Iannis Xenakis
Iannis Xenakis (Ιωάννης Ιάννης Ξενάκης) (May 29, 1922 – February 4, 2001) was a Greek composer, music theorist and architect. He is commonly recognized as one of the most important post-war avant-garde composers. Xenakis pioneered the use of mathematical models such as applications of set theory, varied use of stochastic processes, game theory, etc., in music, and was also an important influence on the development of electronic music. Read Full BioIannis Xenakis (Ιωάννης Ιάννης Ξενάκης) (May 29, 1922 – February 4, 2001) was a Greek composer, music theorist and architect. He is commonly recognized as one of the most important post-war avant-garde composers. Xenakis pioneered the use of mathematical models such as applications of set theory, varied use of stochastic processes, game theory, etc., in music, and was also an important influence on the development of electronic music.
Xenakis was born in Braila, Romania. In 1932 his family returned to Greece, and he was educated on Spetsai and at the Athens Polytechnic, where he studied engineering. In 1947 he arrived in Paris, where he became a member of Le Corbusier's architectural team, producing his first musical work, Metastasis, only in 1954, based on the design for the surfaces of the Philips Pavilion to be built for the Brussels Exposition of 1958.
This, with its divided strings and mass effects, had an enormous influence; but in ensuing works he moved on to find mathematical and computer means of handling large numbers of events, drawing on (for example) Gaussian distribution (ST/10, Atrées), Markovian chains (Analogiques) and game theory (Duel, Stratégie). Other interests were in electronic music (Bohor, 1962), ancient Greek drama (used in several settings) and instrumental virtuosity (Herma for piano, 1964; Nomos alpha for cello, 1966). His later output, chiefly of orchestral and instrumental pieces, is large, many works from the mid-1970s onwards striking back from modernist complexity to ostinatos and modes suggestive of folk music.
Xenakis was born in Braila, Romania. In 1932 his family returned to Greece, and he was educated on Spetsai and at the Athens Polytechnic, where he studied engineering. In 1947 he arrived in Paris, where he became a member of Le Corbusier's architectural team, producing his first musical work, Metastasis, only in 1954, based on the design for the surfaces of the Philips Pavilion to be built for the Brussels Exposition of 1958.
This, with its divided strings and mass effects, had an enormous influence; but in ensuing works he moved on to find mathematical and computer means of handling large numbers of events, drawing on (for example) Gaussian distribution (ST/10, Atrées), Markovian chains (Analogiques) and game theory (Duel, Stratégie). Other interests were in electronic music (Bohor, 1962), ancient Greek drama (used in several settings) and instrumental virtuosity (Herma for piano, 1964; Nomos alpha for cello, 1966). His later output, chiefly of orchestral and instrumental pieces, is large, many works from the mid-1970s onwards striking back from modernist complexity to ostinatos and modes suggestive of folk music.
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Concret PH
Iannis Xenakis Lyrics
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abscrete
For info on the composition and the process behind you can read Xenakis book Formalized Music but in short the composer recorded sounds of burning wood etc then used a process of granular synthesis to create this sounds I hope it helps a bit. cheers!!!!
Maurizio Piras
Yeah, cause you can easily read It lol
Edoardo Maria Bellucci
The piece is dated 1958. The granular synthesis techniques (together with all other digital synthesis techniques) is still so far from being created (first digital implementation will be made from Berry Truax and Curtis Roads around 70s). Xenakis was one of the first composer to think about sounds as big assemblages of small sound-units, but his pieces (especially this one) were not made with the use of granular synthesis.
Isabel Veidt
Sólo por curiosidad se me ocurrió leer sobre la Música Concreta y mencionaban a esta persona. Acabo de oirlo por primera vez y me encanta. Gracias por compartir esto con el.mundo.
pelodelperro
Isabel Veidt Con gusto. Gracias por comentar!
No Timput
Xenakis was discredited for the design of the Philips Pavilion for which it was composed for and originally played in as well. Although it was usual for Le Corbusier to take credit for the work of his pupils, Xenakis did not give in and finally parted after too many disagreements. Check any source in literature about the Philips Pavilion or Xeankis, its definitely his composition. Furthermore, a piece as such would not necessarily be Varese's style, which makes it unlikely to be his composition.
Christopher Bryce
Yeah man! I did the same thing. I was fortunate to be working as a "classical music host" for my college radio station (WSVC) and I played pieces like this on my program. "Sweetmeat Cool" had many more listeners than I, ya know what I'm sayin...
Chaim Mendel
Christopher Bryce any recordings? what are some of your favs? also what is sweemeat cool
AntonioBSaDantas
I really like this piece, thank you for posting it! Could also anyone tell me, what painting this one is? thanks
Wilhelm Matthies
wonderful,...an early example of ambient sounds from concrete sources, ...music concrete...