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List Of Compositions By Iannis Xenakis
This article presents a complete list of compositions by Greek composer Iannis Xenakis (1922-2001), organized by instrumentation. Within each category, the works are arranged chronologically by year of composition. Orchestral works Vocal * '' Anastenaria: Procession aux eaux claires'', for SATB chorus of 30 voices, male choir of 15 voices, and orchestra (1953) * ''Polla ta dhina'', for children's choir and orchestra (1962) * ''Cendrées'', for chorus and orchestra (1973–74) * ''Anémoessa'', for SATB chorus of 42 or 84 voices and orchestra (1979) * '' Aïs'', for amplified baritone, percussion and orchestra (1980) * ''Nekuïa'', for SATB chorus of 54 or 80 voices and orchestra (1981) Stage * '' Kraanerg'', ballet for orchestra and tape (1968) * '' Antikhthon'', ballet for orchestra (1971) Other orchestral * '' Anastenaria: Le sacrifice'' (1953) * '' Metastaseis'' (1953–54, also known as ''MetastaseisB'') * '' Pithoprakta'' (1955–56) * ''Achorripsis'', for an orchestra of 21 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pléïades
''Pléïades'' is a composition for six percussionists composed in 1978 by Greek composer Iannis Xenakis, originally commissioned by the percussion ensemble Les Percussions de Strasbourg. It is notable for its use of the sixxen, an instrument Xenakis had constructed specifically for the piece. Title The title of this work is intentionally ambiguous: on one hand, the term comes from a word meaning "many", and which alludes to all of the instruments used by the six percussionists along the four movements; on the other hand, it refers to a myth in Greek mythology: the Pleiades are the seven daughters of Pleione and Atlas even though the greatest part of his inspiration may come from the astronomy, as the Pleiades were thought to be the stars from Taurus. Structure and composition The composition has four movements. Although Xenakis proposed two orders, there are many other recordings with different orders: Three of the movements (''Métaux'', ''Claviers'' and ''Peaux'') deri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rebonds (Xenakis)
''Rebonds'' is a composition for solo percussion by Greek composer Iannis Xenakis. It was composed between 1987 and 1989 and, together with '' Psappha'', is one of the two compositions for solo percussion by Xenakis. Composition ''Rebonds'' was written for percussionist , for whom Xenakis had also dedicated other chamber compositions, such as ''Komboï''. It was later published by Éditions Salabert, in an edition revised by Patrick Butin. Many different elements of this piece, such as the ideas of indeterminancy, and the fact that the piece sounds as if more than one person is playing, creates a new sound for solo percussionists. Structure The composition is in two autonomous movements, named ''A'' and ''B''. The first movement uses only skins, with two bongos, three tom-toms, and two bass drums. The second movement, however, uses two bongos, one tumba, one tom-tom, one bass drum, and a set of five wood blocks or wooden slats. According to Xenakis, the order of the co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khoaï (Xenakis)
''Khoaï'', also referred to by its original Greek title, ''Χοαί'', is a 1976 composition for solo harpsichord by Iannis Xenakis. Background ''Khoaï'' was written in one of Xenakis's most prolific periods, not only as a composer, as he composed four chamber works only in 1976, but also as a lecturer, as he traveled around the world and was present in many performances. The title refers to "offerings of wine or water poured into the ground; libations and vows to the Chthonians (infernal Gods)". It was written in a period where the harpsichord was gaining momentum as a concert instrument, popularized by some Polish virtuosos such as Wanda Landowska and the dedicatee of this piece, Elisabeth Chojnacka, who collaborated frequently with Xenakis throughout most of his career. ''Khoaï'' was the first in a series of commissions entitled "Musik der Zeit", made by the Westdeutscher Rundfunk in Cologne. This piece was finished on May 5, 1976, in Cologne. There are very little detail ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psappha (Xenakis)
''Psappha'' (Edition: Salabert, 1975) is a musical composition for multi-percussion solo by Franco-Greek modernist composer Iannis Xenakis. The work does not include specific instrumentation, although the composer calls for three groups of wood and/or skins and three groups of metal instruments. The actual printed performance score is written in a unique graph notation and consists of 2,396 segments. It presents a greater demand on the performer due to this unique style. Together with '' Rebonds'', composed between 1987 and 1989, ''Psappha'' is one of the two compositions for solo percussion by Xenakis. Background "Psappha" is an archaic form of "Sappho", a great Greek poet from the Island of Lesbos, born in the 6th century BC. Her style was sensual and melodic, and she was one of the first poets to write from the first person, describing love and loss as it affected her personally. The target of her affections was most commonly female, and today both her name and place of residen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
University Of Hartford Hartt School
The Hartt School is the comprehensive performing arts conservatory of the University of Hartford located in West Hartford, Connecticut, United States, that offers degree programs in music, dance, and theatre. Founded in 1920 by Julius Hartt and Moshe Paranov, Hartt has been part of the University of Hartford since its charter merged the then Hartt College of Music, the Hartford Art School, and Hillyer College to create the university in 1957. The Hartt School offers undergraduate and graduate degrees in music, dance, and theatre, and associated disciplines. The Hartt Community Division offers a variety of opportunities in music and dance for students of all ages, backgrounds, and abilities. Organ Studies Since its founding, Hartt had an organ program of study. In 1970, the school acquired a new Gress-Miles pipe organ; it was inaugurated with a performance of Bach's '' Wir glauben all' an einen Gott''. The organ program's director, John Holtz, subsequently launched the Intern ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nomos Alpha
