"Drawn Into the Flight Path of the Sounds": Xenakis Listening Thread

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"The listener must be gripped... The sensual shock must be just as forceful as when one hears a clap of thunder or looks into a bottomless abyss."

The plan is to listen to the entire oeuvre chronologically, 45-60m per week, for as long as it takes.

For this week, let's try

Zyia (folk), S, male vv (10 minimum), fl, pf, 1952
Metastaseis, 1953–4
Pithoprakta, 1955–6
Diamorphoses, 2-track, 1957–8
Concret PH, 2-track, 1958
Analogique A & B, 9 str + tape, 1958

I guess I'd be lonesome (Sund4r), Tuesday, 13 October 2020 02:01 (nine months ago) link

And I'll recopy the complete list of works (orig source Oxford Music Online). We'll skip any unpublished works.

Orchestral:
Anastenaria: le sacrifice, orch (51 insts), 1953, sketch
Metastaseis, 1953–4; SWF SO, cond. H. Rosbaud, Donaueschingen, 16 Oct 1955
Pithoprakta, 1955–6; Bavarian RSO, cond. H. Scherchen, Munich, 8 March 1957
Achorripsis, 21 insts, 1956–7; Colón cond. Scherchen, Buenos Aires, 20 July 1958
Duel, 2 small orchs, 1959; Radio Hilversum PO, cond. D. Masson and F. Terby, Hilversum, 18 Oct 1971
Syrmos, 12 vn, 3 vc, 3 db, 1959; Ensemble Instrumental de Musique Contemporaine, cond. Simonović, Paris, 20 May 1969
Stratégie, 2 small orchs, 1959–62; Venice Festival Orchestra, cond. B. Maderna and C. Simonović, 25 April 1963
ST/48, 48 insts, 1959–62; Orchestre Philharmonique de l’ORTF, cond. L. Foss, Paris, 21 Oct 1968
Akrata, 16 wind, 1964–5; cond. Simonović, Paris, 1965
Terretektorh, 1966; Orchestre Philharmonique de l’ORTF, cond. Scherchen, Royan, 3 April 1966
Polytope, 4 orch groups, 1967; Ensemble Instrumental de Musique Contemporaine, cond. Simonović, Montreal, Expo 67, 1967
Nomos gamma, 1967–8; Orchestre Philharmonique de l’ORTF, cond. C. Bruck, Royan, 4 April 1969
Kraanerg (ballet), orch, tape, 1968; Ottawa, June 1969
Synaphaï, pf, orch, 1969; Pludermacher, cond. M. Tabachnik, Royan, 6 April 1971
Antikhthon (ballet), 1971; cond. Tabachnik, Bonn, Festival Xenakis, 21 Sept 1974
Eridanos, 8 brass, str orch, 1973; Ensemble Européen de Musique Contemporaine cond. Tabachnik, La Rochelle, 13 April 1973
Erikhthon, pf, orch, 1974; C. Helffer, Orchestre de l’ORTF, cond. Tabachnik, Paris, 21 May 1974
Noomena, 1974; Orchestre de Paris, cond. G. Solti, Paris, 16 Oct 1974
Empreintes, 1975; Netherlands Radio PO, cond. Tabachnik, La Rochelle, 29 June 1975
Jonchaies, 1977; Orchestre National de France, cond. Tabachnik, Paris, 21 Dec 1977
Aïs, amp Bar, perc, orch, 1980; S. Sakkas, Gualda, Bavarian RSO, cond. Tabachnik, Munich, 13 Feb 1981
Pour les baleines, str, 1982; Orchestre Colonne, cond. D. Masson, Orléans, 2 Dec 1983
Lichens, 1983; Liège PO, cond. Bartholomée, Liège 16 April 1984
Shaar, str, 1983; Jerusalem Sinfonietta, cond. J.- P. Izquierdo, Tel Aviv, 3 Feb 1983
Alax, 3 ens of 10 insts (fl, cl, 2 hn, trbn, hp, perc, vn, 2 vc), 1985; Ensemble Modern, Ensemble Köln, Gruppe Neue Musik Hanns Eisler, cond. E. Bour, Cologne, 15 Sept 1985
Horos, 1986; Japan PO, cond. H. Iwaki, Tokyo, 24 Oct 1986
Keqrops, pf, orch, 1986; R. Woodward, New York PO, cond. Z. Mehta, New York, 13 Nov 1986
Ata, 1987; SWF SO, cond. M. Gielen, Baden-Baden, 3 May 1988
Tracées, 1987; Orchestre National de Lille, cond. J.-C. Casadeus, Paris, 17 Sept 1987
Kyania, 1990; Montpellier PO, cond. Z. Peskó, Montpellier, 7 Dec 1990
Tuorakemsu, 1990; Shinsei Nippon Orchestra, cond. H. Iwaki, Tokyo, 9 Oct 1990
Dox-Orkh, vn, orch, 1991; Arditti, BBC SO, London, cond. A. Tamayo, Strasbourg, 6 Oct 1991
Krinòïdi, 1991; Orchestra Sinfonica dell’Emilia-Romagna ‘Arturo Toscanini’, cond. R. Encinar, Parma, May 1991
Roáï, 1991; Berlin RSO, cond. O. Henzold, Berlin, 24 March 1992
Troorkh, trbn, orch, 1991; C. Lindberg, Swedish RSO, cond. E.-P. Salonen, Stockholm, 26 March 1993
Mosaïques, 1993; Orchestre des Jeunes de la Méditerranée, cond. Tabachnik, Marseilles, 23 July 1993
Dämmerschein, 1993–4; Cologne RSO, cond. Peskó, Lisbon, 9 June 1994
Koïranoï 1994; NDR SO, cond. Peskó, Hamburg, 1 March 1996
Ioolkos, 1995; SWF SO, cond. K. Ryan, Donaueschingen, 20 Oct 1996
Voile, str, 1995; Munich Chamber Orchestra, cond. C. Poppen, Munich, 16 Nov 1995
Sea-Change, 1997; BBC SO, cond. A. Davis, London, 23 July 1997
O-Mega, perc solo, chbr orch, 1997; E. Glennie, London Sinfonietta, cond. M. Stenz, Huddersfield, 30 Nov 1997

Choral:
Zyia (folk), S, male vv (10 minimum), fl, pf, 1952; cond. R. Safir, Evreux, 5 April 1994
Anastenaria: procession aux eaux claires, SATB (30vv), male choir (15vv), orch (62 insts), 1953, sketch
Polla ta dhina (Sophocles: Antigone), children’s vv, wind, perc, 1962; cond. Scherchen, Stuttgart, 25 Oct 1962
Hiketides: les suppliates d’Eschyle, 50 female vv, 10 insts/orch, 1964; cond. Simonović, Paris, 1968
Oresteïa (incid music/concert work, Aeschylus), chorus, 12 insts, 1965–6; cond. Simonović, Ypsilanti, MI, 14 June 1966
Medea (incid music, Seneca), male vv, orch, 1967; cond. Masson, Paris, 29 March 1967
Nuits, 3 S, 3 A, 3 T, 3 B, 1967–8; cond. M. Couraud, Royan, 7 April 1968
Cendrées, chorus, orch, 1973–4; cond. Tabachnik, Lisbon, 20 June 1974
A Colone (Sophocles), male/female vv (20 minimum), 5 hn, 3 trbn, 6 vc, 4 db, 1977; Metz, 19 Nov 1977
A Hélène, Mez, female vv, 2 cl, 1977; Epidavros, July 1977
Anemoessa (phonemic text), SATB (42 minimum), orch, 1979; cond. R. Dufallo, Amsterdam, 21 June 1979
Nekuïa (phonemes and text from J.-P. Richter: Siebenkäs and Xenakis: Ecoute), SATB (54 minimum), orch, 1981; cond. Tabachnik, Cologne, 26 March 1982
Pour la Paix (Xenakis), SATB, 2 female spkrs, 2 male spkrs, tape (UPIC), 1981, version for SATB (32 minimum); cond. M. Tranchant, Paris, 23 April 1982
Serment-Orkos (Hippocrates), SATB (32 minimum), 1981; Greek Radio Choir, Athens, 1981
Chant des Soleils (Xenakis, after P. du Mans), SATB, children’s choir, 18 brass 6 (hn, 6 tpt, 6 trbn) or multiple, perc, 1983; Nord-Pas-de-Calais [simultaneous performance in several towns of the region], 21 June 1983
Idmen A/Idmen B (phonemes from Hesiod: Theogony), SATB (64 minimum), 4/6 perc, 1985; Antifona de Cluj, Les Percussions de Strasbourg, Strasbourg, 24 July 1985
Knephas (phonemes by Xenakis), SATB (32 minimum), 1990; cond. J. Wood, London, 24 June 1990
Pu wijnuej we fyp (A. Rimbaud), children’s choir, 1992; cond. D. Dupays, Paris, 5 Dec 1992
Vakchai Evripidou (Les Bacchantes d' Euripide), Bar, female vv (also playing maracas), pic, ob, dbn, hn, tpt, trbn, 3 perc, 1993; J. Dixon, cond. N. Kok, London, 1 Sept 1993
Sea-Nymphs (phonemes from W. Shakespeare: The Tempest), SATB (24 minimum), 1994; cond. S. Joly, London, 16 Sept 1994

