compositions that introduced spatialization by dispersing musicians among the audience, such as Terretektorh (1966); electronic works created using Xenakis's UPIC system; and the massive multimedia performances Xenakis called polytopes. Among the numerous theoretical writings he authored, the book Formalized Music: Thought and Mathematics in Composition (1971) is regarded as one of his most important. As an architect, Xenakis is primarily known for his early work under Le Corbusier: the Sainte Marie de La Tourette, on which the two architects collaborated, and the Philips Pavilion at Expo 58, which Xenakis designed alone.
Contents |
Life[link]
1922–1947: Early years in Greece[link]
Xenakis was born in Brăila, Romania. He was the eldest son of Klearchos Xenakis, a Greek businessman from Euboea, and Fotini Pavlou from Lemnos. His parents were both interested in music, and it was Fotini who introduced the young Xenakis to music. Her early death, when the boy was only five years old, was a traumatic experience that, in his own words, "deeply scarred" the future composer.[3] He was subsequently educated by a series of governesses, and then, in 1932, sent to a boarding school on the Aegean island of Spetsai, Greece. He sang at the school's boys' choir, where the repertoire included works by Palestrina, and Mozart's Requiem, which Xenakis memorized in its entirety.[4] It was also at the Spetsai school that Xenakis studied notation and solfège, and became enamored with Greek traditional and sacred music.[4]
In 1938, after graduating from the Spetsai school, Xenakis moved to Athens to prepare for entrance exams at the National Technical University of Athens. Although he intended to study architecture and engineering, he also took lessons in harmony and counterpoint with Aristotelis Koundouroff.[5] In 1940 he successfully passed the exams, but his studies were cut short by the Greco-Italian War, which began with the Italian invasion on 28 October 1940. Although Greece eventually won the war, it was not long before the German army joined the Italians in the Battle of Greece, in April 1941. This led to the Axis occupation of Greece during World War II, which lasted until late 1944, when the Soviet Army began its drive across Romania, forcing the Axis forces to slowly withdraw. Xenakis joined the communist National Liberation Front early during the war, participating in mass protests and demonstrations, and later becoming part of armed resistance—this last step was a painful experience Xenakis refused to discuss until much later in life.[6][7] After the Axis forces left, Churchill ordered that British forces step in to help restore the monarchy; they were opposed by the Democratic Army of Greece, and the country plunged into a civil war. In December 1944, during the period of Churchill's martial law,[8] Xenakis (who was by then a member of the communist students' company of the left-wing Lord Byron faction of ELAS) became involved in street fighting against British tanks. He was gravely wounded when a shell hit his face; that Xenakis survived the injury has been described as a miracle.[9] He survived seriously scarred, and lost his left eye.[10]
The Technical University worked intermittently during these years. Despite this, and Xenakis's other activities, he was able to graduate in 1947, with a degree in civil engineering.[11] Xenakis was then conscripted into the national armed forces. Around 1947 the new government began hunting down former resistance members and sending them to concentration camps. Xenakis, fearing for his life, deserted and went into hiding. With the help of his father and others he fled Greece through Italy. On 11 November 1947 he arrived to Paris. In a late interview, Xenakis admitted to feeling tremendous guilt at leaving his country, and that guilt was one of the sources of his later devotion to music:
For years I was tormented by guilt at having left the country for which I'd fought. I left my friends—some were in prison, others were dead, some managed to escape. I felt I was in debt to them and that I had to repay that debt. And I felt I had a mission. I had to do something important to regain the right to live. It wasn't just a question of music—it was something much more significant.[12]
In the meantime, in Greece he was sentenced (in absentia) to death by the right-wing administration. The sentence was commuted to ten years' imprisonment in 1951, and only lifted some 23 years later, after the fall of The Regime of the Colonels in 1974.[13]
1947–1959: Architecture and music[link]
Although he was an illegal immigrant in Paris, Xenakis was able to get a job at Le Corbusier's architectural studio. He worked as engineering assistant at first, but quickly rose to performing more important tasks, and eventually to collaborating with Le Corbusier on major projects. These included a kindergarten on the roof of an apartment block in Nantes (Rezé), parts of government buildings in Chandigarh, India, the "undulatory glass surfaces" of Sainte Marie de La Tourette, a Dominican priory in a valley near Lyon, and the Philips Pavilion at Expo 58—the latter project was completed by Xenakis alone, from a basic sketch by Le Corbusier.[14] The experience Xenakis gained played a major role in his music: important early compositions such as Metastaseis B (1953–4, also known as Metastasis) were based directly on architectural concepts.
