Iannis Xenakis Metastaseis Video
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2024-04-23
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Orquesta Filarmónica Unam Carrasco Iannis Xenakis Joan Tower Jean Sibelius 2022
Conductora: Julia Santibáñez Director huésped: Ludwig Carrasco -Iannis Xenakis Metastaseis (Foco Xenakis 100) -Joan Tower Sequoia (estreno en México) -Jean Sibelius Sinfonía núm. 5 en mi bemol mayor, Op. 82 I. Tempo molto moderato; Allegro moderato - Presto II. Andante mosso, quasi allegretto III. Allegro molto; Misterioso En este, nuestro sexto concierto de la Orquesta Filarmónica de la UNAM escucharemos, Metastaseis del compositor nacionalizado francés, Iannis Xenakis, dando paso a Sequoia (estreno en México) de Joan Tower, considerada una de las compositoras más exitosas de todos los tiempos. Cerrando este concierto con la obra para orquesta en 3 movimientos, Sinfonía núm. 5 en mi bemol mayor, Op. 82, del compositor finlandés Jean Sibelius, este majestuoso concierto formó parte de la clausura del Aleph. Festival de Arte y Ciencia 2022, bajo la batuta del director huésped Ludwig Carrasco.
Iannis Xenakis Shakespeare Messiaen Honegger Milhaud Hans Rosbaud Varèse William Blake Donaueschingen Festival 1795 1922 1947 1951 1953 1954 1955 1965 2001
- IANNIS XENAKIS (29 May 1922 - 4 February 2001) (http•••) 'METASTASEIS', for 60 musicians , 1953-54 (http•••) Orchestration: piccolo, flute, 2 oboes, bass clarinet, 3 horns, 2 trumpets, 2 trombones, timpani, percussion (bass drum, side drum, tambor, triangle, wood block, xylophone), and strings Performers: O.R.T.F., Paris, France, 1965 TEXT SOURCES: Wikipedia, John Henken 'The Night of Enitharmon's Joy' (often referred as The Triple Hecate) "She is triple, according to mythology: a girl and a boy hide their heads behind her back. Her left hand lies on a book of magic; her left foot is extended. She is attended by a thistle-eating ass, the mournful owl of false wisdom, the head of a crocodile (blood-thirsty hypocrisy), and a cat-headed bat." "Fillet of a fenny snake, In the cauldron boil and bake; Eye of newt and toe of frog, Wool of bat and tongue of dog, Adder's fork and blind-worm's sting, Lizard's leg and owlet's wing, For a charm of powerful trouble, Like a hell-broth boil and bubble." (Macbeth, IV.i) 'Hecate, an infernal Trinity, crouches in the centre. An evil winged spectre hovers over her. On her left an ass is grazing on rank vegetation, while an owl and a great toad watch from between rocks. The theme of the Moon Goddess is derived from Shakespeare's Midsummer Night's Dream." Wikipedia (...) During World War II, Xenakis fought in Greece with the communist-led National Liberation Front, which then opposed the British efforts to restore the monarchy after the war. In the ensuing "White Terror," he was condemned to death and had his Greek citizenship revoked. He managed to get into Italy on a fake passport in 1947, and from there he crossed into France in hopes of eventually getting to the United States. He remained in Paris, however, and in 1951 he joined the office of architect Le Corbusier as an engineer. He became interested in Le Corbusier's system of numerical proportions, which the architect described in his Modulor publications. Xenakis was soon thinking about applying some of these concepts to music composition. Although he had broad musical experience, Xenakis' formal training was limited. In Paris he began to make up for lost time by taking Messiaen's analysis course at the Conservatory and by studying privately with Honegger and Milhaud. With his engineering and architectural interest in sound masses and shapes, it is not surprising that Xenakis' first compositions were for orchestra. He particularly liked massed string instruments for their ability to slide smoothly across the pitch continuum. These elements came together in Metastaseis, composed during 1953 and 1954 and first performed at the 1955 Donaueschingen Festival under the direction of Hans Rosbaud. Xenakis translated Metastaseis as "dialectic transformations," and the transformation of musical structures and parameters was to be a consistent focus of Xenakis' compositions. In Metastaseis, Xenakis applied some of Le Corbusier's Modulor geometric progressions to the organization of intervallic structures and the duration of dynamics and timbres. He also sketched the string glissandos in an architectural graph, with pitch on the y-axis and time on the x-axis. (The shapes of these graphed glissandos - hyperbolic paraboloids - influenced his design for the Philips Pavilion and the Le Corbusier/Varèse Poème électronique a few years later.) Metastaseis begins with the strings - and each string part is individually notated, 46 in all - in unison on a soft G natural. One by one, the strings glide off on carefully plotted glissandos, growing quickly to a furiously buzzing mass, with extreme alternations of dynamics and timbre. A section of thinner texture has the parts notated in three different time signatures, coinciding on every downbeat. Winds and percussion roil the waters, particularly in the second half of the work, but this is certainly string-centered music. The closing features massed glissandos before settling on a buzzing unison G sharp, fading from fff to ppp. / John Henken is the Los Angeles Philharmonic's Director of Publications Image: The Night of Enitharmon's Joy, 1795, by William Blake. Blake's vision of Hecate, Greek Goddess of Black Magic and the Underworld. Disclaimer: Copyright owned by their respective authors. -
