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A very short but interesting documentary following the recording of Pedro Carneiro’s interpretation of Xenakis’ Okho, Psappha and Rebonds, three highly demanding pieces for percussion. The first part is a recording of a performance of Rebonds B in a Parisian church. The second section offers a brief insight into the recording process of such pieces, exploring technical and artistic issues surrounding the production of Carneiro’s interpretation. Differences between recording and performing are briefly addressed, centering on the need for the creation of dynamics and contrasts that are unreachable in the performance hall. The figure of the producer, so often neglected outside the field of pop music, is highlighted before turning on to short statements about Xenakis’ music, its mathematical apparatus and its profoundly physical nature. — Eye of Sound
“Iannis Xenakis (Greek: Ιωάννης Ξενάκης) (May 29, 1922 – February 4, 2001) was Romanian-born Greek modernist composer, musical theoretician, and architect. He is widely regarded as one of the most important and influential composers of the twentieth century. His music theory book, Formalized Music: Thought and Mathematics in Composition, is regarded as one of the most important theoretical works of 20th century music.”
More At “Arts Electric”
Achorripsis is introduced by Xenakis as an example of a work composed with a minimum of constraints according to the stochastic process.
The matrix (patch new_base) has its frequencies distributed according to the poisson’s formula, described as the law for the appearances of rare random events.
In dealing with chance, one accepts the idea of a transformational environment (“chance (…) is nothing but an extreme case of controlled disorder”, Formalized Music, pg. 25). In this work, chance is taken as the regulator element, considered as building the philosophic and aesthetic concept. The stochastic laws
here need to establish this “new region of coherence”.