Iannis Xenakis: Kraanerg Woodward

Iannis Xenakis - Idmen & Pleiades - Les Pleiades, Choeur Gulbenkian, Sylvio Gualda (1992) {Erato 2292-45771-2}
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© 1992 Erato / MusiFrance | 2292-45771-2
Classical / Contemporary / Avant-Garde / Experimental / Choral / Percussion

This cd contains a neglected Xenakis masterpiece, IDMEN A/B (1984), for chorus and percussionSSS. It sustains the typical, classic, Xenakian hallmarks, but comes off as his most breezy, "feel good" piece. Obviously, the delicacy of the writing for multiple percussionists has something to do with it, but also, this is a mighty choral work utilizing all the favorite X tricks. I am really at a loss for words as to it's beauty. The fourth mouvement is the most perfect realization of Xenakis's "pelog" scale (which opens up JONCHAIES), very tropical, with the great Pacific vistas in mind. The percussion mouvements make for interesting comparison to the other piece on the cd.

On the four previous installments in Timpani's series of the orchestral works of Iannis Xenakis, Arturo Tamayo and the Orchestre Philharmonique du Luxembourg have presented highly varied and volatile works from different periods of the composer's career and have provided an excellent overview of his output. This fifth volume focuses on the early orchestral works, which brought architect and mathematician Xenakis world renown as a cutting-edge composer and put him in direct opposition to the serial establishment.

The fourth volume of Timpani's series of orchestral works by Iannis Xenakis presents four works from three distinct periods, though not in chronological order. Erikhthon for piano and orchestra (1974) is one of the "arborescent" or branch-like compositions from Xenakis' middle phase. Expanding and contracting through criss-crossing glissandi and bending clusters, the extremely loud and aggressive orchestra overwhelms the impossibly dense and struggling piano part; in this role reversal, Erikhthon may be regarded as the absolute antithesis of the conventional piano concerto. Ata (1987) is a late work, contrapuntal in nature but with the difference that the polyphonic lines are all tightly bunched in clusters; it also features a sly reference to Stravinsky's Le Sacre du printemps, which is unexpected and hilarious.

Arturo Tamayo's recordings of the works of Iannis Xenakis on the Timpani label are among the finest available, for they are finely interpreted, expertly performed, and brilliantly recorded. Xenakis' music is always different from piece to piece, because the composer never wanted to repeat himself, and his works always present unique challenges, depending on the nature of his evolving techniques and changing expressions. Whether it is in the stark text and extreme vocalizations of Aïs (1980), or the densely dissonant aggregations of Tracées (1987), Empreintes (1975), Noomena (1974), and Roáï (1991), Tamayo keeps the energy levels high and shapes the sound to have a sharp edge and forceful impact.

These four compositions are among the best and most forceful works of Xenakis. This recording of Jonchaies easily beats the version on Col Legno. I believe Shaar, Lichens, and Antikhthon are recorded here for the first time, and they are outstanding works, brilliantly performed and recorded. For those unfamiliar with the later large works of Xenakis, the CD is a must have!

Iannis Xenakis - Alpha & Omega (2011) {4CD Set Accord–Universal Music France, ACCORD 4804904}
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© 2011 Universal Music France / Accord / Decca | ACCORD 4804904
Classical / Avant-Garde / Modern Classical / Experimental

Universal Music pays tribute to the composer with this keenly priced 4 CD set. Most of the recordings found here are making a comeback to the catalogue, some are first time onto CD. Ten years after his death, the innovativeness of his music has lost none of its force and clearly marks him out as an essential composer of our time. “this is an extraordinary collection of pieces; several of which are among the most ear-stretchingly dissonant, exciting and uncompromising you’ll ever hear…And however hard it is to pin down exactly why, Xenakis’s wildest outbursts always sound controlled, cunningly organised…None of this music is easy listening, but it’s impossible not to be impressed by such craggy, exhilarating physicality.”

KUNIKO's much-anticipated third studio recording features the works of Iannis Xenakis, whose work has had a huge impact within the world of music, and in particular on percussion repertoire.

Iannis Xenakis - Musique Electro-Acoustique (2001) {Fractal Records Fractal 015}
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© 2001 Fractal Records | Fractal 015
Classical / Modern Classical / Experimental / Musique concrète / Electroacoustic

This disc comprises two works from the '80s utilizing electronics and tape manipulation, one involving voices and permutations thereof. The text for "Pour la Paix," much of it written by the composer's wife and recited in French, deals with the effects and psychologies of war. As recited by male and female speakers and augmented by a surprisingly traditional sounding choir, the words are sandwiched between and buffeted by various electronic attacks. The sonic components tend to be sequential, with little of the complex richness bordering on chaos found in a typical Xenakis composition. Many of the taped sounds also appear somewhat conventional, occasionally reminding one of the slightly loopy creations of early rock experimenters with the Moog synthesizer.