At the same time, while working for Le Corbusier, Xenakis was studying harmony and counterpoint, and composing. He worked long and hard, frequently far into the night,[15] and sought guidance from a number of teachers, most of whom, however, ultimately rejected him. Such was the case with Nadia Boulanger, who was the first person Xenakis approached about lessons. He then tried studying with Arthur Honegger, whose reaction to Xenakis's music was unenthusiastic. As Xenakis recounted in a 1987 interview, Honegger dismissed a piece which included parallel fifths and octaves as "not music". Xenakis, who was by that time well acquainted with music of Debussy, Béla Bartók, and Stravinsky, all of whom used such devices and much more experimental ones, was furious and left to study with Darius Milhaud, but these lessons also proved fruitless.[16] Then, Annette Dieudonné, a close friend of Boulanger's, recommended that Xenakis try studying with Olivier Messiaen.[17] Xenakis approached Messiaen for advice: should he once again start studying harmony and counterpoint? Unlike Honegger and Milhaud, Messiaen immediately recognized Xenakis's talent:
I understood straight away that he was not someone like the others. [...] He is of superior intelligence. [...] I did something horrible which I should do with no other student, for 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 thirty, 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.[18]
Xenakis attended Messiaen's classes regularly in 1951–53. Messiaen and his students studied music from a wide range of genres and styles, with particular attention to rhythm.[19] Xenakis's compositions from 1949–52 were mostly inspired by Greek folk melodies, as well as Bartók, Ravel, and others; after studying with Messiaen, he discovered serialism and gained a deep understanding of contemporary music (Messiaen's other pupils at the time included, for example, Karlheinz Stockhausen and Jean Barraqué). Messiaen's modal serialism was an influence on Xenakis's first large-scale work, Anastenaria (1953–54): a triptych for choir and orchestra based on an ancient Dionysian ritual. The third part of the triptych, Metastaseis, is generally regarded as the composer's first mature piece; it was detached from the triptych to mark the beginning of the "official" Xenakis oeuvre.[14]
In 1953 Xenakis married Françoise Xenakis (née Gargouïl), journalist and writer, whom he met in 1950.[20] Their daughter Mâkhi, later a painter and sculptor, was born in 1956. In late 1954, with Messiaen's support, Xenakis was accepted into the Groupe de Recherches de Musique Concrète,[21] an organization established by Pierre Schaeffer and Pierre Henry, dedicated to studying and producing electronic music of the musique concrète variety. Shortly after that Xenakis met conductor Hermann Scherchen, who was immediately impressed by the score of Metastaseis and offered his support. Although Scherchen did not premiere that particular work, he did give performances of later pieces by Xenakis, and the relationship between the conductor and the composer was of vital importance for the latter.[22]
By late 1950s Xenakis slowly started gaining recognition in artistic circles. In 1957 he received his first composition award, from the European Cultural Foundation, and in 1958 the first official commission came through, from Service de Recherche of Radio-France.[23] In the same year he produced a musique concrète piece, Concret PH, for the Philips Pavilion, and in 1960 Xenakis was well-known enough to receive a commission from UNESCO, for a soundtrack for a documentary film by Enrico Fulchignoni.[24]
Later life[link]
After leaving Le Corbusier's studio in 1959, Xenakis was able to support himself by composition and teaching, and quickly became recognized as one of the most important European composers of his time. He became especially known for his musical research in the field of computer-assisted composition, for which he founded the Equipe de Mathématique et Automatique Musicales (EMAMu) in 1966 (known as CEMAMu: Centre d’Etudes de Mathématique et Automatique Musicales, since 1972). He taught at Indiana University in 1967–72 (and established a studio similar to EMAMu there), and worked as visiting professor at the Sorbonne in 1973–89.[14] Xenakis frequently gave lectures (for instance, from 1975 to 1978 he was Professor of Music at Gresham College, London, giving free public lectures[25]), taught composition (notable students include Pascal Dusapin, Henning Lohner, and Miguel Ángel Coria), and his works were performed at numerous festivals worldwide, including, for instance, the Shiraz Arts Festival in Iran.
In addition to composing and teaching, Xenakis also authored a number of articles and essays on music. Of these, Musiques formelles (1963) became particularly known. A collection of texts on applications of stochastic processes, game theory and computer programming in music, it was later revised, expanded and translated into English as Formalized Music: Thought and Mathematics in Composition (1971) during Xenakis's tenure at Indiana University.
