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Xänorphica.
Xänorphica.
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Xanthoudakis, Haris
Xanthoudakis, Haris
( b Piraeus, 18 June 1950). Greek composer and musicologist. He studied with
Varvoglis at the Hellenic Conservatory, Athens (harmony, 1964), privately with
Papaïoannou (composition, 1966–71) and with Adamis (electronic music,
1972–3). After working under Hadjidakis at the Third Programme of Hellenic
Radio, he undertook further studies in France with Xenakis, at the Centre
d'Etudes de Mathématique et d'Automatique Musicales (CEMAMu) and at the
Group de Recherches Musicales (1979–85). After returning to Athens he
taught at the National Conservatory (1985–6) and the Athenaeum
Conservatory (1987–93). In 1989 he co-founded (with the composer Kostas
Moschos) the Institute of Research in Music and Acoustics. As a professor
and coordinator of its music department, at the Ionian University, Corfu (from
1993), he gave a new impetus to research on Greek art music after the fall of
Constantinople (1453) and 19th-century Ionian music.
Initially shaped by his keen interest in serialism and electro-acoustic
technology, Xanthoudakis's compositions are characterized by emotional
restraint and profound humour. By applying serial procedures to tonal
material, in works such as the widely performed Tango Plus-Minus and the
double bass concerto (1991, rev. 1996), he has found an unorthodox way in
which to recover the trajectory of musical tradition. Such procedures aim,
according to the composer, to unmask the fraud inherent in the aesthetic
position of the serial avant garde.
WORKS
(selective list)
Vocal: Eléni [Helen] (cant., Y. Seféris), mixed chorus, 1972; Argo (A. Embirikos),
nar, orch, tapes, 1981; Sym. (A. Zakythinos), S, Mez, T, Bar, orch, 1992; 3 Songs
(A. Pallis), children's chorus, 1993–4; Pictures at an Exhibition (textless), SATB, fl,
a fl, 2 cl, a sax, t sax, tpt, 2 trbn, tuba, accdn, 2 gui, perc, vn, vc, tape, 1996; O
Kreetikos [The Cretan] (D. Solomos), S, orch, 1998; Nekriki odhi [Funeral Ode] (D.
Solomos), S, wind qnt, 1998; Mass (Messa Gregoriana), Mez, mixed chorus, orch,
1999; B-A-C-H (cant., no text), S, chorus, orch, 2000
Orch: Tpt Conc., 1977; Webern-Variationen, chbr orch, 1979; Concertante
Variations, orch, 1981, rev. 1983; Palimpsest, chbr orch, 1987; Terra dove, orch,
1989; Db Conc., 1991, rev. 1996
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Xanthoudakis, Haris
Chbr: Rondo, vn, va, vc, 1971; Heterophony, tuba, pf, perc, 1973, rev. 1976;
Concertante, ob, cl, bn, tpt, perc, str, 1974; Kondyliés, 3 perc, 1976; Sonatina, 2 fl,
1984; Conspirations sans silence, cl, 1985; Fantasia supra ‘L'homme armé’, fl, cl,
vn, va, pf, perc, 1986; Tango Plus-Minus, chbr ens, 1986; Concertino, str, 1989;
Modus ponens, fl, cl, tpt, euphonium, pf, vn, vc, db, 2 perc, 1991; Wind Qnt, 1994;
Divertimento, cl, vn, va, vc, 1996; Divertimento, 8 brass, 1996–7
El-ac: Organum, ens, tape, 1971; Study 1, 3 synth, 1972; ViolonCelloStimmen, vc,
perc, elecs, 1977; Couple T.S., pf, elecs, 1981; La troute, tuba, tape, 1981; … un
aubregon de fer …, tuba, synth, 1982; Organum 2, elec gui, synth, 1983; … mee
monan opsin … [… not only thy face …], ob, tape, 1986; Le sommeil de Dédale,
chbr orch, tape, 1986; Haydn-Variationen, tpt, elecs, 1987; Les visages de la nuit,
db sax, tape, 1989
Tape: Study 2, 1973; Oresteia, 1975; Study 3, 1980; Waste Land, 1980;
Anamorfosseis [Reformations], 1984; Comment(ari)um, 1984; L, comme Bunuel, ou
la forêt des symboles, 1984; La dame aux camélias, 1985; Paraphrases, 1985;
Perigordion, 1985; Le voyage de Cyrano, 1985; I alligoria ton oron [The Allegory of
the Hours], 1987; I ores [The Hours], 1987; Mix-Ages, 1987; Ou symphonia, ou
melodia, oudhé moussiki [Neither Consonance, Nor Melody, Nor Music], 1987;
Motetus, 1988; 1 … 789, 1989; Paradromi [Inadvertence], 1989
WRITINGS
‘Mia ennoiologhiki anadifissi sti theoria tis moussikis’ [Semantic research
in music theory], Echos , no.13 (1974), 56–9
‘Kinimatografos ke moussiki: i periptossi tou Mauricio Kagel’ [Cinema and
music: the case of Mauricio Kagel], Film , no.18 (1979), 111–19
Aspects de la signification du timbre dans la musique du XXe siècle
(diss., U. of Paris, 1981)
‘Les origines de l'orchestration moderne’, Revue internationale de
musique française , no.18 (1985), 22–8
‘Et in Arcadia ego: metamodernismos ke paradossi sti simerini
moussiki’ [Et in Arcadia ego: postmodernism and tradition in today's
music], O politis , nos.81–2 (1987), 110–11
Keimena ya mia litourghiki theoria tis moussikis (Athens, 1992)
‘Mantzarou tychae’ [Destinies of Mantzaros], Porphyras , no.75 (1995), 25–
34
‘I proti istoria tis neoellinikis moussikis’ [The earliest history of modern
Greek music], Porphyras , no.79, (1996), 83–90
GEORGE LEOTSAKOS
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Xenakis, Iannis
Xenakis, Iannis
( b Braïla, ?29 May 1922). French composer of Greek parentage. He belongs
to the pioneering generation of composers who revolutionized 20th-century
music after World War II. With the ardour of an outsider to academic musical
life, he was one of the first to replace traditional musical thinking with radical
new concepts of sound composition. His musical language had a strong
influence on many younger composers in and outside of Europe, but it
remained singular for its uncompromising harshness and conceptual rigour.
1. Early life.
2. Architecture.
3. Musical research.
4. Works overview.
5. Early works.
6. ‘Metastaseis’.
7. Macroscopic stochastic music.
8. ‘Symbolic music’.
9. Ancient theatre and Polytopes.
10. Microscopic stochastic music.
11. ‘Morphological’ compositions.
12. Globally tempered sieves and cellular automata.
13. Electro-acoustic works.
WORKS
WRITINGS
BIBLIOGRAPHY
PETER HOFFMANN
Xenakis, Iannis
1. Early life.
The eldest child of a Greek businessman, he was born in Romania, and at the
age of ten was sent to a boarding school on the Greek island of Spetsai. An
outsider there, he immersed himself in science and Greek literature, both of
which were to become lifelong interests. His early musical experiences were
various: at home he heard classical piano music played by his mother and the
music of gypsy bands; on Spetsai he encountered Byzantine liturgical music
and Greek folk music and dance; he also sang in the school choir (whose
repertory included works of Palestrina), and absorbed classical music from the
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