Eesti Arnold
Schönbergi Ühing / Estonian Arnold Schoenberg Society
Pärnu Nüüdismuusika Päevad 2006 / Pärnu
Days of Contemporary Music 2006
18. -
22.01.2006
R/FR, 20.01.2006
Kontsert. Uue Kunsti Muuseum (Chaplin)
19.00 kontsert.kohtumisõhtu: Gérard Pape & CCMIX Paris
Kava
Iannis Xenakis (1922-2001) La Légende d’Eer [Diatope]
7-kanalilisele lindile (1977),
Gérard Pape (1955) Tantric Transformations 8-kanalilisele
lindile (2000)
Koostöös: Prantsuse
Kultuurikeskus
Iannis Xenakis (1922-2001) La Légende d'Eer (1977-78) (47:04) Electroacoustic Work for 7-channel tape. New stereo mix from the original master tape by Gerard Pape La légende d'Eer is a powerful 7-channel electro-acoustic composition which Xenakis created in 1977-78 to be played in "Le Diatope", a curvaceous architectural construction designed by the composer, together with a visual component including laser lights. This "multi-media" work was composed for the opening of the Centre Georges Pompidou in Paris, where it was performed for three months and seen by thousands of people. The sound materials of a La légende d'Eer stem from three sources: instrumental sounds, noises, and electronically generated sounds. The work suggests an initial departure, a journey, and a final return. Xenakis surrounds the work with a compilation of five texts, reflecting or reacting upon each other across the distances in time, space, and culture which separate them. The analog master was transferred at high-resolution 96khz/24-bit sound for the optimum quality, revealing details not heard in the previous stereo CD release (now deleted). This new mix was created by Xenakis' associate Gerard Pape from the original analog master tape, transferred at high-resolution 96khz/24-bit sound for the optimum quality. Use of the original master tape restored almost 2 minutes and 30 seconds to the piece, released here for the first time. The performance of La Légende d'Eer is shown with a film by Bruno Rastoin, comprised of 350 stills made during the original performance of the work at the "Diatope". This is the ONLY visual documentation made of the historic event. Gérard Pape (1955) Tantric Transformations (2000), Anney Bonney (vidéo) Cette pièce est basée sur une petite séquence de musique Tibétaine transformée minutieusement de diverses manières par l’informatique. Cette pièce est un rituel sonore composé comme une musique spatiale très épaisse sur 8 pistes de sons (4 parties stéréo) avec un remisage en direct pendant le concert. Chacune des 4 parties stéréo représente une dimension de l’ensemble de l’espace musical qui est projeté dans l’une des quatre parties stéréo distinctes en diagonal dans l’espace du concert: au fond au centre, au centre en arrière, au centre à droite, au centre à gauche, à gauche en arrière en face à droite et à gauche devant à droite à l’arrière. La vidéo générée par ordinateur de Anney Bonney est un visuel analogue au son, non pas comme illustration de la musique, mais plus comme un contrepoint perceptif à la musique. De sorte que les images travaillent avec les mêmes types de rythmes et de textures que leurs équivalents sonores. Iannis Xenakis was born in 1922 into a Greek family residing in Braila, Romania. The sense of being an “outsider” has remained integral to his identity, as the title of a recently published book of interviews signals: "il faut d’être constamment un immigré." Xenakis lost his mother when he was 5 years old, then was sent off to boarding school on the Greek island of Spetsai at age 10. He studied civil engineering at the Athens Polytechnic, but the German invasion followed by the British occupation drew him into the Resistance, activities from which he would end up near fatally wounded, losing one eye, then later condemned to death. Forced to escape his country, Xenakis ended up in Paris, wanting to study music, but earning a living working as an engineering assistant for Le Corbusier. His creative and intellectual intensity attracted the attention of both the renowned architect, who delegated architectural projects to him in spite of his lack of professional training, and the composer and pedagogue Olivier Messiaen, who saw in the music he was struggling to produce in isolation an originality deserving of encouragement. Xenakis had his first major success du scandale with the premiere of Metastasis at the Donaueschingen Festival in 1955, and by 1960, he was able to devote himself entirely to composition. Critical of other developments in contemporary music at the time, dominated by the serialists (the ‘Darmstadt school’) such as Pierre Boulez, Luigi Nono, and Karlheinz Stockhausen, Xenakis followed his own path, aided by his background in mathematics, engineering and design and by his interest in complex sonic phenomena (rainstorms, street demonstrations, etc.). He incorporated probability theory into his compositional approach, as a means of generating and controlling large-scale events composed of massive numbers of individual elements. He also adopted the sonic entity (texture) as