Katana VentraIP

Iannis Xenakis

Giannis Klearchou Xenakis (also spelled for professional purposes as Yannis or Iannis Xenakis; Greek: Γιάννης "Ιωάννης" Κλέαρχου Ξενάκης, pronounced [ˈʝanis kseˈnacis]; 29 May 1922 – 4 February 2001) was a Romanian-born Greek-French avant-garde composer, music theorist, architect, performance director and engineer.[1]

Iannis Xenakis

Giannis Klearchou Xenakis

(1922-05-29)29 May 1922

4 February 2001(2001-02-04) (aged 78)

Composer, architect

1947–1997

(m. 1953)

1

After 1947, he fled Greece, becoming a naturalised citizen of France eighteen years later.[2] Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic and computer music. He integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances.[3]


Among his most important works are Metastaseis (1953–54) for orchestra, which introduced independent parts for every musician of the orchestra; percussion works such as Psappha (1975) and Pléïades (1979); compositions that introduced spatialization by dispersing musicians among the audience, such as Terretektorh (1966); electronic works created using Xenakis's UPIC system; and the massive multimedia performances Xenakis called polytopes, that were a summa of his interests and skills.[4]


Among the numerous theoretical writings he authored, the book Formalized Music: Thought and Mathematics in Composition (French edition 1963, English translation 1971) is regarded as one of his most important publications. As an architect, Xenakis is primarily known for his early work under Le Corbusier: the priory of Sainte-Marie de La Tourette, on which the two collaborated, and the Philips Pavilion at Expo 58, which Xenakis designed by himself.

Life[edit]

1922–47: early years[edit]

Giannis Klearchou Xenakis was born in Brăila, Romania—which at the time had a large Greek community, as the eldest son of Greek parents; Klearchos Xenakis, a businessman from Euboea who was managing director of an English export-import agency and one of the richest men in the city, and Fotini Pavlou from Lemnos, a pianist who also spoke German and French.[1] His two younger brothers were Jason, who became a philosophy professor in the United States and Greece, and Kosmas, an architect, urban planner and artist.


His parents were both interested in music, and it was Pavlou who encouraged the young child to learn more about it: the young Giannis was given a flute by his mother, and the family visited the Bayreuth Festival several times, due to his father's interest in opera. Her early death in 1927, when Xenakis was five years old, was a traumatic experience that, in his own words, "deeply scarred" the future composer. She had previously been infected from measles and died after giving birth to a stillborn daughter.[5]


He was subsequently educated by a series of English, French, and German governesses, and then, in 1932, sent to Greece to study at the Anargyrio-Korgialenio boarding school on the Aegean island of Spetses.[1] He excelled in both academics and athletics and sang in the school's boys' choir, where the repertoire included works by Palestrina, and Mozart's Requiem, which Xenakis memorized in its entirety.[6]


It was also at the Spetses school that Xenakis studied notation and solfège, being introduced to the music of Ludwig van Beethoven and Johannes Brahms and became enamoured of Greek traditional and church music.[6] At the same time, he discovered the writer Homer and had a habit of visiting museums.


In 1938, after graduating from the school, Xenakis moved to Athens to prepare for entrance exams at its National Technical University, also studying Ancient Greek. He was encouraged by his friends and family to do so due to his interests in physics and mathematics. Although he intended to study architecture and engineering, he also took lessons in harmony and counterpoint with Aristotelis Koundouroff.[7] In 1940, he successfully passed the exams, but his studies were cut short by the Greco-Italian War, which began with the Italian invasion on 28 October 1940. Although Greece eventually won the war, it was not long before the German army joined the Italians in the Battle of Greece, in April 1941.


This led to the Axis occupation of Greece during World War II, which lasted until late 1944, when the Allies began their drive across Europe, forcing the Axis forces to withdraw. Xenakis joined the National Liberation Front early during the war, participating in mass protests and demonstrations, and later becoming part of armed resistance — this last step was a painful experience Xenakis refused to discuss until much later in life.[8][9]


After the Axis forces left, Churchill ordered that British forces step in to help restore the Greek monarchy; they were opposed by the Democratic Army of Greece, and the country plunged into a civil war. In December 1944, during the period of Churchill's martial law,[10] Xenakis (who was by then a member of the communist students' company of the left-wing Lord Byron faction of ELAS) became involved in street fighting against British tanks. He was wounded and facially disfigured when shrapnel from a tank blast hit his cheek and left eye, which was blinded;[11] the fact that Xenakis survived the injury has been described as a miracle.[12][13]


The Technical University operated intermittently during these years. Despite this, and Xenakis's other activities, he was able to graduate in 1947, with a degree in civil engineering.[14]


Xenakis was then conscripted into the national armed forces. Around 1947 the Greek government began arresting former resistance members that were left-wing oriented and sending them to prison. Xenakis, fearing for his life, went into hiding. With the help of his father and others, he fled Greece through Italy by using a fake passport. On 11 November 1947 he arrived in Paris. In a late interview, Xenakis admitted to feeling tremendous guilt at leaving his country, and that guilt was one of the sources of his later devotion to music:

Xenakis, Iannis. 2001. (Harmonologia Series No. 6). Hillsdale, New York: Pendragon Press. ISBN 1-57647-079-2

Formalized Music: Thought and Mathematics in Composition

Di Scipio, Agostino (1998). . Perspectives of New Music. 36 (2): 201–243. doi:10.2307/833529. JSTOR 833529.

