Loggen Sie sich ein, um 1-Click® einzuschalten.
Jetzt eintauschen
und EUR 0,50 Gutschein erhalten
Alle Angebote
Möchten Sie verkaufen? Hier verkaufen
Der Artikel ist in folgender Variante leider nicht verfügbar
Keine Abbildung vorhanden für
Keine Abbildung vorhanden

Jeder kann Kindle Bücher lesen  selbst ohne ein Kindle-Gerät  mit der KOSTENFREIEN Kindle App für Smartphones, Tablets und Computer.
Den Verlag informieren!
Ich möchte dieses Buch auf dem Kindle lesen.

Sie haben keinen Kindle? Hier kaufen oder eine gratis Kindle Lese-App herunterladen.

Performing Xenakis (The Iannis Xenakis Series) [Englisch] [Taschenbuch]

Sharon Kanach

Statt: EUR 36,95
Jetzt: EUR 36,36 kostenlose Lieferung Siehe Details.
Sie sparen: EUR 0,59 (2%)
  Alle Preisangaben inkl. MwSt.
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
Nur noch 1 auf Lager (mehr ist unterwegs).
Verkauf und Versand durch Amazon. Geschenkverpackung verfügbar.
Lieferung bis Dienstag, 4. November: Wählen Sie an der Kasse Morning-Express. Siehe Details.


15. September 2010 The Iannis Xenakis Series
This volume, the second in "Pendragon's Xenakis Series", is a collection of essays by thirty contributors, of fourteen nationalities, all internationally recognized performers of Xenakis' music. Many of these artists have worked closely with Xenakis and several works are discussed by their dedicatees. These testimonies prove, through real life experience and performance, the feasibility of realizing his 'very difficult' writing, not only attested to by those close to the composer during his lifetime, but also by the younger generation that continues to be drawn to it. Each essay gives a new perspective: on what the composer was really looking for, on 'tricks of the trade' for negotiating treacherously technical prowess, or on the attainment of an enhanced sense of self through the performance of this music. Following an extensive Preface by Kanach, who collaborated closely with Xenakis from the late 1970s until his death in 2001, the book is divided into chapters organized by family of instruments. Every instrument of the orchestra is discussed by its practitioner; issues unique to the voice, as well as ensemble and orchestral works are explored, and two contributions concern the performance of Xenakis' pioneering electronic works. An appendix of his entire oeuvre with selected discography is included.


Eine digitale Version dieses Buchs im Kindle-Shop verkaufen

Wenn Sie ein Verleger oder Autor sind und die digitalen Rechte an einem Buch haben, können Sie die digitale Version des Buchs in unserem Kindle-Shop verkaufen. Weitere Informationen


Es gibt noch keine Kundenrezensionen auf Amazon.de
5 Sterne
4 Sterne
3 Sterne
2 Sterne
1 Sterne
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com: 4.3 von 5 Sternen  3 Rezensionen
3 von 3 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Editing problems bring down an otherwise good book. 12. Oktober 2010
Von matt - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Verifizierter Kauf
I mostly agree with scarecrow's review. However, the editing for this book is horrible. There are frequent sentences that are messed up by the layout and portions of sentences obscured by musical examples being poorly inserted. In Benny Sluchin's article (which is a general disappointment given his previous academic work) there are musical excerpts in the wrong clef!
Overall the book is excellent. The articles are great with a large and diverse selection of contributors, however, this book was very poorly put together. It's somewhat disappointing after how well put together the series' excellent volume on his music and architecture is.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen details abound in primordial timbres of Iannis 23. September 2010
Von scarecrow - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Verifizierter Kauf
All the sciences brought to music,was a hard earned battle. And many simply abandoned this "marriage" in favor of whatever the market told a composer was relevant.
Xenakis was shunned by establishment music, even today. But the physical dimensions Xenakis brought, surveyed and prepared for his music was really for the projection of this unpretentious truth,something he did learn from the ancients; the essence of what sound, timbre, space and time is suppose to suggest to the human spirit.He was quite conservative in that respect, trying to locate timeless universals in whatever he did.The physical universe in sound came to be endless however yet shaped and given and object something suggested by Varese.
The power of Xenakis is that his music resides someplace in between the attenuation of the "aesthetic object" and allowing the attractions,attractors,the atmospheres, the "weather fronts", wind and space systems of the physical universe to dominate in fragments and in time particles the music proceeding as it does.
The elaborate graphics that give the shapes, "clouds" figures to an instrumental piece was for Xenakis, the first inital step, "jalons". To see the dimensions in space, in time. He then wrote the piece in traditional notation from the graph, as "evryali".There are also patterns of how one work rolled from another, was part of the same "region" of conception, and contemplation.We have here generous examples from the Xenakis Archive of these graphics.

