Iannis Xenakis Komboï Video
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2024-03-29
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Iannis Xenakis 1922 1981 2001 2022
Iannis Xenakis +••.••(...)) | Komboï (1981) Transplanted Roots Research Symposium 2022, Opening Concert UC San Diego, Conrad Prebys Concert Hall, May 18th, 2022 Harpsichord | Shaoai Ashley Zhang Percussion | Rebecca Lloyd-Jones
Iannis Xenakis Gerke 1975 1981 1987 1989 2021
Martin Gerke, Bariton- Psalterion | Zither N.N., Cembalo Alexandros Giovanos, Schlagzeug Iannis Xenakis zum 20. Todestag – das Schlagwerk Iannis Xenakis Komboi (1981) for amplified harpsichord and percussion solo Rebonds (1987 / 1989) pour percussion solo Kassandra (1987) pour baryton (amplifié), psaltérion et percussion Psappha (1975) for percussion solo Kein zweiter Komponist der Moderne hat die Schlagzeugmusik so umfassend bedacht und gleichzeitig ihr Vokabular derart revolutioniert wie Xenakis. Seine Werke sind technisch überaus anspruchsvoll; ihm war klar, dass seine Musik in ihrer Entstehungszeit - vor allem in den Solowerken - nur zu 65% spielbar ist, war aber auch selbstbewusst: in 10 Jahren, sagte er, wird es einen geben, der 80% spielt, in 20 Jahren ein anderer 95% ...
Iannis Xenakis Sylvio Gualda 1980 1981 1983 1985 1988 1989 2017
The first video a part of my mini "recording all my recital rep" series. The rest of my recital, as well as a few other videos, will be uploaded in the coming weeks. Please excuse the distortion in the beginning and the end of the video. I still haven't quite figured out how to record loud drums yet. Enjoy! About the piece: Premiered on July 1st, 1988 in Rome by its dedicatee, Sylvio Gualda, Rebonds is an immense abstract ritual. It is a series of movements and hammerings, pure music of increased rhythms. Organized in two pieces of unequal length that can be played A then B or B then A, the work pursues the exploration of the beat as seen in Psappha and taken up again in Aïs (1980), Komboï (1981), Chant des soleils (1983), Idmen B (1985) and Okho (1989). But unlike Psappha, the work is devoid of dramatic dimension. Beat, periodicity, repetition, duplication, recurrence and imitation (accurate or otherwise) are the most obvious signs of change on a greater scale in the musician's writing. According to Makis Solomos, the beat symbolises an overall idea that is stated in three ways: order, which regulates the rhythmic universe through opposition to disorder; minimal periodicity versus aperiodicity; and discontinuity as opposed to continuity of a primary time presumed to be infinitely smooth. Recorded June 5th, 2017 East Carolina University Rebonds A Iannis Xenakis Daniel Crisp, percussion
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