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Xenakis - Black Angel, A Life of Arshile Gorky by Nouritza Matossian

Xenakis - Black Angel, A Life of Arshile Gorky by Nouritza Matossian

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www.rfh.org.uk/xenakis 08703 800 400<br />

XENAKIS<br />

architect in sound<br />

7-9 october 2005<br />

Queen Elizabeth Hall . Purcell Room<br />

builder <strong>of</strong><br />

dense and<br />

dazzling<br />

sonic<br />

masses<br />

sonic<br />

explorer,<br />

architect <strong>of</strong><br />

musical<br />

space


South Bank Centre London<br />

Queen Elizabeth Hall . Purcell Room<br />

XENAKIS<br />

architect in sound<br />

7-9 october 2005<br />

crackling<br />

electricity, sonic explorer,<br />

muscle and rhythm,<br />

frightening and thrilling,<br />

onslaught, astonishing,<br />

violent, hurtling, furious,<br />

viscerally exciting,<br />

ritualistic, raw, mad<br />

tingle, teasingly complex,<br />

physical impact,<br />

ferocious, playful, frozen<br />

music, stretch your ears,<br />

freedom fighter, extreme<br />

Iannis <strong>Xenakis</strong> was a pioneer: an explorer <strong>of</strong> the furthest extremes <strong>of</strong> sound, a<br />

builder <strong>of</strong> dense and dazzling sonic masses, an architect <strong>of</strong> musical space.<br />

This is music <strong>of</strong> visceral power, at once organic and hi-tech, suggesting huge<br />

natural rock formations as much as futuristic architecture, rainstorms as much<br />

as mathematical constructions. <strong>Xenakis</strong> was a brave outsider: as a young Greek<br />

resistance fighter, he was left for dead, wounded <strong>by</strong> a British bomb in the<br />

aftermath <strong>of</strong> World War ll. A mathematician, engineer and architect who worked<br />

on some <strong>of</strong> Le Corbusier’s most famous buildings, <strong>Xenakis</strong> stood apart from the<br />

post-war musical orthodoxy, and rewrote the book on composing music from his<br />

highly individual perspective. It is this bold individuality that has made him an<br />

inspiration to younger generations <strong>of</strong> composers, electronic artists and<br />

performers.<br />

BBC SYMPHONY ORCHESTRA<br />

BBC SINGERS<br />

FRI 7 OCT QEH 7.30PM<br />

Jac van Steen and Stephen Betteridge conductors<br />

Varèse Integrales<br />

<strong>Xenakis</strong> Nuits<br />

<strong>Xenakis</strong> Sea Nymphs<br />

<strong>Xenakis</strong> Schaar<br />

<strong>Xenakis</strong> Alax<br />

Stravinsky Canticum Sacrum<br />

The BBC Symphony Orchestra and the BBC Singers start the weekend<br />

with a monumental programme. Architectural forms are evoked in the<br />

clusters <strong>of</strong> sound and sweeping curves <strong>of</strong> Schaar, while in Alax the<br />

orchestra splits itself into three groups to articulate musical space.<br />

Voices are treated like instruments in the intensely dark Nuits, dedicated<br />

to political prisoners under the Greek military regime. The concert is<br />

framed <strong>by</strong> two ritualistic works <strong>by</strong> composers admired <strong>by</strong> <strong>Xenakis</strong>:<br />

Varese’s start sonic expoloration Integrales and Stravinsky’s Canticum<br />

Sacrum, written for the cavernous spaces <strong>of</strong> St Mark’s in Venice.<br />

£22, £18, £14, £11, £8<br />

ROLF HIND PIANO<br />

SAT 8 OCT PR 4PM<br />

<strong>Xenakis</strong> Mists<br />

Messiaen Canteyodjaya<br />

Feldman Palais de mari<br />

<strong>Xenakis</strong> Evryali<br />

Speaking <strong>of</strong> Morton Feldman, whom he greatly admired, <strong>Xenakis</strong> said<br />

‘the only difference between us is that his average level is very s<strong>of</strong>t,<br />

mine is very high!’. In this recital, Rolf Hind contrasts Feldman’s<br />

extreme stillness with the virtuosity <strong>of</strong> two <strong>Xenakis</strong> piano pieces.<br />

Both Mist and Evralyi are like forces <strong>of</strong> nature. The music grows and<br />

proliferates organically, like the branches <strong>of</strong> trees. Rolf Hind<br />

completes his recital with Messiaen in his most experimental mode<br />

in the complex and compelling Canteyodjaya.<br />

£12<br />

ROUND-TABLE DISCUSSION<br />

SAT 8 OCT PR 6PM<br />

Dennis Marks chairs a panel <strong>of</strong> speakers including <strong>Nouritza</strong> <strong>Matossian</strong>, journalist, broadcaster and author <strong>of</strong> a<br />

major biography <strong>of</strong> <strong>Xenakis</strong>.<br />

Admission free<br />

www.rfh.org.uk/xenakis (£1.50 transaction fee)<br />

08703 800 400 (daily 9.30am – 8pm, £1.50 transaction fee)<br />

In person at the Box Office (daily 11am – 8pm, no fee)<br />

Concessions 50% <strong>of</strong>f (limited availability / Jobseekers Allowance,<br />