Xenakis completed his last work, O-mega for percussion soloist and chamber orchestra, in 1997. His health had been getting progressively worse over the years, and by 1997 he was no longer able to work. In 1999, Xenakis was awarded the Polar Music Prize "for a long succession of forceful works, charged with sensitivity, commitment and passion, through which he has come to rank among the most central composers of our century in the realm of art music, exercising within its various fields an influence which cannot be readily overstated".[26] After several years of serious illness, in early February 2001 the composer lapsed into a coma. He died in his Paris home several days later, on February 4, aged 78. He was survived by his wife and his daughter.[27]
Works[link]
See also: List of compositions by Iannis Xenakis
Specific examples of mathematics, statistics, and physics applied to music composition are the use of the statistical mechanics of gases in Pithoprakta, statistical distribution of points on a plane in Diamorphoses, minimal constraints in Achorripsis, the normal distribution in ST/10 and Atrées, Markov chains in Analogiques, game theory in Duel and Stratégie, group theory in Nomos Alpha (for Siegfried Palm), set theory in Herma and Eonta,[28] and Brownian motion in N'Shima. At the Shirah Arts Festival in Persepolis, he designed Polytope as a composition specific to the historic site.[29] The following year he was commissioned by Mohammad Reza Pahlavi (the Shah of Iran), to compose Nuits, which Xenakis dedicated to political prisoners in protest at the Shah’s atrocities.[29]
By 1979, he had devised a computer system called UPIC, which could translate graphical images into musical results, wrote Andrew Hugill in 2008.[30] "Xenakis had originally trained as an architect, so some of his drawings, which he called 'arborescences', resembled both organic forms and architectural structures." These drawings' various curves and lines that could be interpreted by UPIC as real time instructions for the sound synthesis process. The drawing is, thus, rendered into a composition. Mycenae-Alpha was the first of these pieces he created using UPIC as it was being perfected.[citation needed]
Publications[link]
- Xenakis, Iannis. 2001. Formalized Music: Thought and Mathematics in Composition (Harmonologia Series No.6). Hillsdale, NY: Pendragon Press. ISBN 1-57647-079-2
Notes[link]
- ^ Hoffmann, Grove: "[Xenakis] belongs to the pioneering generation of composers who revolutionized 20th-century music after World War II."
- ^ MSN Encarta encyclopedia, “Iannis Xenakis (Ιάννης Ξενάκης) (May 29, 1922 – February 4, 2001) was a Greek composer and one of the most important modernist composers of the 20th century” [1]. Archived 2009-10-31.
- ^ Matossian 1986, 13.
- ^ a b Varga 1996, 14.
- ^ Matossian 1986, 14–17.
- ^ Matossian 1986, 18–27.
- ^ Varga 1996, 14–19.
- ^ Gilbert, Martin. 1966. Winston Churchill, 56. Oxford University Press.
- ^ Harley 2004, 2.
- ^ Barthel-Calvet A., "Chronologie", in Portrait(s) de Iannis Xenakis, pp. 25–82
- ^ Baltensperger 1996, 72.
- ^ Varga 1996, 47.
- ^ Harley 2004, 92.
- ^ a b c Hoffmann, Grove.
- ^ Matossian 1986, 37.
- ^ Xenakis, Brown, Rahn 1987, 20.
- ^ Harley 2004, 4.
- ^ Matossian 1986, 48.
- ^ For a study of Messiaen's teaching methods, see: Boivin, Jean (1995). La Classe de Messiaen. Paris: Christian Bourgois.
- ^ Xenakis, Françoise, and Waldburg-Wolfegg, Andreas; Sarah Green, and Maro Elliott. "Mme Xenakis in Conversation". International Contemporary Ensemble. http://www.iceorg.org/xenakis/mme-xenakis-in-conversation/. Retrieved 20 September 2009.
- ^ Harley 2004, 12.
- ^ Matossian 1986, 77–79.
- ^ Harley 2004, 23.
- ^ Harley 2004, 19.
- ^ Cole, Jonathan. "Music and Architecture: Confronting the Boundaries between Space and Sound". Gresham College. http://www.gresham.ac.uk/event.asp?EventId=609&PageId=108. Retrieved 21 September 2009.
- ^ http://www.polarmusicprize.org/iannis-xenakis/}}
- ^ Griffiths, Paul (5 February 2001). "Iannis Xenakis, Composer Who Built Music on Mathematics, Is Dead at 78". The New York Times: p. 7, section B. http://www.nytimes.com/2001/02/05/arts/iannis-xenakis-composer-who-built-music-on-mathematics-is-dead-at-78.html. Retrieved 13 September 2009.
- ^ Ilias Chrissochoidis, Stavros Houliaras, and Christos Mitsakis, "Set theory in Xenakis' EONTA", in International Symposium Iannis Xenakis, ed. Anastasia Georgaki and Makis Solomos (Athens: The National and Kapodistrian University, 2005), 241–249.
- ^ a b Leonardo Vol. 40, No. 1
- ^ Hugill, Andrew. The Digital Musician, New York: Routledge, 2008, pp. 95, 182.