''Nomos Alpha'' ( el, Νόμος α΄) is a piece for solo cello composed by Iannis Xenakis in 1965, commissioned by Radio Bremen for cellist Siegfried Palm, and dedicated to mathematicians Aristoxenus of Tarentum, Évariste Galois, and Felix Klein. This piece is an example of a style of music called, by Xenakis, symbolic music – a style of music which makes use of set theory, abstract algebra, and mathematical logic in order to create and analyze musical compositions. Along with symbolic music, Xenakis is known for his development of stochastic music. During his lifetime, Xenakis was a vocal critic of modern Western music since the development of polyphony for its diminished set of outside-time structures, especially when compared to folk and the Byzantine musical traditions. This perceived incompleteness of Western music was the main impetus for the development of symbolic music and for composing Nomos Alpha, his most well-known example of the genre. ''Nomos Alpha'' co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mists (Xenakis)
''Mists'' is a composition for piano by Iannis Xenakis. It was written in 1980, and was premiered on April 16, 1981, by Roger Woodward, to whom it is dedicated. Its duration is approximately 12 minutes. Background ''Mists'' was composed in response to a commission from Australian pianist Roger Woodward, and was presented to Woodward as a "personal gift". It was Xenakis's third work for solo piano, following ''Herma'' (1961) and ''Evryali'' (1973). Xenakis would go on to dedicate two additional works to Woodward: ''Keqrops'' for piano and orchestra (1986), and ''Paille in the Wind,'' for cello and piano (1992). According to Xenakis biography James Harley, the work was inspired by nature, "the title being suggested in the music by the scattered clouds of notes in the stochastic sections, and perhaps in the rolling waves of ascending scales". Material and form In the preface to the score, Xenakis wrote that the work is based on two ideas. The first is the use of scales and their c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Evryali
''Evryali'' (from grc-gre, Εὐρυάλη ''Euryale'') is a piece for solo piano composed by Iannis Xenakis in 1973. It is based on a technique Xenakis invented in early 1970s, called arborescences—proliferations of melodic lines created from a generative contour. The title refers to the name of one of the Gorgon sisters, and is also Greek for ''open sea''. Written in 1973, ''Evryali'' was Xenakis' second major work for piano solo after Herma, written in 1961. ''Evryali'' was composed for, and dedicated to, pianist Marie-Françoise Bucquet. According to her, upon presenting her the score, Xenakis said: "Here's the piece. Look at it, and if you think you can do something with it, play it"., translated in . Conventional notation is used throughout the score; however, instead of using two or three staves as is customary for piano scores, Xenakis frequently employs four and five staves. Numerous passages are impossible to play as written either because it is physically impossib ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Herma (Xenakis)
''Herma'' (from Greek ἕρμα "a stringing together, a foundation") is a piece for solo piano composed by Iannis Xenakis in 1961. About ten minutes long, it is based on a formulation of the algebraic equations of Boolean algebra, and is also an example of what Xenakis called symbolic music. Composition ''Herma'' was the composer's first major work for piano. It was composed after a visit to Japan in 1961, where Xenakis befriended pianist and composer Yūji Takahashi. Xenakis completed the piece upon his return to Paris and dedicated it to Takahashi, who premièred the piece on February 2, 1962. The pianist's impression of that concert was that the piece "made some excited and wonder, others feel painful". Boolean algebra is the main mathematical principle behind ''Herma''. Xenakis defines several pitch sets and proceeds to apply various logical operations to them. The results are incorporated into music by using successions and combinations of various sets. Stochastic procedures ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Six Chansons Pour Piano
''Six chansons pour piano'' is a short piano suite and one of the earliest completed compositions by Greek composer Iannis Xenakis. It was composed between 1950 and 1951 and dedicated to Bernard Le Floc'h. Composition Xenakis composed this suite for solo piano during his studies in Paris, with Darius Milhaud and Olivier Messiaen. However, because Xenakis always considered '' Metastaseis'' his first composition from which he would start his career as a musician, this work remained unpublished and unknown. This work was eventually published and premiered in 2000, at the 17th Rencontres Musicales de Pont-l'Abbé, by Georges Pludermacher. Structure The suite consists of six pieces and takes approximately 10 minutes to perform: * ''I. ΜΟΣΚΟΣ ΜΥΡΙΖΕΙ...'' (''Ça sent le musc...'') * ''II. Είχα μια αγάπη κάποτε...'' (''J'avais un amour autrefois...'') * ''III. Μια πέρδικα κατέβαινε...'' (''Une perdrix descendait de la montagne...'') ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Oophaa
''Oophaa'' is a composition for amplified harpsichord and percussion by Iannis Xenakis, finished in 1989. Background ''Oophaa'' was composed shortly after finishing '' Okho'' and marked Xenakis's return to the unusual chamber ensemble of harpsichord and percussion, after ''Komboï''. According to Xenakis, its name is not based on lexical roots, but it is rather taken from individual phonemes. Scholar Andreas Kouras argues that it could be "a Greek exclamation used while dancing and celebrating". It premiered on September 17, 1989, at the Warsaw Autumn Festival, a venue that the composer visited frequently, where he also premiered a number of his previous works. It was first performed by the dedicatees of the piece, percussionist Sylvio Gualda and harpsichordist Elisabeth Chojnacka, who had been performing together as a duo in many modern music festivals at the time and commissioned many compositions for them after ''Komboï''. It was published by Éditions Salabert later that ye ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
