Iannis Xenakis Paris Instrumental Ensemble For Contemporary Music Konstantin Simonovitch Album 2 Pol

DJ Spooky. Please enable JavaScript in your browser to use the site fully. In the conversation book Mr. N'Shima a ritual of chanting voices singing Hebrew syllables against a backdrop of roaring brass and solo cello. Konstantin Simonovic. Xenakis Ensemble. Jazz Latin New Age.

Festival Milano Musica Live, Vol. Forbidden Planets, Vol. Composer, Primary Artist. Solo Migration. Eiichi Chijiiwa. The Virtuoso Clarinet. Kari Kriikku. Xenakis: Complete Cello Works. Iannis Xenakis: Works with Piano. Aki Takahashi. Adventures in Sound. Karlheinz Stockhausen. Composer, Electronics, Primary Artist. Iannis Xenakis: Orchestral Works. Musica Viva Festival Musica Viva Festival , Vol.

Phantasy of Spring. Quatuor Danel. Xenakis: Complete String Quartets. Primary Artist. DJ Spooky. Xenakis: Electronic Works 2.

Iannis Xenakis. Primary Artist, Electronics. Xenakis: Orchestral Works, Vol. Xenakis: Synaphai; Aroura; Antikhthon. Elgar Howarth. Liner Notes. A P Reference to Other Things. The Most Frightening Music in the Universe. Willem Breuker. Dan Styffe: Revisited. Dan Styffe. Primary Artist, Consultant, Engineering Consultant. Performer, Composer, Primary Artist. Edna Michell. Drum Together. Peter Sadlo. Institute of Sonology.

The Speed of Passing Time. Talujon Percussion Quartet. Xenakis: Musique Electro-Acoustique. Primary Artist, Liner Notes. Iannis Xenakis: Orchestral Works, Vol. Musik in Deutschland , Vol. He gives a lecture entitled "Outside-time structures". Achorripsis is played there, as well as concerts where his music is programmed with traditional music from the Philippines.

In it, Xenakis analyzes scales from ancient Greek and Byzantine music and makes a detailed presentation of his "sieve" theory. This work was commissioned by Robert Bordaz. It is an ephemeral architecture composed of cables, installed within a functional space.

He is promised a musical mathematics and automation research center. But, year after year, the project is postponed. Xenakis resigned from this position in The overall concept of its organization was based on specifically xenakian principles: "[…] the problem of the group concert rapidly took a stochastic incline.

Xenakis is invited to the Warsaw Autumn Festival. Varga's recently published "Conversations with Iannis Xenakis. I am sure that I exist only if I do something different. Exhibitionism need an audience; Mr. Xenakis, one senses from this book, is alone with himself, and his triumphs, in terms of public acclaim and colleagues' imitation, are an embarrassment. For to achieve complete victory in his "struggle for existence" he would have to create something so different that to anybody else it would be totally meaningless.

Even he has not gone that far, though he has regularly traveled a long way into the desert of incoherence, often by calculating his music so as to maximize disorder. This is the main thrust of his mathematical techniques: his spinning numbers, like John Cage's coin tossings, insure that notes are chosen and ordered by blind chance, or according to processes of change that have little to do with conventional musical perception.

What meaning remains will usually be crude, and it is striking that in his conversations with Mr. Varga, Mr. Xenakis so often equates beauty with savagery: in his fascination with weapons and armor, for instance, with the sea or with the bulls of the Camargue. In the conversation book Mr. Xenakis recalls how, as a boy in Greece, he "went to the museum and tried to imagine how the statues would move if they suddenly came to life.

What would the music of their language be like? Their answers, being removed from ordinary ways of doing things musically, requires particular efforts of virtuosity and imagination from performers if the music's strength - its intense particularity - is not to seem mere incapacity. Each includes a 60's classic - "Eonta" for piano and brass in one case, "Akrata" for symphonic winds in the other - along with more recent works.

Both recording convince by their own conviction; all the performances are hot. But the disc including "Eonta" Mode 53 is a clear frontrunner.

Achorripsis is played there, as well as concerts where his music is programmed with traditional music from the Philippines. In it, Xenakis analyzes scales from ancient Greek and Byzantine music and makes a detailed presentation of his "sieve" theory. This work was commissioned by Robert Bordaz. It is an ephemeral architecture composed of cables, installed within a functional space.

He is promised a musical mathematics and automation research center. But, year after year, the project is postponed.

Xenakis resigned from this position in The overall concept of its organization was based on specifically xenakian principles: "[…] the problem of the group concert rapidly took a stochastic incline. Xenakis is invited to the Warsaw Autumn Festival. His works were very well received there. For to achieve complete victory in his "struggle for existence" he would have to create something so different that to anybody else it would be totally meaningless.

Even he has not gone that far, though he has regularly traveled a long way into the desert of incoherence, often by calculating his music so as to maximize disorder. This is the main thrust of his mathematical techniques: his spinning numbers, like John Cage's coin tossings, insure that notes are chosen and ordered by blind chance, or according to processes of change that have little to do with conventional musical perception.

What meaning remains will usually be crude, and it is striking that in his conversations with Mr. Varga, Mr. Xenakis so often equates beauty with savagery: in his fascination with weapons and armor, for instance, with the sea or with the bulls of the Camargue. In the conversation book Mr.

Xenakis recalls how, as a boy in Greece, he "went to the museum and tried to imagine how the statues would move if they suddenly came to life. What would the music of their language be like? Their answers, being removed from ordinary ways of doing things musically, requires particular efforts of virtuosity and imagination from performers if the music's strength - its intense particularity - is not to seem mere incapacity.

Each includes a 60's classic - "Eonta" for piano and brass in one case, "Akrata" for symphonic winds in the other - along with more recent works. Both recording convince by their own conviction; all the performances are hot. But the disc including "Eonta" Mode 53 is a clear frontrunner. The soprano Susan May is superb in producing the imprecations, formalized laughter, stunning octave leaps and final scanning of the horizon before wild yelps.

It is remarkable how, in discussing some of these and other violently poetic works with Mr. Xenakis is unwilling to describe them as anything more than interesting sequences of interesting sounds.

If the music is to assert his existence, perhaps it can do so only by being itself, and not by being about its composer, who must stand aside and let it happen. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods.

Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Musical Period 20th Century, Contemporary. Died February 4, in Paris, France. Genre Classical Avant-Garde Electronic. Gathering Thunders. Leonie Klein. The Compassion Project. Liner Notes, Composer. Kjell Tore Innervik. Original Material. Christoph Sietzen.

Immortal Bach. Simone Rubino. Cover Image, Composer. As Dreams. Darmstadt Aural Documents, Box 3: Ensembles. Darmstadt Aural Documents, Box 4: Pianists. Mikka and Other Assorted Love Songs.

Eric Rynes. Super Audio Collection, Vol. Iannis Xenakis: IX. Kuniko Kato. Liner Notes, Quotation Author. Orchestre National de France. Paradiso e Inferno. Pierrots Lunaires: Violin and Cello duos. A Concerto Collection, Vol. Roger Woodward. Hello I'm Solistenensemble Kaleidoskop.

Solistenensemble Kaleidoskop. Melting the Darkness. Miranda Cuckson. Roger Woodward: A Concerto Collection. Classical Collection: The Essential Moderns.