For "evryali" it is in fact impossible to play it as written,but who cares! but we get discussion from its dedicatee Marie-Francoise Buquet as the late Claude Helffer.
The earlier piano solo "Herma"(well the first)from the early Sixties) also is discussed,great insights into the overall effect/affect of the work.There you have more interesting projections of its overall texture, of the multi-dimensional piano, of visiting all registers simultaneously. Hearing every discreet tone is not possible.
Pianist Roger Woodward as well brings great detail, diary-like to preparing and teaching the "piano concerto" "Keqrops";memory comes into play, and being able to recall sections at will. He advises caring the music with you wherever you go, to refresh what has perhaps gone stale in your mind.He also placed the score on his studio wall to "absorb" what was around him, or was to be.
We also have herein Bernard Haas on the organ solo "Gmeeoorh", and infrequently played piece, yet also strikes one as the perfect genre for Iannis.

There are then pockets "nests" of discourse in the solo works. Wilfriedo Terrazas, an incredible Flutist, gives great detail, fingerings, timbre explorations pitfalls, and problematics of the flute solo "Cendrees".But many of these essays transcend their own materials, and the reflections here are easy pathways to playing other works of similar temper and gesture.He along with Trombonist Benny Sluchin explore the micro-details of projecting the solo iteration(s), the timbre of the single voice. They give reduced renderings of passages, as well as micro-tonal ways of playing.Many times this is simply clarity of projection. But also the "colourings" of Xenakis, in his on-going use of glissandi, slow fast medium and mixtures. Sluchin also devolves into the chamber pieces, and the use of the trombone within that setting.And again whatever is discussed can be applied to other situations.

For strings we have again focused, wonderful musicians for new music, as one time Arditti member, Cellist Rohan de Sarem, speaks about his time with Xenakis, a party in his Paris apartment and his work on the Cello Solo "Kottos". Francis Marie Uitti, also wonderful cellist speaks well on working with Xenakis on solo works. Violinist Irving Arditti is here as well, on solo work, and the problems in string quartet rehearsals. More detailed in JACK Quartet member Kevin McFarland, who discusses the just intonation lattice in "Tetora", also the more difficult barless "Tetras". I suppose if one performs these works countless times, there is an "evolution" of appraisal and contemplation that happens as a natural process. Much like the way the music was written one work falling from another.
I also enjoyed the insights, the lifeworld experiences reading Robert Black's ongoing learning devices for the Contrabass Solo "Theraps",At their first rehearsal in Paris, after he played it, Xenakis was satisfied,Xenakis showed Mr.Black his own Contrabass,on how he never wrote a passage that he himself did not figure the fingering on the Contrabass fingerboard.
We then have Steven Schick, percussion who reveals how the internalization process is most important.Yet his essay was more general, from on high, as the crow flys more philosophic.

So we see the internal paradox in Xenakis,a detailed persona yet creating primordial spaces of earth energy and power thru sound.
If you read the entire collection here;you will be well adept at the literature.There is also plenty of anecdotal reflections on working with Xenakis. And he was not the most helpful at times quipping on the Utopian vision of the impossibilities of his music. "That someday, you will be able to determine a correct way to play everything on the page."
He wanted us to feel his music, even going through us, as his electronic music played a deafening volume levels. Here finally all these wonderful devotees of Xenakis and music gives us details,dimensions of his music.How he always wanted something louder than written.
All the explicit discourse here certainly is intended for the practicing musician,as Lori Freedman devised "etudes" of patterns and shapes found in the music as "Charisma",(Clarinet, and Cello), to help provide the physical internalizations of this music.And we learn that things,perceptions, performing practices revealed here can be applied to most modern creators in some respect.

Sharon Kanach as Editor, and lifelong devotee of Xenakis oeuvre did a wonderful,insiteful job in her assemblage of invitations to seminal figures within the new music corridors of discourse.
Arturo Tamayo,conductor as well, gives insights into rehearsal problems of "Jonchaies", as Micahel Tabachnik, Riccardo Schulz, Juan Pablo Izquierdo both on" Da mmerschein", "Rays of Twilights" for orchestra.
The fascinating Xenakis electronic discourse is covered by Peter Nelson who worked at the Xenakis studios UPIC systems and Gerard Pape covers the gorgeous "La Legnede d'Eer".
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen 2nd printing of PX 13. Dezember 2011
Von suji - Veröffentlicht auf Amazon.com
In response to "matt's" comments, please be advised that a few first-run copies of Performing Xenakis were accidentally released. Indeed, these copies were printed off of some wrong (first proof) plates. Pendragon pulled any remaining copies out of circulation once the error was discovered and reprinted the book entirely from the right plates. All copies currently in circulation should be "clean and accurate". Any unfortunate and inadvertant 'victims' of this can write directly to Pendragon Press for an exchange.
Waren diese Rezensionen hilfreich?   Wir wollen von Ihnen hören.

Kunden diskutieren

Das Forum zu diesem Produkt
Diskussion Antworten Jüngster Beitrag
Noch keine Diskussionen

Fragen stellen, Meinungen austauschen, Einblicke gewinnen
Neue Diskussion starten
Erster Beitrag:
Eingabe des Log-ins

Kundendiskussionen durchsuchen
Alle Amazon-Diskussionen durchsuchen

Ähnliche Artikel finden

Ihr Kommentar