Other vocal:
Tripli zyia, 1v, pf, 1952, unpubd
Trois poèmes (F. Villon: Aiés pitié de moy, V. Mayakovsky: Ce soir je donne mon concert d’adieux, Ritsos: Earini Symphonia [Spring Symphony]), 1v, pf, 1952, unpubd
La colombe de la paix, A, 4vv (SATB), 1953, unpubd
Stamatis Katotakis (table song), 1v, male vv, 1953, unpubd
N’shima, 2 Mez/A, 2 hn, 2 trbn, vc, 1975; cond. J.-P. Izquierdo, Jerusalem, Feb 1976
Pour Maurice, Bar, pf, 1982; S. Sakkas, C. Helffer, Brussels, 18 Oct 1982
Kassandra (Aeschylus), Bar + 20str psalterion, perc, 1987; Sakkas, Gualda, Gibellina, 21 Aug 1987 [second part of Oresteïa: see CHORAL]
La déesse Athéna (Aeschylus), Bar, pic, ob, E♭ cl, db cl, dbn, hn, pic tpt, trbn, tuba, perc, vc, 1992; Sakkas, cond. Tabachnik, Athens, 3 May 1992 [scene from Oresteïa: see CHORAL]

Chamber:
Dipli Zyia, vn, vc, 1951, unpubd
ST/4, str qt, 1956–62; Bernède Quartet, Paris, 1962
ST/10, cl, b cl, 2 hn, hp, perc, str qt, 1956–62 cond. Simonović, Paris, May 1962
Morsima-Amorsima, pf, vn, vc, db, 1956–62; cond. Foss, Athens, 16 Dec 1962
Analogique A, 9 str, 1958 [must be performed with tape work Analogique B]; cond. Scherchen, Gravesano, summer 1959
Amorsima-Morsima, cl, b cl, 2 hn, hp, perc, str qt; cond. Foss, Athens, 1962
Atrées, fl, cl, b cl, hn, tpt, trbn, 2 perc, vn, vc, 1962; cond. Simonović, Paris, 1962
Eonta, 2 tpt, 3 trbn, pf, 1963–4; cond. P. Boulez, Paris, 16 Dec 1964
Anaktoria, cl, bn, hn, str qt, db, 1969; Octuor de Paris, Avignon, 3 July 1969
Persephassa, 6 perc, 1969; Les Percussions de Strasbourg, Persepolis, 9 Sept 1969
Aroura, 12 str, 1971; cond. Tabachnik, Lucerne, 24 Aug 1971
Charisma, cl, vc, 1971; Royan, 6 April 1971
Linaia-Agon, hn, trbn, tuba, 1972; cond. Tabachnik, London, 26 April 1972
Phlegra, 11 insts, 1975; cond. Tabachnik, London, 28 Jan 1976
Epeï, eng hn, cl, tpt, 2 trbn, db, 1976; cond. S. Garant, Montréal, 9 Dec 1976
Retours-Windungen, 12 vc, 1976; Berlin PO, Bonn, 20 Feb 1976
Dmaathen, ob, perc, 1976; N. Post, J. Williams, New York, May 1977
Akanthos, 9 insts, 1977; Ensemble Studio 111, Strasburg, 17 June 1977
Ikhoor, str trio, 1978; Trio à Cordes Français, Paris, 2 April 1978
Dikhthas, vn, pf, 1979; S. Accardo, B. Canino, Bonn, 4 June 1980
Palimpsest, eng hn, b cl, bn, hn, perc, pf, str qnt, 1979; cond. S. Gorli, Aquila, 3 March 1979
Pléïades, 6 perc, 1979; Les Percussions de Strasbourg, Strasbourg, 17 May 1979
Komboï, amp hpd, perc, 1981; Chojnacka, Gualda, Metz, 22 Nov 1981
Khal Perr, brass qnt, 2 perc, 1983; Quintette Arban, Alsace Percussions, Beaune, 15 July 1983
Tetras, str qt, 1983; Arditti String Quartet, Lisbon, 8 June 1983
Thalleïn, pic, ob, cl, bn, hn, pic tpt, trbn, perc, pf, str qnt, 1984; cond. E. Howarth, London, 14 Feb 1984
Nyûyô [Setting Sun], shakuhachi, sangen, 2 koto; 1985; Angers, Ensemble Yonin-No Kai (Tokyo), 30 June 1985
Akea, pf, str qt, 1986; Helffer, Arditti String Quartet, Paris, 15 Dec 1986
A l’Ile de Gorée, amp hpd, pic, ob, cl, bn, hn, tpt, str qnt, 1986; cond. Kerstens, Amsterdam, 4 July 1986
Jalons, pic, ob, b cl, db cl, dbn, hn, tpt, trbn, tuba, hp, str qnt, 1986; cond. Boulez, Paris, 26 Jan 1987
XAS, sax qt, 1987; Raschèr Quartet, Lille, 17 Nov 1987
Waarg, pic, ob, cl, bn, hn, tpt, trbn, tuba, str qnt, 1988; cond. Howarth, London, 6 May 1988
Echange, solo b cl, fl, ob, cl, bn, hn, tpt, trbn, tuba, str qnt, 1989; H. Sparnaay, cond. Porcelijn, Amsterdam, 26 April 1989
Epcycle, solo vc, fl, ob, cl, hn, tpt, trbn, tuba, 2 vn, va, db, 1989; R. de Saram, Spectrum Ensemble, cond. G. Protheroe, London, 18 May 1989
Okho, 3 djembés, tall African drum, 1989; Trio Le Cercle, Paris, 20 Oct 1989
Ophaa, hpd, perc, 1989; Chojnacka, Gualda, Warsaw, 17 Sep 1989
Tetora, str qt, 1990; Arditti String Quartet, Witten, 27 Apr 1991
Paille in the wind, vc, pf, 1992; J. Scalfi, Woodward, Milan, 14 Dec 1992
Plektó, fl, cl, perc, pf, vn, vc, 1993; cond. R. Platz, Witten, 24 April 1994
Ergma, str qt, 1994; Mondrian String Quartet, The Hague, 17 Dec 1994
Mnamas Xapin Witoldowi Lutoslavskiemu [In Memory of Witold Lutosławski], 2 hn, 2 tpt, 1994; cond. W. Michniewki, Warsaw, 21 Sept 1994
Kaï, fl, cl, bn, tpt, trbn, vn, va, vc, db, 1995; cond. D. Coleman, Oldenburg, 12 Nov 1995
Kuïlenn, fl, 2 ob, 2 cl, 2 bn, 2 hn, 1995; Netherlands Wind Ensemble, Amsterdam, 10 June 1996
Hunem-Iduhey, vn, vc, 1996; E. Michell, O. Akahoshi, New York, 9 Aug 1996
Ittidra, str sextet, 1996; Arditti String Quartet, T. Kakuska (va), V. Erben (vc), Frankfurt, 4 Oct 1996
Roscobeck, vc, db, 1996; R. de Saram, S. Scordanibbio, Cologne, 6 Dec 1996
Zythos, trbn, 6 perc, 1996; Lindberg, Kroumata Ensemble, Birmingham, 10 April 1997

Solo instrumental:
Seven piano pieces without title, Menuet, Air populaire, Allegro molto, Mélodie, Andante, pf, 1949–50, unpubd
Suite, pf, 1950–51, unpubd
Thème et conséquences, pf, 1951, unpubd
Herma, pf, 1960–61
Nomos alpha, vc, 1965–6; S. Palm, Bremen, 5 May 1966
Mikka, vn, 1971; I. Gitlis, Paris, 27 Oct 1972
Evryali, pf, 1973; C. Helffer, Paris, 1974
Gmeeoorh, org, 1974; C. Holloway, U. of Hartford, CT, 1974
Psappha, perc, 1975; S. Gualda London, 2 May 1976
Theraps, db, 1975–6; F. Grillo, 26 March 1976
Khoaï, hpd, 1976; E. Chojnacka, Cologne, 5 May 1976
Mikka ‘S’, vn, 1976; R. Pasquier, Orléans, 11 March 1976
Kottos, vc, 1977; M. Rostropovich, La Rochelle, 28 June 1977
Embellie, va, 1981; G. Renon-McLaughlin, Paris, 1981
Mists, pf, 1981; Woodward, Edinburgh, 1981
Naama, amp hpd, 1984; Chojnacka, Luxembourg, 20 May 1984
Keren, trbn, 1986; B. Sluchin, Strasbourg, 19 Sept 1986
A r. (Hommage à Ravel), pf, 1987; H. Austbö, Montpellier, 2 Aug 1987
Rebonds, perc, 1988; Gualda, Rome, 1 July 1988

Tape
some works exist in one or more revised realizations

Diamorphoses, 2-track, 1957–8; Brussels, 5 Oct 1958
Concret PH, 2-track, 1958; Brussels, Philips Pavilion, 1958
Analogique B, 2-track, 1958–9 [must be performed with chbr work Analogique A]; cond. Scherchen, Gravesano, summer 1959
Orient-Occident, 2-track, 1960; Cannes, May 1960
The Thessaloniki World Fair (film score), 1-track, 1961
Bohor, 4-track, 1962; Paris, 15 Dec 1962
Hibiki Hana Ma, 12-track, 1969–70; Osaka, Expo 70, 1970
Persépolis, 8-track, 1971; Persepolis, 26 Aug 1971
Polytope de Cluny, 8-track, lighting, 1972; Paris, 17 Oct 1972
Polytope II, tape, lighting, 1974; Paris, 1974
La legénde d'Eer (Diatope), 4- or 8-track, 1977; Paris, 11 Feb 1978
Mycenae alpha, 2-track, UPIC, 1978; Mycenae, 2 Aug 1978
Taurhiphanie, 2-track, UPIC, 1987; Arles, 13 July 1988
Voyage absolu des Unari vers Andromède, 2-track, UPIC; Osaka, 1 April 1989
GENDY3, 2-track, Dynamic Stochastic Synthesis, 1991; Metz, 17 Nov 1991
S 709, 2-track Dynamic Stochastic Synthesis, 1994; Paris, 2 Dec 1994

I guess I'd be lonesome (Sund4r), Tuesday, 13 October 2020 02:02 (nine months ago) link

The versions of Zyia that I see on Spotify, Youtube, and a quick look at Naxos all seem to be for solo soprano with flute and piano but that version also seems to date from 1952 so should be fine.

