deconstruction of classics
^ orchestra & audience distribution on stage for Terretektorh, by I.X. 1965 via CCA
After a concert as indescriptible as incredible and amazing last night, i cannot but search for the making off of it. Director Peter Eötvös (Steine für Ensemble) conducted a beautiful interpretation of Iannis Xenakis experimental piece N’schima (1975) in a Scharoun’s Philharmoniker, which knew how to meet the challenge of the complex system of hanging microphones.
An on-going exhibition at CCA Montreal shows the drawings of the scores of this soundchitect:
Drawing was central to Xenakis’ working method as a designer of sound and space, and the meticulously hand-rendered scores and graphic studies, both architectural and musical, on view in the exhibition express a spatial understanding of the page as much as they do a palpable sonic quality. These innovative drawings reveal a radical visualization of sound and give insight into this extraordinary innovator’s process of “thinking through the hand.” The musical documents on view are evidence of one of Xenakis’s signature innovations, which was to integrate advanced contemporary mathematics as a compositional tool.
^Fusinato by I.X. via brancolina
By 1979, he had devised a computer system called UPIC, which could translate graphical images into musical results, producing his ‘arborescences’, which resembled both organic forms and architectural structures. The drawing is, thus, rendered into a composition. Mycenae-Alpha was the first of these pieces he created using UPIC as it was being perfected. [source>brancolina]
^ Adapted Scores for human hands by pianist John Mark Harris for Evryali by I.X. 1973 via complementinversion
^ Scores for Pithroprakta by I.X. 1955-56 via brancolina