the primary material for the construction of musical form (rather than themes or pitch structures). For over 40 years, Xenakis created a steady stream of remarkable works and his impact on contemporary music has been of crucial importance. Along with his acoustic works, he has produced a number of important electroacoustic pieces, and a series of multimedia creations involving sound, light, movement and architecture (polytopes). In the domain of computer music, Xenakis was a pioneer in the area of algorithmic composition, and has also developed an approach to digital synthesis based on random generation and variation of the waveform itself. In addition, he designed a computer system utilizing a graphic interface (the UPIC), which has proven to be a liberating, provocative pedagogical tool as well as a powerful environment for computer composition. Iannis Xenakis died on 4 February 2001 at age 78. He had been suffering from a number of serious ailments for several years. His last completed composition, O-Mega, for solo percussion and ensemble, written for Evelyn Glennie and the London Sinfonietta, was premiered at the Huddersfield Festival of Contemporary Music in November 1997. His "retirement" was enforced by a loss of memory that made it impossible to compose, and by increasingly frequent periods in the hospital, lapses into coma, and so forth. At the same time, however, Xenakis continued to be feted around the world. He was awarded the Kyoto Prize (Japan) in 1997, the UNESCO International Music Prize in 1998, and the Polar Prize (Sweden) in 1999. In December 2000, the world premiere of a couple of his very early works, from the Anasteria triptych based on an ancient Greek rite, took place in Germany, almost 50 years after they were composed (1952-1953). Xenakis's legacy will be discussed for some time to come, no doubt. His music and thought will continue to exert an important influence on contemporary music. Hopefully, performers and producers will be spurred to program more of Xenakis's music, and to record more of it for commercial release. There are still a good number of powerful, fascinating pieces that need to be better known. Gerard Pape is an American composer born in New York City in 1955 who lives in Paris. He studied composition privately with George Cacioppo and William Albright and electronic music with George Wilson at the University of Michigan (Ann Arbor). He has composed more than 60 works for orchestra, chamber ensemble, vocal and instrumental soloists, and electroacoustic works. His works have been played throughout the world, including by such reknown performers as Arditti String Quartet, Voxnova, Ensemble 2e2m (conducted by Paul Méfano), Nicholas Isherwood, Daniel Kientzy, Irvine Arditti, Rohan de Saram, Maurizio Barbetti, Roland Auzet, Neue Vocalsolisten, Orchestre Nationale de Lille (conducted by Jean Claude Casadesus), and the Orchestre des Flûtes Français, conducted by Pierre-Alain Biget. Recent commissions have included Art Zoyd/Orchestre Nationale de Lille and the Donaueschinger Musiktage, Gerard Pape has directed the Centre de Création Musicale Iannis Xenakis (formerly Les Ateliers UPIC) since 1991. Pape has published a number of articles including ones appearing in the Contemporary Music Review and the Computer Music Journal. His research interests have lead him to develop new software in collaboration with composer/programmers, such as Sinan Bokesoy (STOCHOS) as well as a new version of Xenakis' UPIC system, a project that is currently taking place in collaboration with several composers/programmers. He is currently working on two large scale projects: an opera based on Antonin Artaud's play "Les Cenci" and an oratorio based on Dante's "Purgatorio". In addition to two monographic CDs of his music on MODE Records, there is a third monographic CD of his works on the label Edition Modern. His music appears on the label Col Legno, as well. His music is published by Editions Musicales EuropÉenes in Paris. In addition to being a composer, Pape is also a practicing Lacanian psychoanalyst and has also published articles in this domain, as well. Anney Bonney est une artiste multi-média qui vit dans le bas de Manhattan à New York depuis 27 ans. Ancienne éditrice de la section arts du magazine Bomb, elle a co-fondé et dirigé Antenna TV, elle a été commissaire vidéo et performance et directeur média de la galerie Kitchen à new York. Actuellement elle enseigne l’art vidéo dans le département d’art et de design du College Purchse de Westchester County à New York. Ses premiers films expérimentaux ont été présentés dans des clubs alternatifs mais aussi lors d’évènements plus traditionnels comme ceux qui sont organisés par la fondation Ford et le Brooklyn Museum. L’été dernier, elle a présenté une installation interactive son/vidéo (en collaboration avec Liz Phillips) Shaded Bandwidths à l’Anchorage de Brooklyn mais aussi au Brésil, au Japon, en Allemagne, en France, en Italie, en Turquie, en Angleterre et aux Pays-Bas. Gerard Pape
|