Iannis Xenakis Kraanerg Vídeos
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Iannis Xenakis Gluck Holloway 1962 1971 1978 1998 2000 2001 2003 2004 2007 2008 2011 2012 2013 2015 2021
The Shiraz Festival of Arts was a cultural phenomenon in the 1960s and 1970s. For the fifth edition of the festival in 1971, Iannis Xenakis created a new multimedia spectacle: Polytope de Persépolis. In this video, we explore the composer’s first open-air spectacle. The recording used in the video is: Iannis Xenakis: Persépolis (Iannis Xenakis, Edition RZ 2003) Narration: Marko Slavíček Text: Marko Slavíček Design: Nikola Pacek-Vetnić, Marko Slavíček CHAPTERS 0:00 – Intro 0:10 – The Shiraz Festival of Arts 2:39 – Polytope de Persépolis 3:58 – Light effects 5:58 – Music analysis 9:17 – Aftermath 13:43 – Final remarks SOURCES Davachi, S. (2012). Irreal worlds: Constructions of phenomenal “space” in experimental music, 1962-1978. Doctoral dissertation. Mills College. Di Scipio, A. (2004). The Orchestra as a Resource for Electroacoustic Music / On some works by Iannis Xenakis and Paul Dolden. In Journal of new music research, 33(2), pp. 173-183. Gluck, R. (2007). The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran. In Leonardo, 40(1), pp. 20-28. Harley, J. (2004). Xenakis: His Life in Music. Taylor & Francis. Harley, J. (2012). Orchestral Sources in the Electroacoustic Music of Iannis Xenakis: From Polytope de Montréal to Kraanerg and Hibiki-Hana-Ma. In Proceedings of the international Symposium Xenakis. Xenakis. The electroacoustic music. University Paris, pp. 1-14. Harley, M. A. (1998). Music of sound and light: Xenakis's polytopes. In Leonardo, 31(1), pp. 55-65. Iliescu, M. (2011). Beyond the modern-postmodern cleavage: Xenakis’ mythical thinking. In Proceedings of the Xenakis International Symposium. Kanach, S. (2008). Music and architecture by Iannis Xenakis. Nova Iorque: Pendagron Press. Özcan, Z. (2013). Intersections of architecture and music as Gesamtkunstwerk in Iannis Xenakis' selected works. Master’s thesis. Middle East Technical University. Paland, R. (2015). “... every movement is possible”. In Kompositionen für hörbaren Raum/Compositions for Audible Space. transcript-Verlag, pp. 305-322. Sterken, S. (2001). Towards a space-time art: Iannis Xenakis's polytopes. In Perspectives of New Music, pp. 262-273. Sterken, S. (2004). Iannis Xenakis: ingénieur et architecte: une analyse thématique de l’oeuvre, suivie d’un inventaire critique de la collaboration avec Le Corbusier, des projets architecturaux et des installations réalisées dans le domaine du multimédia. Doctoral dissertation. Ghent University. Touloumi, O. (2012). The Politics of Totality. Iannis Xenakis’ Polytope de Mycènes. In Xenakis Matters: Contexts, Processes, Applications, The Iannis Xenakis Series No. 4, pp. 101-126. Tsagkarakis, I. (2013). The Politics of Culture: Historical Moments in Greek Musical Modernism. Doctoral dissertation. Royal Holloway, University of London. Valsamakis, N. (2000). Aesthetics and techniques in the electroacoustic music of Iannis Xenakis. In Journal of the Hellenic diaspora, 26, pp. 7-58. Official website of Rolling Stone magazine: (http•••) accessed 28 December 2021. SOCIAL LINKS Facebook: spatialmusic4um Instagram: spatialmusic4um Twitter: spatialmusic4um CONTACT •••@•••
Iannis Xenakis Drury Lukas Foss Murphy 1960 1969 1972 1988
Iannis Xenakis - Kraanerg, ballet for ensemble and tape (1969) Callithumpian Consort Conductor - Stephen Drury Kraanerg is a composition for 23 instruments and 4-channel analog tape composed by Iannis Xenakis, originally for a ballet with choreography by Roland Petit and set design by Victor Vasarely. It was created for the grand opening of the Canadian National Arts Centre in Ottawa, which was originally to coincide with Expo 67 but was delayed to 1969. The title, by Xenakis, is an imaginary compound of the Greek-originating stems kraan (κρααν) and erg (εργ), meaning accomplished action. According to the composer's program notes, the title also refers to the "current youth movements" of that time, and his vision of the imminent "biological struggle between generations unfurling all over the planet, destroying existing political, social, urban, scientific, artistic, and ideological frameworks on a scale never before attempted by humanity." The program was left up to Xenakis, and he chose to avoid any narrative or story; the abstract modernistic character of the ballet was to be underscored by Vasarely's Op Art set design. Xenakis had previously written the soundtrack for a 1960 film about Vasarely. The 75-minute piece is not divided into movements but includes twenty periods of silence of varying length (three of them more than twenty seconds) which are integral to the