Iannis Xenakis Nekuïa Video
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Iannis Xenakis Michel Tabachnik Holder Kölner Rundfunkchor 1922 1981 1982 2001
Iannis Xenakis +••.••(...)) Nekuia pour choeur mixte et orchestre symphonique (1981) By its very theme, "a funeral ceremony and a magic rite in which the spirits of the dead are called forth and questioned on life in the future. The general idea of this music is the profound cry of the ideologies crossing the surface of our planet, often to the noises of street demonstrations, explosions and shouts, under a sky that is sometimes dark, but sometimes of a splendid azure." In a climate of controlled violence, this work blends the poignant savagery of the ancient rites with visions of our everyday universe. Admirably interpreted by the Radio Cologne choir, one of Europe's leading groups, and the Symphony Orchestra of Radio Cologne, Nekuia is, again, conducted by Michel Tabachnik in this 1982 recording. Kölner Rundfunkchor Kölner Rundfunk-Symphonieorchester Michel Tabachnik, conductor I am NOT the copyright holder of presented sheets and audio. Write to me if you have any complaints about copyright issues. I will delete the video immediately.
Iannis Xenakis Garth Garth Knox Bach Hartung 1980 1981
Embellie, for solo viola (1981) Garth Knox, viola Iannis Xenakis achieved early notoriety for his novel orchestral textures featuring the strings. These included massive musical sculptures of sliding tones, huge clouds of pluckings and knockings, teemingly dense complexes of different sounds, and so on. Whatever one might have said about this composer, one would have had to admit that he loved using the strings. By 1981, Xenakis had written pieces for orchestral strings, smaller groups of strings, and solos for every instrument of the string family. The last one to be written was Embellie, for viola. The title means "lull in the storm," and indeed, there is an element of restraint in this piece that serves as an antidote to the large-scale pieces surrounding it, such as Aïs (1980) or Nekuïa (1981), both for voices and orchestra and both concerned with death. Embellie at times sounds like Bach, and there is a modal flavor to the music that evokes exotic cultures as well. Xenakis makes much, in this piece, of the dark, evocative tone of the low register of the viola, though there are outbursts of fast running contours up and down the strings, straying now and then to the thin high register as well. The piece proceeds in clearly delineated sections, each focusing on a particular texture, register, or character. The open tone of perfect intervals (fourths, fifths) is prevalent, though, throughout much of the piece. And, while the tone of the music may seem subdued, technically it's a great challenge. The same could be said, at times, for Bach. [Allmusic.com] Art by Hans Hartung
Iannis Xenakis Michel Tabachnik Becker Richter Manners Kölner Rundfunkchor 1922 1981 1982 2001
Iannis Xenakis +••.••(...)) Nekuia (1981) for mixed chorus and orchestra Kölner Rundfunkchor Kölner Rundfunk-Symphonieorchester Michel Tabachnik, conductor Sleeve note: With Nekuia (funeral ceremony, necromancy) in 1981, commissioned by the Westdeutscher Rundfunk (Radio Cologne), Xenakis brings us a score for choir and orchestra of rare expressive power. An authentic festival of sound, it conveys breathtaking visions of the end of the world. One of Xenakis' most moving works, Nekuia attains almost metaphysical dimensions, through a subject marked by its humanity. By its very theme, "a funeral ceremony and a magic rite in which the spirits of the dead are called forth and questioned on life in the future. The general idea of this music is the profound cry of the ideologies crossing the surface of our planet, often to the noises of street demonstrations, explosions and shouts, under a sky that is sometimes dark, but sometimes of a splendid azure." In a climate of controlled violence, this work blends the poignant savagery of the ancient rites with visions of our everyday universe. Admirably interpreted by the Radio Cologne choir, one of Europe's leading groups, and the Symphony Orchestra of Radio Cologne, Nekuia is, again, conducted by Michel Tabachnik in this 1982 recording. Xenakis's note from the score: Nekuia: Funerary ceremony. Also necromancy, magical rite by which ghosts were called up and questioned about future. Commissioned by the department Neue Musik of the Westdeutscher Rundfunk in Cologne. Dedicated to Wolfgang Becker. On the technical level there is, for example, a discussion and a treatment of the non-octaviating scales in relation to my "sieve" theory with, in addition, multiplicities of shifted melodic patterns, like in a kind of artificial reverberation. The general idea of this music, the background, is the remarkable crisis of crisscrossing ideologies in the ether, on the planet's surface, often accompanied by street demonstration sounds, the battlefield explosions and cries, beneath the now gloomy light of the sky, the now bright blue light. But the chant of the chorus is essentially phonemic without a semantic weight. I have, however, taken strips of phrases in Siebenkäs of Jean-Paul Richter: "Orkanen; Sternen-Schneegestöber; funkelende Tau der Gestrine ausblinkt" (Rede des toten Christus...*), in Ecoute of Françoise Xenakis: "Le vent qui décoiffe les morts, casques roulés au loin; ventre ouvert... corolle étalée"./ These texts are remarkable by the force of their bare words, which express implicitly the same everlasting disarray that man has in front of death and life, sung by them in so different manners, also echoing the preoccupations of their own times. * "gales; snow-whirlpools of stars; scintillating dew of stars cease shining" (Speech of the dead Christ...)./ "the wind that disarranges the hair of the dead, while helmets have rolled far away; the belly cut open... like a spread out corolla."
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