I guess I'd be lonesome (Sund4r), Tuesday, 13 October 2020 02:08 (nine months ago) link

Thanks for setting this up. I’ll get on it asap.

pomenitul, Tuesday, 13 October 2020 02:14 (nine months ago) link

Oh wow, you went ahead with it. Awesome. I shall return...

Nag! Nag! Nag!, Tuesday, 13 October 2020 02:27 (nine months ago) link

Yes pls

J. Sam, Tuesday, 13 October 2020 02:36 (nine months ago) link

I listened to two recordings of Zyia: the one on Spotify sung by Angelica Cathariou and this one, with Raquel Camarinha singing: https://youtu.be/qLxLx29S2yA ; found a score on Scribd. The one on Youtube made the stronger first impression - and it's a strong one, with pretty (if very complex) melodies juxtaposed against clusters in the piano's low register, sometimes reminiscent in a way of what Vivier would get up to a couple of decades later. Quite different from the stochastic music we typically associate with Xenakis, still very much built around melody and metre. The vocal melody lines often draw on diatonic collections and even suggest tonal goals, although these change frequently and the clusters in the piano part obscure tonality. Metre also changes often, with additive patterns appearing at times.

I guess I'd be lonesome (Sund4r), Tuesday, 13 October 2020 03:43 (nine months ago) link

Metastaseis - opus 1! Just listened to two versions this morning, the Rosbaud-conducted one on this box: https://www.discogs.com/Various-Musique-De-Notre-Temps-Reperes-19451975/release/2583078 and the Tamayo-conducted RAI Symphony one I streamed on Naxos, which I liked so much I listened to it two more times. We're into the real deal now - huge, terrifying sound masses with that stunning first crescendo. Must have been incredible to see in 1955, a half-decade before Ligeti's and Penderecki's sound mass pieces, well before sci fi and horror film directors adopted those sounds. I'm sure it would still be a dazzling live experience. This was actually the first piece I ever heard by Xenakis, in an undergrad music history class. Definitely made an impression.

I guess I'd be lonesome (Sund4r), Tuesday, 13 October 2020 13:14 (nine months ago) link

Just took a look at the score and wow, yeah, 60 different parts, all written out by hand. Sort of incredible that there was a time when a Greek guy in his early 30s could even write something like this as his op. 1 and get it performed.

I guess I'd be lonesome (Sund4r), Tuesday, 13 October 2020 13:20 (nine months ago) link

I've listened to Zyia twice now, several hours apart. I like what the piano and flutes doing a lot, though the presence of vocals (not sure I've heard Xenakis with a solo vocalist before!) makes me slightly anxious about what I'm missing in the absence of a translation. The low clunky piano rhythms around, say, the 5:00 mark bring to mind Messiaen. Though it's fair to say that I'm kinda conditioned to hear Messiaen in things!

Nag! Nag! Nag!, Tuesday, 13 October 2020 13:37 (nine months ago) link

Pithoprakta - just listened to the Tamayo-conducted Luxembourg Orchestra recording. This is probably the Xenakis piece I've listened to most, since I used it when teaching for a couple of years. He kept the 46 strings, two trombones, and wood block from Metastaseis but not the rest of the winds and brass. All playing individual parts again. Doesn't quite have the huge dramatic moments of Metastaseis but I find it a bit more satisfying as an overall composition, I think. The arc-like form is very pleasing and well-constructed and the percussive extended techniques on the strings are great. The composition was inspired by Brownian motion iirc. A great demonstration of this concept:

The collision of hail or rain with hard surfaces, or the song of cicadas in a summer field. These sonic events are made out of thousands of isolated sounds; this multitude of sounds, seen as totality, is a new sonic event.

I guess I'd be lonesome (Sund4r), Tuesday, 13 October 2020 13:48 (nine months ago) link

Yeah, tbh, I have no idea where the text for Zyia comes from or what it's saying. If someone has a translation or speaks Greek, would be happy to hear!

I guess I'd be lonesome (Sund4r), Tuesday, 13 October 2020 13:49 (nine months ago) link

Heroic! Looking forward to this.

Maresn3st, Tuesday, 13 October 2020 14:03 (nine months ago) link

Hi, is it okay for me to join in with this? I probably won't have much of interest to contribute, but despite having heard about "this guy Xenakis" for much of my music-listening life I've never really investigated the work, so this would be a cool learning experience.

emil.y, Tuesday, 13 October 2020 14:56 (nine months ago) link

following, this guy is on my list to investigate further

sleeve, Tuesday, 13 October 2020 15:00 (nine months ago) link

Same here.

Ilxor in the streets, Scampo in the sheets (Le Bateau Ivre), Tuesday, 13 October 2020 15:00 (nine months ago) link

Everyone is welcome!

pomenitul, Tuesday, 13 October 2020 15:01 (nine months ago) link

Xenakis would have definitely wanted it that way. The full quote referenced above, as quoted in Ross, is in fact "The listener must be gripped and—whether he likes it or not—drawn into the flight path of the sounds, without a special training being necessary. The sensual shock must be just as forceful as when one hears a clap of thunder or looks into a bottomless abyss."

He's not a composer I'd say I'm exceptionally well-versed in myself so this is meant to be educational for all involved.

I guess I'd be lonesome (Sund4r), Tuesday, 13 October 2020 15:25 (nine months ago) link

Ιάννης Ξενάκης otm.

pomenitul, Tuesday, 13 October 2020 15:29 (nine months ago) link

I've got all his stuff and am most familiar with and have a preference for his piano works and have nothing of interest to say beyond oafish inarticulate enthusiasm - so I'll be another lurking observer here. Maybe learn something for once!

calzino, Tuesday, 13 October 2020 15:48 (nine months ago) link

Btw, Nagx3, I don't think it's just your conditioning: Xenakis studied with Messiaen. If you can read French, this gets into the relationship between the two, with some discussion of Zyia: https://hal.archives-ouvertes.fr/file/index/docid/770144/filename/Notes_sur_les_relations_musicales_entre_Xenakis_et_Messiaen.pdf

It seems like this is a piece Messiaen went over with Xenakis when he was working on it. The quotes from Xenakis's notes show that Messiaen's comments were important to him. He mentions Messiaen's praise and specific comments on various compositional elements, thanked him and said it was thanks to his encouragement and instruction in Indian rhythms as well as Le Corbusier and Greek folk music, and even noted that he felt like "a new man" because of Messiaen's encouragement:


15 novembre 1952. Messiaen a vu la Zyia. Il l’a lue attentivement en en trouvant des fautes de copie. Il m’a dit : « Mais c’est formidable le progrès que vous avez fait depuis les harmonisations. Vous avez maintenant une langue, un style. C’est très très bien. Comment avez-vous fait ? Vous vous rendez compte ? ». J’ai dit que c’était grâce à lui, à son encouragement, à ses leçons, ensuite à la rythmique hindoue, à Le Corbusier et ?? à la musique populaire grecque.
Il m’a répété son étonnement [41] à plusieurs reprises.
Il m’a dit qu’il voudrait bien entendre la partie centrale, ?? [soprano], flûte et piano, qu’il trouve exceptionnelle à cause de la combinaison des timbres, mélodies et rythmes.
Il a eu un doute quant au raccord de la strette avec les doubles croches de Bartók, mais, a-t-il dit, ce sera très bien quand même.
...
Il a trouvé la partie du piano solo avec la variante du refrain très bien et pas du tout longue et statique, à cause des accidents rythmiques (changements de mesures).
Il m’a proposé de montrer la Zyia de sa part à Marcel Couraud pour qu’il la mette dans ses
...
[42] Je commence à me sentir à nouveau un homme parce que les paroles de Messiaen sont très encourageantes et parce que je ?? ?? ?? {suis d’accord avec lui}. C’est le début de la fin du Moyen âge ?22 »

I guess I'd be lonesome (Sund4r), Tuesday, 13 October 2020 15:56 (nine months ago) link

He recalled the composer Iannis Xenakis saying that it would take him six months to figure out a 30-minute Cecil Taylor piece. Xenakis is “my favorite European composer,” Taylor continued

Cecil was obv a big fan.

calzino, Tuesday, 13 October 2020 16:01 (nine months ago) link

The few things I'd heard from him were very abstract and cacophonous, so the relative accessibility and simplicity of Zyia is a nice start. Looking forward to following this.

octobeard, Tuesday, 13 October 2020 16:38 (nine months ago) link

now listening to Metastaseis. Yeah this guy is the Autechre of orchestral music

octobeard, Tuesday, 13 October 2020 16:48 (nine months ago) link

thanks so much for this, Sund4r. will check in later tonight when i get a chance to listen to this first set of compositions.

budo jeru, Tuesday, 13 October 2020 22:46 (nine months ago) link

Diamorphoses: I always preferred Xenakis's instrumental music to his electronic music so it's good to be able to revisit and reconsider these pieces I haven't listened to in ages. This was his first electronic work, done at Pierre Schaeffer's GRM studio, again, while he was Messiaen's student. A musique concrète work in ternary form based on white noise as well as aiui samples including bells, trains, and jet engines. On the first couple of listens, I listened for the form, which seems clear enough, with the low-end white noise largely dropping out or becoming less consistent in the second section. The glissandi derived from the bell samples are v cool. Obv people have done much more complex and elaborate things with electronic processing since then but the creativity and vision here still come through and the form is very well-balanced and pleasing. (And noise artists still do LESS complex and elaborate things as well!) Has a similar dark, intense character as some of his instrumental music from around the same time, and certainly when compared to other early musique concrète.