Iannis Xenakis Roux Messiaen Fibonacci Sequence 1922 1953 2001
Metastasis [Metastaseis B] +••.••(...)) pour 60 musiciens [for 60 musicians] Composer: Iannis Xenakis +••.••(...)) Performers: Orchestre National de l'O.R.T.F, dir. Maurice Le Roux / "The title [Metastasis], a portmanteau, in the plural, Meta (after or beyond) -stasis (immobility), refers to the dialectical contrast between movement or change and nondirectionality. According to the composer's own description, "Meta=after + staseis=a state of standstills—dialectic transformations. The Metastaseis are a hinge between classical music (which includes serial music) and 'formalized music' which the composer was obliged to inculcate into composition". These transformations include both the glissando mass events and the permutation of the tone rows. [...] Metastaseis was inspired by the combination of an Einsteinian view of time and Xenakis' memory of the sounds of warfare, and structured on mathematical ideas by Le Corbusier. Music usually consists of a set of sounds ordered in time; music played backwards is hardly recognizable. Messiaen's similar observations led to his noted uses of non-retrogradable rhythms; Xenakis wished to reconcile the linear perception of music with a relativistic view of time. In warfare, as Xenakis knew it through his musical ear, no individual bullet being fired could be distinguished among the cacophony, but taken as a whole the sound of "gunfire" was clearly identifiable. The particular sequence of shots was unimportant: the individual guns could have fired in a completely different pattern from the way they actually did, but the sound produced would still have been the same. These ideas combined to form the basis of Metastaseis. As Newtonian views of time show it flowing linearly, Einsteinian views show it as a function of matter and energy; change one of those quantities and time too is changed. Xenakis attempted to make this distinction in his music. While most traditional compositions depend on strictly measured time for the progress of the line, using an unvarying tempo, time signature, or phrase length, Metastaseis changes intensity, register, and density of scoring, as the musical analogues of mass and energy. It is by these changes that the piece propels itself forward: the first and third movements of the work do not have even a melodic theme or motive to hold them together, but rather depend on the strength of this conceptualization of time. The second movement does have some sort of melodic element. A fragment of a twelve-tone row is used, with durations based on the Fibonacci sequence. [...] One interesting property of the Fibonacci sequence is that the further into the infinite sequence one looks, the closer the ratio of a term to its preceding term comes to the Golden Section; it doesn't take long before the result is correct to several significant figures. This idea of the Golden Section and the Fibonacci Sequence was also a favorite of Xenakis in his architectural works; the Convent de La Tourette was built on this principle. Xenakis, an accomplished architect, saw the chief difference between music and architecture as that while space is viewable from all directions, music can only be experienced from one. The preliminary sketch for Metastaseis was in graphic notation looking more like a blueprint than a musical score, showing graphs of mass motion and glissandi like structural beams of the piece, with pitch on one axis and time on the other. In fact, this design ended up being the basis for the Philips Pavilion, which had no flat surfaces but rather the hyperbolic paraboloids of his musical masses and swells. Yet unlike many avant-garde composers of this century who would take such a thing as the completed score, Xenakis notated every event in traditional notation." Source: (http•••) / For education, promotion and entertainment purposes only. I do not own rights to the score or the performance. If you have any copyrights issue, please write to unpetitabreuvoir(at)gmail.com and I will delete this video.
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