Income Support, Senior Citizens, 16 and unders, full time students /<br />

Appropriate cards will be checked on admission)<br />

˘ ˘<br />

www.rfh.org.uk/xenakis 08703 800 400<br />

ARDITTI STRING QUARTET<br />

NICOLAS HODGES PIANO<br />

Sat 8 Oct QEH 7.30pm<br />

<strong>Xenakis</strong> Tetora, for string quartet<br />

<strong>Xenakis</strong> ST/4, for string quartet<br />

<strong>Xenakis</strong> Kottos, for solo cello<br />

<strong>Xenakis</strong> Akea, for piano quintet<br />

<strong>Xenakis</strong> Dikhthas, for violin and piano<br />

<strong>Xenakis</strong> Ikhoor, for string trio<br />

<strong>Xenakis</strong> Tetras, for string quartet<br />

<strong>Xenakis</strong> treasured the musicianship <strong>of</strong> the Arditti Quartet - ‘they can<br />

hold a sound with undiminished beauty’, he said - and he worked<br />

closely with the group to create deeply authentic performances <strong>of</strong> his<br />

works. In this programme, the full expressive range <strong>of</strong> the Ardittiis is<br />

to the fore. The virtuosic glissandi <strong>of</strong> Tetras contrast with the shifting<br />

clouds <strong>of</strong> sound in ST/4, one <strong>of</strong> a series <strong>of</strong> works in which <strong>Xenakis</strong><br />

employed ‘stochastic’ principles: mathematical notions <strong>of</strong> probability.<br />

£16, £12<br />

SOMETHING RICH AND STRANGE<br />

SUN 9 OCT QEH 5.30PM<br />

Mark Kidel’s beautiful film traces <strong>Xenakis</strong>’ extraordinary life in music, science and architecture and takes him<br />

back to his school on the Greek island <strong>of</strong> Spetsa to reveal memories <strong>of</strong> his childhood and education. In a<br />

touching moment, <strong>Xenakis</strong> stands in an ancient amphitheatre and, in a word-perfect flashback to a schoolboy<br />

performance, recites part <strong>of</strong> The Tempest: ‘Nothing <strong>of</strong> him doth remain, but doth suffer a sea-change, into<br />

something rich and strange’.<br />

Admission free<br />

LONDON SINFONIETTA<br />

SUN 9 OCT QEH 7PM<br />

Diego Masson conductor ˘<br />

Elisabeth Chojnacka harpsichord<br />

XXX mezzo-soprano<br />

XXX piano<br />

<strong>Xenakis</strong> Waarg<br />

<strong>Xenakis</strong> A l’ile de Gorée<br />

<strong>Xenakis</strong> Jalons<br />

<strong>Xenakis</strong> ST/10<br />

<strong>Xenakis</strong> Akanthos<br />

<strong>Xenakis</strong> Eonta<br />

Diego Masson, who conducted the first performances <strong>of</strong> many <strong>of</strong> <strong>Xenakis</strong>’s works, fronts the London<br />

Sinfonietta in a programme <strong>of</strong> colourful and theatrical ensemble pieces. Two spectacular keyboard concertos<br />

form the pillars <strong>of</strong> the programme: A l’ile de Gorée for harpsichord and ensemble was written as a homage to<br />

black slaves traded at the market on the island <strong>of</strong> Goée, and in Eonta, a pianist plays a wild, computer<br />

generated piano part while brass players circle round in a choreographed ritual, their sounds alternately<br />

reverberating on its strings or calling into space.<br />

£22, £18, £14, £11, £8<br />

SOUND INTERMEDIA<br />

SUN 9 OCT QEH 9.30PM<br />

<strong>Xenakis</strong> La Légende d’Eer<br />

HOW TO BOOK SERIES SAVINGS<br />

La Légende d’Eer is <strong>Xenakis</strong>’s most impressive and ambitious tape piece, and has been hailed as a<br />

masterpiece <strong>of</strong> electronic music. First created for performance in the Diatope, a red, organically shaped tent<br />

designed <strong>by</strong> <strong>Xenakis</strong> for the space outside the Pompidou Centre, the work takes its title from Plato’s tale <strong>of</strong><br />

the hero who miraculously comes to life having been seemingly fatally wounded. <strong>Xenakis</strong>’s choice <strong>of</strong> subject<br />

must surely echo his own experience <strong>of</strong> wartime survival in the face <strong>of</strong> terrible injuries.<br />

£5<br />

(not available online)<br />

Book 2 paid events and save 10%<br />

Book 3 or 4 paid events and save 15%<br />

Book 5 paid events and save 20%<br />

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