I guess I'd be lonesome (Sund4r), Wednesday, 14 October 2020 22:56 (nine months ago) link

Concret PH: next piece on the CD. This short work is derived from 1s samples of crackling embers, layered in different densities, similar to the sound mass processes he was working with in his instrumental music. Written for the Philips pavillion at the World Fair, to be played between playings of Varèse's Poème électronique. It doesn't have as much dramatic impact but the sounds are pleasant.

I guess I'd be lonesome (Sund4r), Wednesday, 14 October 2020 23:05 (nine months ago) link

I want in but I didn't see this thread until right now. I assume we do 5 pieces a week so if you miss one, you can catch up later?

Let's put the X in 100 gecs (Tom Violence), Wednesday, 14 October 2020 23:45 (nine months ago) link

45-60m of music a week and we're still in the middle of the first week.

I guess I'd be lonesome (Sund4r), Wednesday, 14 October 2020 23:50 (nine months ago) link

Is anyone doing a Spotify playlist? Should I?

Let's put the X in 100 gecs (Tom Violence), Wednesday, 14 October 2020 23:54 (nine months ago) link

That would be great if you want to do that, thanks!

I guess I'd be lonesome (Sund4r), Wednesday, 14 October 2020 23:59 (nine months ago) link

A few of the more prominent recordings on Youtube:

Metastaseis - Orchestre National de l'O.R.T.F./Maurice Le Roux
Metastaseis - Luxembourg Philharmonic Orchestra/Arturo Tamayo

Pithoprakta - Orchestre National de l'O.R.T.F./Maurice Le Roux
Pithoprakta - Luxembourg Philharmonic Orchestra/Arturo Tamayo

Diamorphoses - magnetic tape

Concret PH - magnetic tape

Nag! Nag! Nag!, Thursday, 15 October 2020 00:00 (nine months ago) link

https://open.spotify.com/playlist/1J3dBKMAwe0ttB13rMogfX?si=IlhgenD_S1e5M0Wkv3nqFQ if anyone needs it. Open to suggestions ofc

Let's put the X in 100 gecs (Tom Violence), Thursday, 15 October 2020 00:00 (nine months ago) link

Haha, freaky timing.

Nag! Nag! Nag!, Thursday, 15 October 2020 00:01 (nine months ago) link

Analogique A+B: well, this is definitely different. A piece for 9 strings (Analogique A) and 4-track tape (Analogique B), where the ensemble and the tape alternate in a call and response fashion. From what I gather from here: https://www.iannis-xenakis.org/fxe/catalog/oeuvre_15.html , the A part was composed by stochastically generating material in arbitrary ranges of pitch (frequency?), volume, and density, and these ranges change according to probabilities determined by a Markov chain, resulting in eight 'sonic states'. The tape part is an early (the first?) granular synthesis composition, based on similar processes. Unlike the other pieces so far, these structural ideas are not apparent on listening, at least to me in two distracted listens. Feels comparatively static. Some interesting sounds for certain. I might give it another try.

I guess I'd be lonesome (Sund4r), Thursday, 15 October 2020 00:09 (nine months ago) link

Spotify link for this one: https://open.spotify.com/album/6DqkaXUhKsbnshFkzhnfOG?si=GXgMPYPmSceXKtcafUxRQQ

I guess I'd be lonesome (Sund4r), Thursday, 15 October 2020 00:10 (nine months ago) link

Thanks, Tom!

I guess I'd be lonesome (Sund4r), Thursday, 15 October 2020 00:10 (nine months ago) link

Running late on this... I’ll get there before the week’s through.

pomenitul, Thursday, 15 October 2020 00:11 (nine months ago) link

I'm familiar with Concret PH and Diamorphoses from an LP called Electro-Acoustic Music that I got out of the library as a teenager. Those versions are apparently revisions from 1968, although I don't know if that simply means that was when a stereo mixdown was made. The liner notes to that record describe Diamorphoses as having four parts, with the two inner sections having less sonic density than the other ones.

I wonder if the relative homogeneity of the sound sources that he uses makes his work easier to parse for "rock" based listeners than composers who used a very eclectic variety of sounds. There is more of an atmosphere and mood here than in some electronic music of the era where the composer is changing directions every 15 seconds.

I probably won't be able to listen to everything week by week, but threads like these are a great resource to go back to at a later date!

Halfway there but for you, Thursday, 15 October 2020 00:33 (nine months ago) link

Interesting. The liner notes to the 1997 Xenakis - Electronic Music CD describe Diamorphoses as a ternary form, which is audible to me and is a standard classical form, but I can see how you could subdivide the middle section into two subsections for a four-part form.

I guess I'd be lonesome (Sund4r), Thursday, 15 October 2020 00:52 (nine months ago) link

Analogique sounds pretty cool on first listen. Definitely never heard that before. Though I've tended to get more mileage out of his chamber stuff and his tapes/electronic stuff than the vast-clouds-of-sound stuff and he's neatly catering for that niche market here. :)

Nag! Nag! Nag!, Thursday, 15 October 2020 00:59 (nine months ago) link

Catching up. Zyia is indeed Messiaen-esque, occasionally even Bartókian in its writing for the piano (maybe because Xenakis was born in Brăila?), with a dash of André Jolivet in its conception of neo-classicism as a return to pre-Christian Greek sources. I also hear echoes of Ravel's Cinq mélodies populaires grecques, which leads me to speculate that Xenakis perhaps subsequently felt the need to break with the 'exotisant' gaze of the French scene through a more forceful idiom of his own. Anyhow, I very much agree with Sund4r that the vocal melodies in particular look ahead to Claude Vivier (himself a quasi student of Messiaen via Gilles Tremblay), although to my knowledge Xenakis doesn't seem to have explored this avenue much further in his later compositions.

Even with the benefit of experience, I was expecting Metastaseis to come as a shock after Zyia, but the nifty thing about these listening threads is that they help you re-contextualize and re-historicize that which might otherwise seem sui generis. When listening to them back-to-back, both come across as constructs made of space, which to my mind implies a move away from narrative (a chiefly temporal art) and makes me wonder what Metastaseis in particular would sound like if it were played backwards or cut up and stitched back together in a different order. After all, the title really just means 'change' (including political change, which is not irrelevant here), as though to mark not only a break with his juvenilia but also to indicate that the work itself is by no means set in stone, a music of constant becoming rather than of being, quite unlike the fantasies of a return to European civilization's Greek 'roots' some of the aforementioned French composers peddled in their own compositions.

Pithoprakta is where Big Brain Xenakis really comes to the fore. Glissandos conceived as the thermodynamic movement of gas molecules, underlying scientific laws promulgated by German and British dudes whose names I'm too much of a philistine to remember, probability theory as the basis of aesthetics… I imagine this is all a musicologist's wet dream, and I am in no position to intelligently comment on any of it, but I will say that the application of theorems drawn from other disciplines to notated music remains an incredibly fecund compositional approach and – as much as I value it in its own right – it does put the comparative narrow-mindedness of integral serialism to shame. I will also say that it also sounds great (tbf I'm a sucker for string orchestras, here augmented by two discreet trombones, xylophone and a wood block), and the coexistence of pointillistic pizzicatos and nearly smeared glissandos foreshadows Ligeti's beloved 'clocks & clouds'.

Musique concrète is a blind spot for me more often than not, but I found much to enjoy in Diamorphoses, the second piece of his I had never heard so far (after Zyia). Sund4r summed it up nicely, and helped me get a better grip on what goes on in this piece, which does indeed strike me as more modern (and listenable, frankly) than what many of Xenakis's peers were up to at the time in their own electronic experiments. The link between this and his orchestral works is also quite obvious in terms of their sense of shape, and it gets me thinking about how much of Xenakis's art is one of correlation and translation between different media, almost as though he were guided by a theory of forms, if you'll forgive the lame reference.

Concret PH is considerably glassier and hence more, uh, concrete, but it also evokes a piano, which creates a strange aural illusion whereby the abstract (absolute music) and the figurative (recognizable noises made by everyday objects) coexist. It makes for an eloquent little fragment (or shard).

Analogique is perhaps the toughest nut to crack thus far, although quite interesting in that it spells out what I was just saying about correlation: its stated aim is to seek analogies between the strings and their corresponding tape material, which often requires that the two soundworlds take turns, thereby stressing their distinctness. This dual state greatly serves the piece imo – listening to A and B in isolation wouldn't work quite as well.

pomenitul, Thursday, 15 October 2020 20:54 (nine months ago) link

As a student of, mainly, the natural sciences it's possible Xenakis' borrowings from extra-musical disciplines are part of the appeal before even hearing a note. I mean, I don't feel like it aids comprehension (the maths, when written out, looks immensely scary) but when one reads about him and finds diagrams of probability distributions and auditory response thresholds, etc, a certain deeply nerdy part of my brain gets all "these are a few of my favourite things". Hehe.

Nag! Nag! Nag!, Friday, 16 October 2020 01:10 (nine months ago) link

Can't find Analogique on youtube and I've forgotten my spotify password as I use it so little, so I guess I'll have to skip it? Bah.

