Iannis Xenakis Aïs Vídeos
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2024-05-02
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Iannis Xenakis Sylvio Gualda Michel Tabachnik Symphonieorchester Bayerischen Rundfunks Ulysses Lotus 1922 1980 1981 2001
Iannis Xenakis +••.••(...)) Aïs (1980) For Orchestra, Baritone, and Percussion Spyros Sakkas, Baritone Sylvio Gualda, Percussion Symphonieorchester des Bayerischen Rundfunks Michel Tabachnik, Conductor Record Sleeve Note: Conveying pain, blood and tears, Aïs takes us on a harrowing trip to the depths of the kingdom of darkness. In Aïs (Aïdos), the domain of the dead, the Hades of shadows, Xenakis inserts fragments of the Odyssey describing Ulysses' visit to the nether regions: Odyssey (XI. 36-37) "In the trench the blood flowed like black clouds and from the depths of the Erebus swarmed the souls of the departed." And Odyssey (XI. 205-208): "As my mother spoke there came to me out of the confusion in my heart the one desire, to embrace her spirit, dead though she was. Thrice, in my eagerness to clasp her to me, I started forward with my hands outstretched. Thrice, like a shadow or a dream, she slipped through my arms and left me harrowed by an even sharper pain." These verses express the irreversible drama of death, while in a fragment from Sappho, the desire to live is mixed with a longing, indeed a plea, for death: Sappho, fragment 95: "I am filled with a desire to die and see the banks of the Acheron blooming with lotus, wet with dew." Xenakis uses a passage from the Iliad mourning the death of Patroclus, cut down in the flower of youth: Iliad (XVI. 855-857): "His disembodied soul took wing for the House of Hades, bewailing its lot and the youth and manhood left behind." Aïs, written by Xenakis in 1980 for orchestra, baritone and percussion, was commissioned by the Bayerischer Rundfunk of Munich. This work was recorded by the Bayerisches Rundfunk-Symphonieorchester in 1981 (the year of its creation), under the baton of Michel Tabachnik wit hthe Greek baritone Spyros Sakkas and percussionist Sylvio Gualda.
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
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
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