References[link]
- Amagali, Rosemary Tristano. 1975. "Texture as an Organizational Factor in Selected Works of Iannis Xenakis". M.M. Thesis, Indiana University.
- Ariza, Christopher. 2005. "The Xenakis Sieve as Object: A New Model and a Complete Implementation." Computer Music Journal 29(2):40-60. http://www.mitpressjournals.org/doi/pdf/10.1162/0148926054094396'
- Baltensperger, André. 1995. Iannis Xenakis und die Stochastische Musik – Komposition im Spannungsfeld von Architektur und Mathematik. Zürich. Paul Haupt.
- Bardot, Jean-Marc. 1999. "Cendrées de Xenakis ou l'émergence de la vocalité dans la pensée xenakienne." Undergraduate thesis (equivalent). Saint-Etienne: Université Jean Monnet.
- Biasi, Salvatore di. 1994. Musica e matematica negli anni 50–60: Iannis Xenakis. Bologne. Università degli Studi di Bologna.
- Clark, Philip: "The Wire Primers: A Guide To Modern Music" Xenakis, pages 191-198; Verso, 2009; ISBN 978-1-84467-427-5
- Harley, James. 2004. Xenakis: his life in music. London: Taylor & Francis Books. ISBN 0-415-97145-4
- Hoffmann, Peter. "Iannis Xenakis", Grove Music Online, ed. L. Macy (accessed 23 December 2006), grovemusic.com (subscription access).
- Mâche, François-Bernard. 2002. Portrait(s) de Iannis Xenakis Seuil. ISBN 2-7177-2178-9
- Matossian, Nouritza. 1986. Xenakis. London: Kahn and Averill. ISBN 1-871082-17-X
- Paland, Ralph / von Blumröder, Christoph (Ed.). 2009. Iannis Xenakis: Das elektroakustische Werk. Internationales Symposion. Tagungsbericht 2006. (Signale aus Köln. Beiträge zur Musik der Zeit, Volume 14) Wien. Der Apfel. ISBN 978-3-85450-414-6
- Varga, Bálint András. 1996. Conversations with Iannis Xenakis. London: Faber and Faber. ISBN 0-571-17959-2
- Xenakis, Iannis; Roberta Brown, and John Rahn (1987). "Xenakis on Xenakis". Perspectives of New Music 25 (1/2): 16–63.
External links[link]
 |
Wikiquote has a collection of quotations related to: Iannis Xenakis |
- Iannis Xenakis from the Institute of Research on Music and Acoustics, Athens (Greece) – in Greek
- Iannis-Xenakis.org by the Friends of Xenakis
- Centre for Composition of Music Iannis Xenakis
- A. Glazkov, article about piano piece Evryalli(rus)
- Medieval.org: Modern Music: Xenakis
- Edward Childs, PhD. "Achorripsis: A Sonification of Probability Distributions" (5-page PDF)
- Luque, Sergio. 2009. "The Stochastic Synthesis of Iannis Xenakis." Leonardo Music Journal (19): 77-84
- soundaxis.ca
- Works catalogue 70-page PDF from Xenakis's publisher Éditions Durand-Salabert-Eschig
- Iannis Xenakis @ Boosey & Hawkes Publisher
- Iannis Xenakis: the aesthetics of his early works by Markos Zografos
- Iannis Xenakis Bibliography and Discography compiled by James Harley for Leonardo/ISAST
- Two articles documenting recent Xenakis recordings and books about Xenakis: Part 1 and Part 2
- (French) A biography of Iannis Xenakis, from IRCAM's website.
- Excerpts from sound archives of Xenakis's works.
- Listen to an excerpt from Xenakis's Pleiades at Acousmata music blog
- AGP99, Polla Ta Dhina, ST/10-1-080262, and Cendrees by Iannis Xenakis in FLAC format
- Interview with Xenakis by Bruce Duffie, March 25, 1997
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| Persondata | |
|---|---|
| Name | Xenakis, Iannis |
| Alternative names | Ξενάκης, Ιάννης (Greek) |
| Short description | Composer and architect |
| Date of birth | May 29, 1922 |
| Place of birth | Brăila, Romania |
| Date of death | February 4, 2001 |
| Place of death | Paris France |
http://wn.com/Iannis_Xenakis
Related pages:
http://it.wn.com/Iannis Xenakis
http://cs.wn.com/Iannis Xenakis
http://es.wn.com/Iannis Xenakis
http://ru.wn.com/Ксенакис, Янис
http://nl.wn.com/Iannis Xenakis
http://pl.wn.com/Iannis Xenakis
http://fr.wn.com/Iannis Xenakis
http://de.wn.com/Iannis Xenakis
http://pt.wn.com/Iánnis Xenákis
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Iannis_Xenakis
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