Some scattered thoughts, probably of no use to anyone (I'm also going to try to avoid musicology terms in fear of using them wrong in front of proper musical theorists/classical buffs, so I'm gonna come across as very basic):

Zyia - not what I was expecting but I really like this one. The vocal fixes me, an anchor point in the sea, while the instrumentation roils. Nice, nice.

Metastaesis and Pithoprakta are in line with what I expected Xenakis to sound like, probably b/c the former is the only one I've heard before. The latter almost gave me an anxiety attack tbh. I used to chill out to Stockhausen and sounds like that, I don't think I can do it any more. Doesn't mean I don't like it, it's super cool, but my chest was definitely tightening in places.

Diamorphoses - love this but I want to argue with pomenitul's statement that it's more modern (and listenable, frankly) than what many of Xenakis's peers were up to at the time in their own electronic experiments, I'm just not sure I'm up to the job. Would be interested to know what pieces you were thinking of specifically in your comparison, and maybe we could tease out why we differ in stances?

Concret PH - this is gorgeous and I wish it went on forever. It's obviously the least 'composed' of all the pieces on the list, but the sounds are perfect for me.

emil.y, Friday, 16 October 2020 14:38 (nine months ago) link

I was thinking of stuff like Varèse's Poème électronique, Stockhausen's Studie II, Boulez's Etudes I & II, Barraqué's Etude (I see a pattern here!), etc. Luc Ferrari, Pierre Schaeffer, Pierre Henry, Bernard Parmegiani and other noted musique concrète practitioners from that era are in a different category as far as I'm concerned because they devoted the quasi entirety of their efforts to the genre.

pomenitul, Friday, 16 October 2020 14:49 (nine months ago) link

Ah, okay, so that rules out some counterpoints, and I don't know the Boulez or Barraqué. Poème électronique is basically godhead to me, so I've got to disagree about its listenability at least. Do you think that what separates out Diamorphoses is that it's already moved to composition where the examples you mention are still stuck in exploration?

emil.y, Friday, 16 October 2020 15:11 (nine months ago) link

If you don't know Vivier's Lonely Child, it might be worth a try if you like Zyia.

I guess I'd be lonesome (Sund4r), Friday, 16 October 2020 15:11 (nine months ago) link

I do not, thank you!

emil.y, Friday, 16 October 2020 15:14 (nine months ago) link

Do you think that what separates out Diamorphoses is that it's already moved to composition where the examples you mention are still stuck in exploration?

I would say so, yes. Keep in mind that I am generally not very receptive to tape music/musique concrète/sound collage/early electronic experiments/Cageian 'banal noises are also music', so my assessment is bound to be harsh by default – no doubt unfairly so, but we all have our blind spots. Perhaps I'll overcome this one someday.

pomenitul, Friday, 16 October 2020 15:16 (nine months ago) link

Check out the studio version with Susan Narucki – you can find it here.

xp

pomenitul, Friday, 16 October 2020 15:18 (nine months ago) link

All right, so let's wait a week.

Sequel to Sadness (Sund4r), Wednesday, 9 June 2021 02:59 (one month ago) link

goddamm weeks off for various reasons, but Palimpsest is way fun!

anatol_merklich, Thursday, 10 June 2021 21:34 (one month ago) link

This is the week to get caught up!

Sequel to Sadness (Sund4r), Thursday, 10 June 2021 21:38 (one month ago) link

And we're back:

Week 28

Keqrops, pf, orch, 1986
Akea, pf, str qt, 1986
A l’Ile de Gorée, amp hpd, pic, ob, cl, bn, hn, tpt, str qnt, 1986
Jalons, pic, ob, b cl, db cl, dbn, hn, tpt, trbn, tuba, hp, str qnt, 1986

Sequel to Sadness (Sund4r), Monday, 14 June 2021 14:55 (one month ago) link

Keqrops sounds really huge (in the recording by Woodward, Roger; Gustav Mahler Youth Orchestra; Abbado, Claudio). Massive dynamic range and a dazzling solo piano cadenza; strong sense of rhythm and a well-earned conclusion.

Sequel to Sadness (Sund4r), Tuesday, 15 June 2021 23:28 (one month ago) link

Akea (Arditti Quartet/Claude Heffler) was nice; some similar ideas but obv on a smaller scale. The way the piano is juxtaposed with the ensemble seems comparable, broadly. I was going to describe what seemed like a major motif in the piano part as stark, then started reading Harley and saw that he says the first word that comes to mind wrt the whole piece is "stark".

Sequel to Sadness (Sund4r), Thursday, 17 June 2021 02:00 (one month ago) link

À l'ile de Gorée: listened to the recording on Erato by Elisabeth Chojnacka; Xenakis Ensemble; Huub Kerstens. This one's really enjoyable. Rhythm seems like a focus and we regularly get what seem like polyrhythmic grooves. The amplified harpsichord is juxtaposed against the ensemble, sometimes with simultaneous rhythmic streams, sometimes in call and response. A nice solo passage near the end.

Sequel to Sadness (Sund4r), Friday, 18 June 2021 13:40 (one month ago) link

Harley:

À l’île de Gorée is scored for harpsichord solo (to be played, once again, by Elisabeth Chojnacka) and a mixed ensemble of twelve players. Compared to the piano concerto, the music is light and transparent—almost classical (or Baroque, to be more accurate). This in spite of the title’s political references: Gorea, off of Senegal, was a clearinghouse for the slave trade, and Xenakis makes explicit the connection between this historical situation and the “black heros and victims of apartheid in South Africa, last bastion of a hysterical racism” (Xenakis 1988b). Unlike Nuits (1968), a piece with an explicitly political dedication in some measure reflected in the keening and wailing of the voices, À l’île de Gorée would appear to be a gesture of support whose content is independent of its contribution to the cause.

While Chojnacka was already a familiar member of the small (but growing) cadre of musicians dedicated to the music of Xenakis, this is the first (and only, as it turns out) score written for the Dutch group named after the composer. The Xenakis Ensemble was formed in 1981, primarily for performances at the Middelburg Festival Nieuwe Muziek in the Netherlands, where Xenakis Xenakis was a frequent guest. Over the years the ensemble has performed over forty of his chamber works.8

While classical in its restraint, À l’île de Gorée is far from traditional in its construction. While there are certain recurring pitch structures that provide recognizable points of harmonic orientation, the unfolding of the material and the cross-referencing of episodes create a complex, beguiling structure. What is especially noteworthy is the way certain elements are carried forward while new ones are introduced, or else are recalled after a brief departure, making for overlapping and interlocking entities that hinder clear identification of formal sections. This process of construction speaks to the composer’s increasingly nonlinear sense of form in which multilayered networks between different materials reach across the temporal structure. Nonetheless, for the sake of orientation, it is possible to divide the form into nine sections of varying lengths and degrees of distinctiveness.

The opening immediately proclaims the timbral transparency of the music, in sharp contrast to Keqrops. A five-note, midregister octatonic cluster is sounded by the harpsichord and echoed by the strings and muted brass. The chord is repeated numerous times, at first according to a regular rhythmic pattern, and thereafter at more irregular intervals. The ensemble sonority is varied by the addition of a highpitched entity, alternating between an unusual harmonic in the violins and an unstable double sonority in the piccolo. As the opening sounds resonate, the harpsichord adds melodic notes in the gaps among the chords, first presenting octave Ds around the cluster, then creating short melodic fragments using these and the octatonic pitches. The suspended, expectant state of the music is carefully sustained for close to a minute, with the harpsichord eventually adding chromatic neighbor-tones to its melodic material. At m. 5, the piccolo shifts to a lower multiphonic in the flute and the bassoon intones a portentous descending line that prepares a dramatic crescendo built from the by now familiar cluster chord, here expanded by the addition of a low tremolo in the double bass and the noisy timbre of the overblown bassoon.

At the end of m. 8 the ensemble drops out, making room for a brief solo passage, building from a declamatory opening into fast, sweeping runs, colored briefly by similar fragments in the woodwinds and strings. Abruptly, this cadenza-like material is cut off, making way for the next section. With the interlocking ostinati in the brass and harpsichord along with the jaunty bass pattern in the bassoon (built on a perfect fifth), this passage sounds like that of a neoclassical Igor Stravinsky. As the music carries on, each instrument gradually breaks out of its ostinato pattern into wider-ranging, melodic material. There is a shift to the woodwinds at m. 28, their melodies proliferating out from a unison A4. Throughout this section, there is also a harmonic move to the familiar Serment pitch sieve. By the time the woodwinds enter the range of the sieve containing the distinctive pelog sound (major thirds and minor seconds), the listener is in no doubt as to the sieve’s identity.

An interesting transition occurs at that point, leading to the third section. After the brief woodwind passage the harpsichord enters on its own, carrying on the layered melodic material from before, but then abruptly shifting into a new rhythmic passage built from chords not derived from the ongoing sieve. A return of the woodwinds seems to negate the new material, but the harpsichord enters again, and after another brief melodic fragment, it switches definitively to the new material. The music is filled out with a high chord in the strings, an unusual, sustained sonority in the woodwinds built from multiphonics (reminiscent of the opening chord, with the piccolo/flute split tones), and rhythmic ostinato material in the brass. This carries through to m. 42, when the full ensemble joins the brass in a rhythmic punctuation of the soloist’s ongoing ostinato activity (the pitch content content being held static while the rhythms are varied and elaborated).

