Home Arts With a Sound Forged in War, Iannis Xenakis Embraced Chaos

With a Sound Forged in War, Iannis Xenakis Embraced Chaos

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The relationship between Xenakis and Le Corbusier was fruitful and admirable, Phillips Pavilion 1958 Brussels World Exposition. As Xenakis rose to fame, his dramatic past caught the fancy of many, especially during his May 1968 Paris protests. A banner that says “Àbas Gounod!” Long live Xenakis! (“Defeat Gounod! Long live Xenakis!”) was hung from the window of the Paris Conservatoire, where Xenakis said on television: It is also about changing people. But unlike his Italian contemporary Luigi Nono, Xenakis refrained from strong political statements and left a mixed impression on the public.

Composer Reinhold Friedl directs Berlin-based contemporary music ensemble zeitkratzerrecalled discovering Xenakis in the mid-1980s. Being immersed in sound is intoxicating. He was a freedom fighter against the bourgeois distinctions of new music. However, music writer Ben Watson criticized Xenakis’ lifelong commitment to classical instruments: absolute method. “

still xenakis was Music revolutionary. “Concrete PH” (1958) is a short piece of musique concrète used for the Philips Pavilion and the first known, along with Edgar Varèse’s Poème Électronique. granular synthesis, is a fundamental part of the vocabulary of today’s electronic artists. As a pioneer of electronic music, Xenakis UPICa graphic sound synthesizer.

The relationship between graphics and hearing was essential for Xenakis. He usually created a graphic score first, then meticulously converted it into a traditional score. Aside from the means of production, he has opened up new horizons by using clouds and masses of sound. “Don’t think in pitch, think in sonic process. and “kotos” (1977). “That perspective is one of the big game-changers Xenakis has achieved in Western art music.”

Baritone Holger Faulk said in an interview that Xenakis’ music “feels like diving into a world of ritual beyond everyday consciousness.”Falk often sings “Eyes” by Xenakis (1980), a dazzling, ringing work about death that utilizes exaggerated falsetto, lip smacks and neighbour-like glissandi, accompanied by a large orchestra. Double bassist John Eckhart used the word “ceremonial” to describe his state of mind when playing “Therapus” (1975-76), along with “focused and heroic.” did.

These feelings can also be glimpsed through listening. Listen live and the music will keep you in your seat. How did Xenakis manage it? Perhaps it is the urgency with which he tackled the unknown, transcending known musical idioms and clichés to find something unique and universal. His work resembles frightening and awe-inspiring natural events such as storms, branch formations and tidal waves. But rather than mimicking the forces of nature, his music is a force of nature itself.

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