"Compositional Models in Xenakis's Electroacoustic Music"

(1966). Winston Churchill. Oxford University Press.

Gilbert, Martin

Harley, James (2004). . London: Taylor & Francis. ISBN 0-415-97145-4.

Xenakis: His Life in Music

Hoffmann, Peter (2001). "Xenakis, Iannis". In Deane Root (ed.). . Oxford University Press. doi:10.1093/gmo/9781561592630.article.30654. ISBN 978-1-56159-263-0.

Grove Music Online

(2008). The Digital Musician. New York: Routledge. ISBN 978-0-415-80660-2.

Hugill, Andrew

(1986). Xenakis. London: Kahn and Averill. ISBN 1-871082-17-X.

Matossian, Nouritza

Serra, Marie-Hélène (Winter 1993). "Stochastic Composition and Stochastic Timbre: GENDY3 by Iannis Xenakis". . 32 (1): 236–257. doi:10.2307/833052. JSTOR 833052.

Perspectives of New Music

Varga, Bálint András (1996). Conversations with Iannis Xenakis. London: Faber and Faber.  0-571-17959-2.

ISBN

Amagali, Rosemary Tristano. (1975). "Texture as an Organizational Factor in Selected Works of Iannis Xenakis". M.M. Thesis, Indiana University.

Anther, Eric (1986). (PDF). Le monde de la musique. France: Le monde and Telerama.

""Mi-homme, mi dragon" par Iannis Xenakis"

Ariza, Christopher (2005). . Computer Music Journal. 29 (2): 40–60. doi:10.1162/0148926054094396. ISSN 0148-9267. S2CID 10854809.

"The Xenakis Sieve as Object: A New Model and a Complete Implementation"

Bardot, Jean-Marc. (1999). "Cendrées de Xenakis ou l'émergence de la vocalité dans la pensée xenakienne." Undergraduate thesis (equivalent). Saint-Etienne: Université Jean Monnet.

Biasi, Salvatore di. (1994). Musica e matematica negli anni 50–60: Iannis Xenakis. Bologna. Università degli Studi di Bologna.

Boivin, Jean. 1995. La Classe de Messiaen. Paris: Christian Bourgois.

Clark, Philip. (2009). "Xenakis", in The Wire Primers: A Guide To Modern Music, 191–198. London and New York: Verso.  978-1-84467-427-5.

ISBN

. (2014). Περί Ηρώων: Οι ήρωες και η σημασία τους για τον σύγχρονο ελληνισμό (On Heroes.: Heroes and Their Importance for Contemporary Hellenism). Athens: Herodotos. ISBN 978-960-485-068-6 (Chapter "Iannis Xenakis: Souvenirs from Paris, by D. Kitsikis, Xenakis's Intimate Friend").

Kitsikis, Dimitri

McCallum, Peter (17 October 1992). . The Sydney Morning Herald. p. 47. Retrieved 23 May 2020 – via Newspapers.com.

"Metaphors of space"

Murray, Margaret (5 November 1988). . The Sydney Morning Herald. p. 93. Retrieved 23 May 2020 – via Newspapers.com.

"Taking Bach to the planets"

Paland, Ralph, and (eds.). (2009). Iannis Xenakis: Das elektroakustische Werk. Internationales Symposion. Tagungsbericht 2006. Signale aus Köln. Beiträge zur Musik der Zeit 14. Vienna. Der Apfel. ISBN 978-3-85450-414-6.

Christoph von Blumröder

Peters, Frank (2 May 1967). . St. Louis Post-Dispatch. St. Louis, Missouri. p. 41. Retrieved 23 May 2020 – via Newspapers.com.

"Battle Sounds Graphed Into Music"

Schaal, Hans-Jürgen (29 May 2022). . nmz (in German). Retrieved 29 May 2022.

"Die Mathematik der Klangwolken – Ausgabe: 5/22 – neue musikzeitung"

Swed, Mark (10 November 2010). . The Los Angeles Times. p. 32. Retrieved 23 May 2020 – via Newspapers.com.

"Cold, stern and so very hip"

from the Institute for Research on Music and Acoustics, Athens (Greece) – in Greek and English with many score and audio examples

xenakis.musicportal.gr

by the Friends of Xenakis

Iannis-Xenakis.org

Medieval.org: Modern Music: Xenakis

Luque, Sergio. 2009. "The Stochastic Synthesis of Iannis Xenakis." Leonardo Music Journal (19): 77–84

70-page PDF from Xenakis's publisher Éditions Durand-Salabert-Eschig

Works catalogue

Iannis Xenakis @ Boosey & Hawkes Publisher

by Markos Zografos

Iannis Xenakis: the aesthetics of his early works

compiled by James Harley for Leonardo/ISAST

Iannis Xenakis Bibliography and Discography

Two articles by Grant Chu Covell (2006) documenting then-recent Xenakis recordings and books about Xenakis: and Part 2

Part 1

(in French and English). IRCAM.

"Iannis Xenakis (biography, works, resources)"