At mm. 45–46, there is a brief respite from the predominantly rhythmic activity, with the full ensemble playing a legato descending line while the soloist takes a break, each instrument moving in parallel along a new pitch sieve. The previous material returns, this time with the whole ensemble joining the harpsichord-brass ostinato patterns. There are a number of variations, most notably the pitting of the ensemble against various subsets such as the harpsichord alone, keyboard with brass, and so forth. Another melodic passage is inserted at mm. 57–58, this time split into three layers: woodwinds, brass, and strings. The diverging scalar contours are delineated by the use of different sieves and polyrhythms. A third melodic entity is introduced at m. 59 (returning at m. 62 to finish the section), this time granting each player linear independence and blurring the rhythmic drive with geometric (stochastic) notation.

At m. 63 the harpsichord jumps back in with chordal, rhythmic material, punctuated by the winds, but there are significant differences in the texture. The harpsichord opens out from the four chords of the previous section to a much larger collection more widely dispersed (although there is still a great deal of repetition). It also plays in polyrhythmic relationship to the winds, widening the scope of the rhythmic patterns. The strings, from mm. 63 to 69, unfurl a slow, ascending glissando, splitting into two as the higher strings remain at the point of ascension while the cello and double bass descend. In addition, the high woodwinds pass off a repeated-note riff between themselves, this sonority giving particular emphasis to an open fifth, A5–E6. This diad is then passed on to the strings at m. 76, after brief emphasis of a midrange cluster in the full ensemble. This cluster returns at m. 80 to close the section. There follows a brief episode for the harpsichord, playing a bluesy ostinato pattern supported by sustained strings on the A-E dyad. After six measures, the strings drop out and the soloist begins to break out of the dance-like rhythms with fast scales. As the brass enter with low punches and the high woodwinds with an articulated cluster, the harpsichord finishes off with a fast descending passage, followed by the woodwinds. Another brief episode follows on, as the woodwinds land on a low, sustained cluster. The harpsichord contributes a couple of runs and trills, touching off a flurry of runs in the full ensemble, first layered and then synchronized.

In the sixth section the fast ensemble runs are replaced by a new ostinato-type music in the harpsichord, using a new sieve and holding the range to within the span of a four-note chord in the right hand and a five-note chord in the left. The rhythms are diffuse to begin with, but over the course of the passage they become more defined, with chordal accents gradually displacing the melodic ornamentation. Occasional fast runs break out of this texture, and these are echoed at m. 106 by the strings and at m. 113 by the woodwinds. The overall sonority is filled out by intermittent glissandi in the strings and by the unstable sustained sonority in the woodwinds from section three. A final moment of sustained woodwinds and strings leads to the next section.

A lyrical, rather plaintive three-part brass phrase is heard, built from the pitches of the opening chord. It is followed by a chordal statement of this pitch set in the winds and harpsichord, gradually pulling apart into a contrapuntal texture, though still banded to a range of one octave. A sudden expansion of the register and a gathering of the instruments back into rhythmic synchronization leads to a return of the complex layers of ostinato material of the fourth section. The woodwinds, brass, strings, and harpsichord propel four layers of interlocking accents and disjunct chords through irregular patterns of repetition. The tempo gradually slows, somewhat in the manner of Keqrops, until a final fermata gives way to silence. The closing section is reserved for harpsichord alone (again like Keqrops), and consists of a mixture of the opening chordal sonority and wider-ranging two-part melodic material drawn from the Serment sieve.

The dominant feature of À l’île de Gorée is the rhythmic ostinato, in all its various guises. The driving pulse and tone of the harpsichord lend the music a Baroque air, at least to an extent. What is especially fascinating about the music is the way in which the other elements intervene, casting different lights on the material. The alternation and superposition of pitch sieves adds an additional layer of comprehensibility, with restricted, or recognizable, pitch collections occurring at key points. Xenakis’s sense of timbral balance is, as usual, remarkable, with the harpsichord being shown in all its clarity and rhythmic precision. The fragile nature of the woodwind multiphonics, not common in Xenakis’s music, complements very well the rich, though dynamically restrained, spectral content of the harpsichord. These sonorities would return in his next ensemble work, Jalons, completed later that same year.

Sequel to Sadness (Sund4r), Friday, 18 June 2021 13:55 (one month ago) link

I do find it noteworthy that the clarity of form that I found so appealing in the early Xenakis was largely lost as we went through the 70s. The forms become much more complex and less obvious. Just listened to Jalons for the second time. There are some great sounds here (distorted low sounds at the bottom of the registers of low brass and strings, as well as multiphonics in the top of the piccolo's register) and some interesting rhythmic and melodic material; one particularly interesting passage with a fast scalar line repeated canonically. The overall form is less clear in its narrative than in the earlier works, though, and I miss that quality a bit. Still, nice.

Sequel to Sadness (Sund4r), Sunday, 20 June 2021 21:29 (one month ago) link

1987 was a productive year for the man.

Week 29
Keren, trbn, 1986
Ata, 1987
Tracées, 1987
Kassandra (Aeschylus), Bar + 20str psalterion, perc, 1987
XAS, sax qt, 1987

Sequel to Sadness (Sund4r), Tuesday, 22 June 2021 03:39 (one month ago) link

A brief interruption...just got emailed about this.

IANNIS XENAKIS’ 100th anniversary ELECTROACOUSTIC WORKS box sets (LP/CD) + download

Karlrecords is excited to announce a 5LP/5CD box set celebrating the 100th anniversary of Iannis Xenakis (on May 29th, 2022), one of the most influential 20th century avantgarde composers. As with La Légende d’Eer and Persepolis before, the tracks have been newly mixed by longtime zeitkratzer sound engineer Martin Wurmnest and mastered by Rashad Becker and now reveal their full sonic range and dynamics.

„This is the definitive Persepolis“ stated The Wire (May 2018, issue 411) and this will be true for the new sets as well.

Scheduled for release as part of the Perihel series curated by Reinhold Friedl in January 2022 and flanked by several performances across Europe in the Xenakis jubilee year (details tba), while preorder starts early December.

Formats:
# 5x 180gram LP incl. 4c insert and download code + booklet
# 5x Digipack CD + booklet
# Digital download

Listen to „Mycenae Alpha“:
soundcloud.com/karlrecords/iannis-xenakis-mycenae-alpha

Tracklist

I: EARLY WORKS
Diamorphoses (1957)
Concret PH (1958)
Orient Occident (1961)
Bohor (1962)

II: LES POLYTOPES I
Hibiki Hana-Ma (1969)
Mycenae Alpha (1978)
Polytope de Cluny (1972)

III: LES POLYTOPES II
Persepolis (1972)

IV: LES POLYTOPES III
La Légende d’Eer (1978)

V: LATE WORKS
Tauriphanie (1987-88)
Voyage Absolu Des Unari Vers Andromède (1989)
Gendy 3 (1991)
S.709 (1992)

but also fuck you (unperson), Tuesday, 22 June 2021 14:53 (one month ago) link

Interesting. Did they leave off Kraanerg because it contains an instrumental component?

Sequel to Sadness (Sund4r), Wednesday, 23 June 2021 03:17 (one month ago) link

Btw, general Xenakis discussion is completely welcome here.

Sequel to Sadness (Sund4r), Wednesday, 23 June 2021 03:17 (one month ago) link

Keren: about 6m of solo trombone. Different for X and nice, with lyrical modal melodic passages (Harley says drawing on pelog scales) as well as timbral exploration, with multiphonics (produced by playing and singing at the same time) and flutter-tongue effects. Actually cool that X chose not to emphasize glissandi too much in a piece for an instrument so well suited to them.

Sequel to Sadness (Sund4r), Thursday, 24 June 2021 11:30 (one month ago) link

Ata: a lot going on here; some massive sounds with dense clusters and blocks of orchestral colour. Texture seems to be a primary concern, with the strings often juxtaposed against brass and winds, sometimes we get one group (with e.g. more intricate rhythmic movement in strings or block chords in quarter notes in brass/winds), sometimes we get multiple groups at once with different rhythmic and melodic streams taking place simultaneously, sometimes the whole orchestra comes together. Some spectacular moments.

Sequel to Sadness (Sund4r), Thursday, 24 June 2021 12:05 (one month ago) link

XAS: this one I knew before since I'd actually studied it when writing a never-played sax quartet 15 years ago. Haven't listened to it in a long time and it's good to revisit it for casual listening. It's pretty atypical: not so concerned with timbral effects, glissandi, or dense blurred masses of sound; more like a study in ensemble texture and register with an approach to pitch and rhythm that recalls the early 20th century a bit. I like it a lot - a lot of energy and variety.

Sequel to Sadness (Sund4r), Sunday, 27 June 2021 00:34 (one month ago) link

I listened to Tracées a few times. It was nice but didn't make an especially strong impression after all the orchestral music we've listened to.

Sequel to Sadness (Sund4r), Sunday, 27 June 2021 00:35 (one month ago) link

Kassandra was actually a then-new movement that was added to the Oreisteïa so it's already been discussed above when we listened to that piece.

Sequel to Sadness (Sund4r), Sunday, 27 June 2021 00:40 (one month ago) link

It appears that as the 80s progressed, Xenakis heeded the advice of the MA prof who advised me to write shorter pieces if I wanted radio play. And so we begin

Week 30

A r. (Hommage à Ravel), pf, 1987
Taurhiphanie, 2-track, UPIC, 1987;
Waarg, pic, ob, cl, bn, hn, tpt, trbn, tuba, str qnt, 1988
Voyage absolu des Unari vers Andromède, 2-track, UPIC; Osaka, 1 April 1989
Tuorakemsu, 1990

Sequel to Sadness (Sund4r), Monday, 28 June 2021 14:58 (one month ago) link

À r. (Hommage à Ravel): a 2m miniature commissioned for the anniversary of Ravel's death, this mainly contrasts passages of fast scalar runs with dense, sustained chords attacked strongly. It's structured into what seem like linear phrases where chords often function cadentially after a fast melodic run. I was thinking of describing some of the material as jazzy, then thought that might be too surface-level and inexact, then saw that Harley described the chord voicings the same way. Nice minor piece.

