Iannis Xenakis Nomos alpha Videos
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Iannis Xenakis Siegfried Palm 1965 1975 2002
Provided to YouTube by Universal Music Group Xenakis: Nomos alpha (1965) · Siegfried Palm Intercomunicazione - Cello Recital ℗ 1975 Deutsche Grammophon GmbH, Berlin Released on: 2002-01-01 Producer, Executive Producer, Studio Personnel, Balance Engineer: Wolfgang Mitlehner Composer: Iannis Xenakis Auto-generated by YouTube.
Iannis Xenakis Siegfried Palm 1965 1975 2013
Provided to YouTube by Universal Music Group Xenakis: Nomos alpha (1965) · Siegfried Palm Classical Collection: The Essential Moderns ℗ 1975 Deutsche Grammophon GmbH, Berlin Released on: 2013-01-01 Producer, Executive Producer, Studio Personnel, Balance Engineer: Wolfgang Mitlehner Composer: Iannis Xenakis Auto-generated by YouTube.
Iannis Xenakis Saram Siegfried Palm Hartung 1962 1966
Nomos Alpha, for cello (1966) Rohan de Saram, cello By 1966, over a decade into his compositional career, Iannis Xenakis had written only one solo work, Herma (for piano). Nomos Alpha was an important commission for German cellist Siegfried Palm, the foremost new music performer of his day. This piece was also important for being the first manifestation of a new approach to composition that Xenakis had been developing over several years. His efforts to create an algorithm for composing music on the basis of probability (stochastic) functions resulted in a family of computer-generated works in 1962-63, including ST/10, ST/4, ST/48, Atrées, and Morsima-Amorsima (as well as parts of Eonta). Perhaps in reaction to an element of arbitrariness inherent to that approach, Xenakis turned his attention to deterministic structures again adapted from mathematics, this time group theory. He was attempting to create successions or sequences of parametric values (such as pitch, duration, dynamic level, etc.), that would be linked to each other at certain points. In this way, sections of a piece could be created on the basis of particular sequences of individual musical elements, the whole piece being a sequence of such sections. Large scale structures and events would be reflected on the smaller scale, a fractal-like notion that was ahead of its time (no one was talking of fractals in 1966). One might also think of such a musical form as being a kind of kaleidoscope in which a collection of elements are continually recombined to form new patterns. Nomos Alpha, being for solo cello, seeks to match this concern for formal construction with the range of techniques available on the instrument. This is an uncompromising work, requiring the cellist to shift rapidly between different modes of bowing, plucking, tapping, and so on. The material is presented in kaleidoscopic fragments that atomize pretty much everything the cello is capable of. The non-linearity is striking and at approximately seventeen minutes in length, Nomos Alpha is not an easy listen. But, one might do well to note that the cello is in fact an instrument for which Xenakis has held a great deal of affection; his mother, who died when he was five, wanted him to play it. It is true that there is little nostalgia to be found in this piece, but there is an engagement with the possibilities of the instrument that is profound. For the few cellists who have attempted to perform it, the rewards have been great. For the rest of us, Nomos Alpha is remarkable for its originality of thought and for the expression of compositional ideas that lay the foundation for many of the works that follow it. [Allmusic.com] Art by Hans Hartung
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