Iannis Xenakis Pithoprakta Vidéos
Dernière mise à jour
2024-04-20
Actualiser
Webern Ligeti Pierre Henry Xenakis Earl Brown Bruno Maderna Boulez Stockhausen 1908 1928 1952 1954 1955 1957 1961 1963 1966
1:03 Les écoles / mouvements 2:38 Les constatations 3:54 Le départ : l'école de Vienne 4:22 Passacaille op.1 (1908) de Webern 7:09 : Symphonie op.21 (1928) de Webern 8:36 Mutation des critères esthétiques 10:14 Mutation de la grammaire musicale 12:11 Quelques grands styles 13:20 : Lux Aeterna (1966) de Ligeti 15:22 Variations pour porte et un soupir (1963) de Pierre Henry 17:02 Mutation de la forme 19:07 Mutation de la définition de l'oeuvre musicale 19:48 Emergence de la notion de son 20:47 Intervention des sciences dans l'activité compositionnelle 22:27 Les partitions graphiques 22:59 Pithoprakta +••.••(...)) de Xenakis 24:43 December 52 (1952) de Earl Brown 25:59 Sérénade pour un satellite de Bruno Maderna et Water Music (1952) de Cage 27:18 Troisième sonate (1957) de Boulez 28:09 Etude électronique n°2 (1954) de Stockhausen 28:48 Eonta de Xenakis 29:49 Volumina +••.••(...)) de Ligeti 31:07 Mutations sociologiques 32:00 Quelques grands courants de la musique contemporaine 32:14 Le post-sérialisme 32:41 L'intervention du hasard : la forme ouverte 32:59 La musique concrète 33:11 L'irruption des techniques : les musiques électroniques 33:28 La musique électroacoustique 33:48 La musique acousmatique 35:16 La physique du son : musique spectrale 35:50 Copier-coller : Citation et collage 36:32 A la recherche du public : nouvelle simplicité 37:04 Une autre simplicité : minimalisme et musique répétitive 37:29 Le jeu des textures : la micro-polyphonie 37:49 Un peu de tout : musique mixte 38:09 Associer la vue à l'ouïe : le théâtre musical 38:31 Conclusion
Iannis Xenakis Luxembourg Philharmonic Orchestra 1922 1955 2001 2008
Iannis Xenakis +••.••(...)) Pithoprakta +••.••(...)), for orchestra Recording : Arturo Tamayo, Luxembourg Philharmonic Orchestra Timpani recordings, 2008 Graphical score : Pierre Carré
Iannis Xenakis Elgar Elgar Howarth Michel Tabachnik Philharmonia Orchestra 1955 1957 1969 1971 1974 1986
Iannis Xenakis - Antikhthon, for orchestra (1971) New Philharmonia Orchestra Conductor - Elgar Howarth Antikhthon (Greek: Ἀντίχθων, which can be translated as Counter-Earth) is a ballet for orchestra composed by Iannis Xenakis in 1971. George Balanchine commissioned this composition in 1969, after having choreographed successfully two compositions by Xenakis in the past: Metastaseis and Pithoprakta, completed in 1955 and 1957 respectively. Even though these two compositions were not initially thought to be ballets, Xenakis already had previously written a ballet: Kraanerg, for orchestra and tape. Antikhthon was composed to be premiered by the New York City Ballet. "He left the choice of subject to me; I could write either program music with a plot or music without a story, i. e. abstract music. I chose this latter form, but I gave it a mysterious, evocative title, in order to convey to the choreographer a semblance of an argument that would be more "concrete" than pure musical thoughts." — Iannis Xenakis, Notes on the orchestral score of Antikhthon The Pythagorean term anti-khthon means Counter-Earth. This Greek term comes from the fifth or sixth century, when the Pythagoreans were the first people to assert that the earth is not the center of the universe. They believe that all the planets and stars, including a counter-earth which was invisible from the earth, revolved around a central invisible fire. According to Xenakis, his music displayed an involuntary affinity with these ideas. The premiere of Antikhthon took place in Bonn, on the Festival Xenakis, on 21 September 1974, with the Festival Xenakis Orchestra conducted by Michel Tabachnik. The piece was later published by Éditions Salabert in 1986. George Balanchine, who commissioned the piece, never staged the ballet. Even though Xenakis felt deeply appealed by the idea of the Antikhthon, Balanchine was much more pragmatic about what he thought he could achieve, as he stated that it is limited to "the movements we can make with our limbs, our trunk and our head — and that's all. The vocabulary of ballet... is not rich". (http•••) 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 1955 1957 1969 1971
George Balanchine commissioned this composition in 1969, after having choreographed successfully two compositions by Xenakis in the past: Metastaseis and Pithoprakta, completed in 1955 and 1957 respectively. Even though these two compositions were not initially thought to be ballets, Xenakis already had previously written a ballet: Kraanerg, for orchestra and tape. Antikhthon was composed to be premiered by the New York City Ballet. As Xenakis put it: He left the choice of subject to me; I could write either program music with a plot or music without a story, i. e. abstract music. I chose this latter form, but I gave it a mysterious, evocative title, in order to convey to the choreographer a semblance of an argument that would be more "concrete" than pure musical thoughts. (Iannis Xenakis, Notes on the orchestral score of Antikhthon) The Pythagorean term anti-khthon means Counter-Earth. This Greek term comes from the fifth or sixth century, when the Pythagoreans were the first people to assert that the earth is not the center of the universe. They believe that all the planets and starts, including a counter-earth which was invisible from the earth, revolved around a central invisible fire. According to Xenakis, his music displayed an involuntary affinity with these ideas. Structure: This composition is in only one movement and takes around 23 minutes to perform. The piece is score for an orchestra or either 86 or 60 musicians, with variations on the amount of performers in the string section. Some critics claim that the composition can be divided into five distinct sections. However, this division is not present nor recognizable in the original score. Antikhthon is scored for three flutes, three oboes, three clarinets in B-flat, three bassoons, four French horns in F, three trumpets in C, three trombones, one tuba, timpani, two snare drums without snares, two to four tom-toms, and a string section. The composition also requires a special layout for the orchestra on stage. The orchestra has to be divided into five vertical sections, into which all the instruments, including the string section, are separated. The strings also have their own distribution norms. Antikhthon is also remarkable for the clarinets' split sounds used along the whole piece. Clarinetists have to play up to four different techniques, entitled "Zones" by Xenakis, which alter and enrich their sonorities. The clarinet part annotations were set out by the Conservatoire de Paris clarinet professor and Xenakis's contemporary Guy Deplus. In the piece, some musicians are also asked to play quarter tones and also third tones.
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