Sequel to Sadness (Sund4r), Wednesday, 30 June 2021 18:13 (one month ago) link

Taurhiphanie is a pretty enjoyable 11m of noise that flows really well, with a lot of shaping in terms of frequency band filtering and movement across the soundstage. This apparently comes from the computer-generated audio part to a bizarre project:

A few weeks before the premiere of à r. in Montpellier, Xenakis was down in the south of France for another premiere, this time in the historic Provençal town of Arles. He had been invited to present a multimedia event in the Roman arena commonly used for bullfights. It was a condition of the commission that the main attraction of the event, aside from the music, would be the presence in the ring of live bulls and some of the famous white horses of the nearby Camargue region. The animals would create dynamic stochastic patterns to complement both the patterns of lights projected down into the ring and, of course, the music.

For this spectacle, Xenakis included some of his percussion music—Idmen B (1985), Pléïades (1978), and Psappha (1976)—performed by the twelve players of Les Percussions de Strasbourg and Les Pléïades stationed high up around the seating area of the arena. In addition, he created an electroacoustic work, Taurhiphanie. To inaugurate a new version of the Unite Polygogique Informatique de CEMAMu (UPIC) computer system, by this time capable of producing sounds in real time, he and his team of technicians from the Centre d’Etudes Mathématiques et Automatique Musicales planned to broadcast the snorts and bellows of the bulls via radio microphones attached to the animals, and then, from a command post in a tower above the center of the ring, “interact” with those sounds using the UPIC. Unfortunately, technical difficulties were impossible to overcome, so the bulls were not amplified, and a taped version of the electronic sounds was presented in conjunction with some live, improvised interjections on the computer system. Some of the sounds for the tape were generated from samples of the bull sounds gathered earlier.

As it turned out, the bulls and horses (present at separate times in the ring) were less than willing participants in the proceedings. No doubt the pounding percussion and amplified electronic sounds were frightening. The animals tended to cower in a huddle at one end of the arena or the other; the stochastic patterns were unfortunately rather pathetic.

The track succeeds on its own, though!

Sequel to Sadness (Sund4r), Wednesday, 30 June 2021 18:42 (one month ago) link

Waarg: this is very enjoyable and different. The first minute and a half or so is like a Klangfarbenmelodie meditation on an E passed around through different wind instruments with dynamic variation; maybe some influence from Scelsi there? I listened to the Asko Ensemble's recording first and honestly didn't get much of the melodic, harmonic, contrapuntal, and rhythmic qualities Harley describes in the remainder - it seemed like a study in timbre and register. Now I'm listening to the recording by Contempoartensemble and Mauro Ceccanti and it seems like a different piece altogether. I absolutely hear the pulse, the chordal material, and the counterpoint. I almost wonder if Asko was doing something rather loose with the score?

Sequel to Sadness (Sund4r), Thursday, 1 July 2021 16:00 (four weeks ago) link

Hm, it was the 2011 Asko recording I listened to - but I see now it should be over 17m in that recording acc to AMG and the Naxos version I listened to was 12:43?

Sequel to Sadness (Sund4r), Thursday, 1 July 2021 16:04 (four weeks ago) link

It was 12:26, which is actually supposed to be the duration of Anaktoria. I think NML mislabelled Waarg as Romitelli's Mediterraneo on this album, judging by the durations - this definitely sounds different and more comparable to the other recording; it actually takes its time more and feels more deliberate. (We realized way back when that Anaktoria was mislabelled as Waarg and Varese's Octandres was mislabelled as Anaktoria on this album on Spotify - I guess NML made the same mistake?)

Sequel to Sadness (Sund4r), Thursday, 1 July 2021 16:12 (four weeks ago) link

An Amazon reviewer compares it to an updated Stravinsky, which makes sense.

Sequel to Sadness (Sund4r), Thursday, 1 July 2021 16:19 (four weeks ago) link

As Xenakis is 100 next year can someone please put on a gigantic festival of his work, including performances of the percussion works, his mega spatialised works, the solo & ensemble work that's almost impossible for people to play, and other stuff?

— Fielding Hope (@fieldinghope) July 1, 2021

Sequel to Sadness (Sund4r), Thursday, 1 July 2021 22:18 (four weeks ago) link

Voyage absolu des Unari vers Andromède: I've listened a few times now to this video (are there other mixes?):
https://www.youtube.com/watch?v=lwMUTBd6iog

It's not bad but I'm not feeling that excited by it. The UPIC pieces are timbrally limited compared to the earlier electronic works, mostly seems like filtered noise. Starts with glissando-like sweeps, then we get some heavier lower-band sheets of noise added to the mix, with some increase in density until we get a pulsing beat after the 4m mark (Harley compares it to techno) - I'd actually like to hear more of this or more rhythmic material generally; I think it would give this some more distinctiveness and variety. It doesn't really come back after about 6:30, though. Mostly proceeds via the combination and juxtaposition of layers of these different bands and types of material until it resolves by gradually stripping material away and fading out on a sustained narrower band of frequencies.

Composed for an international festival of paper kites in Japan, apparently. I'm not sure what "Unari" means - seems to be a village in Finland or "roar" in Japanese?

Sequel to Sadness (Sund4r), Monday, 5 July 2021 13:58 (three weeks ago) link

I couldn't find a recording of Tuorakemsu.

Sequel to Sadness (Sund4r), Monday, 5 July 2021 13:59 (three weeks ago) link

Week 31

Kyania, 1990
Knephas (phonemes by Xenakis), SATB (32 minimum), 1990
Dox-Orkh, vn, orch, 1991

Sequel to Sadness (Sund4r), Monday, 5 July 2021 14:03 (three weeks ago) link

Kyania (Tamayo/Luxembourg Phil) is very cool. Originally commissioned by Orchestre Philharmonique de Montpellier for 90 musicians, the brass section is heavily featured. There are a lot of dense homophonic textures, with huge loud orchestral chords but also some call and response passages between sections and registers with a lot of dynamic range. Melody is more of a focus than in a lot of Xenakis's music and there's a late Romantic/post-Romantic character a lot of the time. Harley suggests that the title ("cyan") was likely a reference to the Mediterranean Sea, where X spent his summers. Looked at from that perspective, it's easy to hear the programmatic element. Looking forward to seeing this paired with The Moldau in symphony programmes.

Sequel to Sadness (Sund4r), Wednesday, 7 July 2021 13:36 (three weeks ago) link

Don't know what week "Jalons" was but the fact that there's little moments that remind me of incidental music from Star Trek (Original Series) is a bit distracting.

Wouldn't disgrace a Michael Jackson (Tom D.), Friday, 9 July 2021 18:55 (three weeks ago) link

I've listened to Knephas several times now and it still hasn't really clicked. The techniques of dividing the notes of a melody line between singers and having each singer sustain their note is very interesting and the composition seems well-crafted; maybe the melodic and dynamic range are just too limited for me atm?

Sequel to Sadness (Sund4r), Saturday, 10 July 2021 15:54 (two weeks ago) link

Dox-Orkh: enjoyable; strong sense of dialogue between the solo violinist (Arditti) and the orchestra (Moscow Phil), structured a bit like a call and response where the orchestra mostly plays cluster chords while the violinist works with glissandi and double stops. Works well both for close listening and background listening ime.

Sequel to Sadness (Sund4r), Monday, 12 July 2021 03:46 (two weeks ago) link

Orchestral works from the year punk broke:

Week 32

Krinòïdi, 1991
Roáï, 1991
Troorkh, trbn, orch, 1991

Sequel to Sadness (Sund4r), Tuesday, 13 July 2021 16:20 (two weeks ago) link

Krinoïdi is pretty interesting. The strings, winds, and brass dialogue with and play against each other for 10m (in the Tamayo recording). Some familiar use of orchestral clusters but now that melody and motive have solidly become much more important in X's music, I think I have to finally properly understand how the pitch sieves work and how they're being used to really grasp the stuff on a more analytical level.

Sequel to Sadness (Sund4r), Friday, 16 July 2021 04:13 (two weeks ago) link

Returning to Krinoïdi this morning, it was clicking more on an affective level, listening to the tension between the different levels of activity in different voices and different sections - passages where the strings shift to standing back and sustaining dense chords while we get complex rhythmic motives from brass or winds are especially nice. Nice flow and drama

Roaï grabbed me more immediately - foreboding; would work great as a horror film soundtrack!

Sequel to Sadness (Sund4r), Friday, 16 July 2021 13:11 (two weeks ago) link

Jalons was Week 28 btw. Maybe I could ask my wife about the Star Trek thing.

Sequel to Sadness (Sund4r), Friday, 16 July 2021 13:12 (two weeks ago) link

Troorkh is cool, quite different from Keren in terms of how the trombone is handled - he does make much more use of glissandi here; also a lot of use of the trombone's lovely highest register. Dialogue between the soloist and orchestral is strong and varied, with a lot of back and forth with the orchestral trombones. It's again more built around melody, motive, and rhythm than timbral exploration or stochastic density, and reminiscent at times of early 20th century atonal music. Because the form is so complex and not clearly narrative, my attention drifts a bit at times, but it's pleasant.