development. It has three phases of roughly equal duration: the first contains more or less equal portions of both orchestra and tape; the second (beginning after 23 minutes), primarily instruments; and the third (beginning after 52 minutes) primarily tape. The sounds on the tape are derived from instrumental material. The choreography by Petit (who was in charge of the premiere, and divided the work at its midpoint with an intermission) was a critical failure, but the music was widely praised; it was conducted at the premiere by Lukas Foss, who like Vasarely was invited to the project by Xenakis. After a tour of the original ballet that ended in 1972, Kraanerg was largely forgotten for some years. It was revived in 1988 with a new choreography by Australian choreographer Graeme Murphy, a performance which was regarded as much more successful than the original one. However, subsequently the music has usually been performed without the ballet. (http•••) Opening – 0:00 Tape Entrance 1 – 0:32 Tape Entrance 2 – 3:28 Tape Entrance 3 – 7:29 Tape Entrance 4 – 10:34 Tape Entrance 5 – 14:20 Tape Entrance 6 – 16:30 Tape Entrance 7 – 18:41 Tape Entrance 8 – 22:25 Tape Entrance 9 – 29:16 Tape Entrance 10 – 30:07 Tape Entrance 11 – 36:36 Tape Entrance 12 – 39:44 Tape Entrance 13 – 43:33 Tape Entrance 14 – 44:38 Tape Entrance 15 – 48:41 Tape Entrance 16 – 49:51 Tape Entrance 17 – 53:49 Tape Entrance 18 – 1:00:32 Tape Entrance 19 – 1:01:15 Tape Entrance 20 - 1:11:06 Join the Score Video Creator Discord Server: (http•••) PATREON - Pay a small monthly fee and gain access to my online score library, full of rare scores that I have used in videos - (http•••) PAYPAL - Donations of any amount welcome! - (http•••)
Iannis Xenakis Woodward Murphy Sydney Opera House 1922 2001
Roger Woodward (http•••) (http•••) Iannis Xenakis +••.••(...)) Kraanerg Sydney Dance Company Alpha Centauri Ensemble Roger Woodward, direction Graeme Murphy, artistic direction Rolf Gehlhaar, electronics Recorded live at the Sydney Opera House.
Percussions Strasbourg Xenakis Mallet Klee 1969 1978 1985
Pléïades, for 6 percussionists (1978) I. Mélanges II. Métaux III. Claviers IV. Peaux Les Percussions de Strasbourg Francois Dhalmann Xenakis' reputation as one of the twentieth century's foremost composers of hard-driving music for percussion is no doubt a result of his long association with the outstanding six-member Percussions de Strasbourg. Pléïades (1978) is one of three works including Persephassa (1969) and Idmen B (1985) that Xenakis wrote expressly for this ensemble. Named after the constellation of the daughter of Atlas, Pléïades is indeed a work of cosmic proportions. Written in four movements of some 45 minutes' total duration, it is Xenakis' most ambitious instrumental work aside from the full-length ballet Kraanerg. Three of the four movements utilize an instrumentation derived from a single family of instruments — mallet ("keyboard"), skin, or metallic instruments — while the fourth is a combination of the other three. This work is fiercely difficult for the performers, presenting densely layered polyrhythms and intricate patterns and requiring enormous strength and concentration. For the listener, the music is an exotic dance full of powerful rhythms and evocative sonorities; the movement for mallet instruments, for example, makes use of a pitch formation that resembles the pelog scale of the Javanese gamelan. Xenakis adds his own twist by reconfiguring the scale so that it does not repeat at the octave. In this way, different melodic patterns and harmonic tensions are generated in each register. The composer makes much of the timbral distinction between the wooden instruments (marimba and xylophone) and the metallic vibraphones, posing the groups against one another. In the movement for metallic instruments, Xenakis calls for an instrument constructed specifically for this piece. The sixxen is configured like a keyboard, but is fashioned from metallic bars that are less pure in tone than those of the vibraphone. Heard in a live setting, they are piercingly loud; on recordings, they sound like a gamelan, their "exotic" tuning adding much in the way of color. Xenakis proposes two orders for the presentation of the four movements: One begins with the "mélange" movement, while the other ends with it. Both options are plausible, since this movement is comprised of the materials used elsewhere in the piece, and it can therefore aptly serve as either introduction or summation. In either case, Pléïades is a true tour de force. The performance challenges it poses has granted it the status of a benchmark work which readily measures the skill of percussion ensembles. [Allmusic.com] Art by Paul Klee
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