Sequel to Sadness (Sund4r), Sunday, 18 July 2021 17:45 (one week ago) link

Waarg! He does have the best titles ever.

Are Animated Dads Getting Hotter? (Tom D.), Sunday, 18 July 2021 17:48 (one week ago) link

Practically everything but orchestral music this week:

Week 33

Tetora, str qt, 1990
GENDY3, 2-track, Dynamic Stochastic Synthesis, 1991
Pu wijnuej we fyp (A. Rimbaud), children’s choir, 1992
Paille in the wind, vc, pf, 1992

Sequel to Sadness (Sund4r), Tuesday, 20 July 2021 02:36 (one week ago) link

Just listened to the Arditti recording of Tetora and I loved it right away. It's more traditionally structured - introduces motivic/thematic material at the outset, then develops it. Just very strong writing, with effective dramatic movement between homophonic/homorhythmic passages and tight call-and-response dialogue between the violins vs viola & cello, with some really crunchy dyads, esp in the violins.

Sequel to Sadness (Sund4r), Wednesday, 21 July 2021 15:44 (one week ago) link

Paille in the wind: pretty sure I've listened to this before but I listened several times now, first to the Arne Deforce/Dean Vanderwalle recording, then to Rohan de Saram/Aki Takahashi. It's a short and sparse piece but gripping and effective and easy to grasp right away. Begins with sparse piano clusters with the pedal down, spreading out across the range of the keyboard; then the cello enters in its low register, again mostly playing slow quarter notes with no vibrato over piano resonance, starting softly and building into a dramatic crescendo; the pianist punctuates the cello line, takes over briefly, then the cello returns in a higher register, eventually working its way back down with just a couple of piano punctuations.

Sequel to Sadness (Sund4r), Thursday, 22 July 2021 13:47 (one week ago) link

Harley on Tetora, much more in depth than what I wrote above:

It is appropriate, though certainly arbitrary, to close another phase of Xenakis’s output with a string quartet. As Tetras (1983) epitomizes many of the concerns leading into the 1980s, Tetora incorporates a number of characteristics found in the music leading into the 1990s.22 Compared to the earlier quartet, this one is much simplified in terms of texture: the tempo and pace of events is slower, pitch-based melodic contours are more prominent, the intervallic qualities of the sieves strongly color the expression of the music, and chordal passages are organized in a tightly controlled though unpredictable manner.

Tetora means “four” (in the ancient Dorian dialect), as does Tetras, but there is in fact much less homogeneity in the later piece. The quartet is often divided into two duos, distinguished by register, and there are numerous solo, or soloaccompanied, passages as well. There are no glissandi, no grinding noises or other effects, no trills, tremolandi, or microtones, and very little use of polyrhythms. The music is structured according to the predominance of melodic or harmonic/ rhythmic material. There is a great deal of fluidity within these domains, and a fair amount of convergence or juxtaposition as well.

The melodic material can be subdivided into six categories: (1) solo; (2) twopart (or more) counterpoint; (3) resonated, where individual notes of the solo melody are sustained by the other instruments; (4) distributed, where each note of the melody is played by a different instrument—hocket-like; (5) chorale, where one line is prominent, but is supported by parallel-moving chords; and (6) accompanied (by harmonic or ostinato material). The opening passage of Tetora (mm. 1–21) is entirely melodic in orientation, but the structure, in terms of changing sub-entities, is quite intricate. The melody itself proceeds very smoothly, with the one major shift of register (going into m. 9) being linked to the switch from first violin to second. This dichotomy between a relatively stable line and a rapid succession of textural variation carries through much of the melodic material, creating a sense of formal fluidity and continuous development that contrasts with the block-like structure of many other compositions.

The harmonic material can be distinguished by the degree of rhythmic synchronization, ranging from tutti chords to two-part structures (usually pitting the violins against the viola and cello) and four-part ones in which each instrument plays double stops, often within a layered ostinato setting. Registral contiguity is another important factor in characterizing the harmonic material. The first such passage, for example, taking over from the melodic material at the end of m. 21, is very disjunct, the tutti chords jumping up and down by as much as two octaves. By contrast, the next chordal passage, coming after a short melodic interlude at mm. 25–26, is highly contiguous (again featuring a synchronized rhythmic structure). With such progressions, the harmonic entity starts to merge with the melodic “chorale” entity, the distinction generally being that the main impetus for the passage is either linear or vertical.

While Tetora proceeds as an alternation between melodic and harmonic passages, the variety of rhythmic structures generally associated with the chordal material gradually begins to dominate the music. The final extended passage of melodic material occurs at mm. 86–100, carrying the music to the 11'00" mark of its over-sixteen-minute duration.23 This section features two-part counterpoint, shifting from first violin and viola to viola and cello, with high, punctuating chords being added at m. 91.

At m. 101 each instrument plays an irregular cycle of double-stops according to an independent rhythmic structure, including polyrhythms. Given the very slow tempo, the aim is to create a floating rhythmic counterpoint rather than layered tempi. At m. 109, the players are synchronized for a brief passage of tutti chords before sliding back into nebulous contrapuntal material. At m. 115, however, the quartet comes together in a clearly structured, two-part texture built from multiples of the basic sixteenth-note pulse. In this section, the violins are more active than the lower pair, but the two parts interlock to create an ongoing pulse (shifting from 16th-notes to 8ths at m. 116, and thereafter the rhythmic pattern is somewhat more irregular). The whole passage is divided into segments, and each pair draws upon a set of chords for each segment, usually four for the violins and three for the lower duo (the viola and cello play an ostinato on one chord in the first segment at mm. 115–16). These segments are distinguished by changes in the pitch sieve from which the chords are drawn, or rather, by transpositions of a single sieve. The underlying unity of the passage is difficult to hear, but the sense of harmonic progression, segment by segment, is quite apparent. Finally, at m. 128, this material leads directly into the final passage.

This section is similar in construction to the previous one, being built from irregular progressions of a limited set of chords for the two duos, this time six for the violins and five for the viola and cello. The pairs are brought together rhythmically, though, and the pattern of durations is derived from a sieve (see fig. 30). Xenakis treats this sieve simply, repeating the cycle of durations and then reversing it. The addition of a 3+1–1–1 segment in between the second and third statements of the set allows for a palindrome to be created as well, something not readily perceivable by the listener but which lends a certain elegance to the structure. While this passage is decidedly harmonic rather than melodic, it should be noted that the chords of the upper pair are contained within narrow range (and are narrowly voiced), resulting in quite a smooth progression. The clustered sonority precludes the projection of a clear line, but a certain melodic sense is conveyed nonetheless.

The attention to structural details, as evidenced in this final passage as well as in the intricate succession of melodic textures in the opening section, are what makes Tetora a worthy successor to Tetras. While the earlier quartet is far more dazzling, this one contains a lyricism that is remarkably strong, as well as an obvious obvious affinity for the sonorities of the string quartet. Even if the music is shorn of many of the elements that made the earlier score so compelling, the formal depth and sureness of tone make this a substantial addition to the quartet repertoire. It has the added distinction of being within the realm of performance possibility for many more groups than the Arditti String Quartet. And this concern for wider accessibility is a major factor in the stylistic changes Xenakis’s music underwent through the 1980s.

Sequel to Sadness (Sund4r), Thursday, 22 July 2021 14:06 (one week ago) link

GENDY3: the sounds here seem much more varied and pleasant than what we were getting from the last couple of UPIC pieces. As Harley notes, there is a surprising amount of consonance and steady, sustained sounds, while we still have a lot of continuous variation. It actually sounds like a more direct ancestor of a lot of experimental synth/noise noodling you can stream on Soundcloud and works similarly as enjoyable music to have on in the background while going about things. I don't really feel that there's enough formal unity or narrative to justify its length as a piece for dedicated active listening but, hey, always good to be able to throw something on while getting through the day.

Sequel to Sadness (Sund4r), Saturday, 24 July 2021 01:59 (six days ago) link

Pu wijnuej we fyp (A. Rimbaud): the title and text apparently come from anagrams of a Rimbaud poem. It's quite unique for a children's choir piece - not a simple composition, certainly not just the kind of chanting we get in a number of X's choral pieces. A lot of really dense multi-voiced clusters and glissando effects. Some spectacular moments when a single voice expands out into an eleven-part cluster.

Sequel to Sadness (Sund4r), Sunday, 25 July 2021 00:05 (five days ago) link

A little late to start this week but looks to be interesting:

Week 34

Mosaïques, 1993
Plektó, fl, cl, perc, pf, vn, vc, 1993
Dämmerschein, 1993–4
Koïranoï 1994

Sequel to Sadness (Sund4r), Wednesday, 28 July 2021 01:39 (two days ago) link

Plektó is nice modern chamber music, more built around counterpoint melody, and rhythm, with strong energy. An enjoyable listen all the way through.

Sequel to Sadness (Sund4r), Wednesday, 28 July 2021 19:09 (two days ago) link

I've listened to Dämmerschein several times now. I find it very pleasant. Although it doesn't have quite the same intensity as the earlier orchestral music, the way the large clusters almost rock back and forth is enjoyable. Nice dynamic range.

Sequel to Sadness (Sund4r), Thursday, 29 July 2021 20:44 (yesterday) link

Haven't found a recording of Mosaïques yet.

Sequel to Sadness (Sund4r), Thursday, 29 July 2021 20:44 (yesterday) link

I swear I'll get back to this soon. I'm almost done catching up with my 2021 playlist.

pomenitul, Thursday, 29 July 2021 20:59 (yesterday) link


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