Electronic Music

[Bryn]

I wonder if there are more Xenakis-centenary releases in the pipeline? I certainly hope so. While I own a couple of boxed sets of his music (orchestral works and the Alpha & Omega one) plus a handful of other CDs, I wouldn't mind having more chamber music - or in fact, more orchestral music, since while good, the boxed set conducted by Tamayo isn't comprehensive...

Anyway, I just listened to Hibiki Hana-Ma and was mightily impressed, almost as impressed as I was listening to Bohor when I dipped into the downloads last week. I think Hibiki... almost certainly samples recordings of Xenakis' music for acoustic instruments, and though the liner notes come with the download, I think I'll wait until I receive the CDs in the post to read them from a booklet.

Persephassa is included in this newish DVD with a surround sound option (though only in lossy Dolby Digital or DTS). A stereo version can be found on various platforms as a download. Why Brian Brandt fails to offer a lossless surround option defeats me.

https://www.europadisc.co.uk/classical/151845/Memory_in_Motion_Percussion_in_Surround_(DVD).htm

[Serial_Apologist]

I wonder if there are more Xenakis-centenary releases in the pipeline? I certainly hope so. While I own a couple of boxed sets of his music (orchestral works and the Alpha & Omega one) plus a handful of other CDs, I wouldn't mind having more chamber music - or in fact, more orchestral music, since while good, the boxed set conducted by Tamayo isn't comprehensive...

Anyway, I just listened to Hibiki Hana-Ma and was mightily impressed, almost as impressed as I was listening to Bohor when I dipped into the downloads last week. I think Hibiki... almost certainly samples recordings of Xenakis' music for acoustic instruments, and though the liner notes come with the download, I think I'll wait until I receive the CDs in the post to read them from a booklet.

I'd forgotten Xenakis was born in 1922. There should be a major celebration of the centenary on Radio 3 at some point, then.

[Joseph K]

I'd forgotten Xenakis was born in 1922. There should be a major celebration of the centenary on Radio 3 at some point, then.

Thanks for bringing that DVD to my attention, Bryn.

[RichardB]

Regarding Xenakis's Hibiki-Hana-Ma, my understanding is that some of the recordings were of preexistent orchestral music whereas others were recorded specially, perhaps including the recordings of traditional Japanese instruments which form the other main source of sound material.

I don't suppose anyone has yet had the opportunity to compare these new releases with previous ones of IX's electronic music. Some previous stereo release versions have not done the original material justice, by taking approaches that reflect the aesthetic of the people doing the mixing and mastering more than of Kenakis himself. The attempt to hype these new ones as an improvement on previous issues makes me a little suspicious. I was recently in touch with Sharon Kanach, director of the Centre Iannis Xenakis in Paris, who hadn't heard them or had any contact with the people responsible for them, which seems a little strange to say the least. When I have time, whenever that is, I will investigate for myself!

[Joseph K]

Regarding Xenakis's Hibiki-Hana-Ma, my understanding is that some of the recordings were of preexistent orchestral music whereas others were recorded specially, perhaps including the recordings of traditional Japanese instruments which form the other main source of sound material.

I don't suppose anyone has yet had the opportunity to compare these new releases with previous ones of IX's electronic music. Some previous stereo release versions have not done the original material justice, by taking approaches that reflect the aesthetic of the people doing the mixing and mastering more than of Kenakis himself. The attempt to hype these new ones as an improvement on previous issues makes me a little suspicious. I was recently in touch with Sharon Kanach, director of the Centre Iannis Xenakis in Paris, who hadn't heard them or had any contact with the people responsible for them, which seems a little strange to say the least. When I have time, whenever that is, I will investigate for myself!

Thanks for the info on Hibiki.

My other previous records of Xenakis' electronic works are from the Alpha & Omega box... and I've only listened so far to works that were previously unfamiliar to me in this new release though. I will compare some of these new ones with ones from the A & O box this evening. Hopefully it'll be the case that I haven't squandered my cash.

[Dave2002]

If anyone wants to play with synthesisers there's a beginner's guide/overview here - https://youtu.be/_qBrjL-sH88

I continue to be amazed that some sounds are made by synthesisers - though I don't fully know how to reproduce the sounds. Bell sounds and string sounds do seem possible with synthesisers.
Of course some do mix synthesis with sampling - but it is surprising how much can be done just with synthesis.

I used to think - erroneously I now believe - that subtractive synthesis was a "bad thing" - as I thought maybe that there were actually sounds generated, and then discarded - think analogue - generate an analogue output, then filter it. That would require energy for the first part, and then dumping that energy. Maybe some analogue synthesisers worked that way, but many are now completely digital, so both the generators and the filters are digital processes - simply very fast calculations - so apart from the energy to do the calculations the energy required for subtractive synthesis is not significantly more than for other forms of tone generation.

[RichardB]

I will compare some of these new ones with ones from the A & O box this evening. Hopefully it'll be the case that I haven't squandered my cash.

I don't expect so! I want to give them a good listen before shelling out though. The problem is that most of the pieces were created for multichannel sound projection (12 channels in the case of Hibiki), and how the tracks were distributed to the speakers is in most cases poorly documented, so that making a stereo version always involves decisions that can have quite a significant effect on the sound of the result. Additionally, the original tapes are sometimes distorted or otherwise seemingly defective, and they all sound extremely "dry" (being made to be played in an actual performing space), so there's the question of whether to add some "realistic" reverberation or leave the material as it is (Xenakis himself favoured the latter, as you can hear from the original release version of Persepolis).

[Joseph K]

I don't expect so! I want to give them a good listen before shelling out though. The problem is that most of the pieces were created for multichannel sound projection (12 channels in the case of Hibiki), and how the tracks were distributed to the speakers is in most cases poorly documented, so that making a stereo version always involves decisions that can have quite a significant effect on the sound of the result. Additionally, the original tapes are sometimes distorted or otherwise seemingly defective, and they all sound extremely "dry" (being made to be played in an actual performing space), so there's the question of whether to add some "realistic" reverberation or leave the material as it is (Xenakis himself favoured the latter, as you can hear from the original release version of Persepolis).

Thanks again for the info. Yes, sometimes I throw money around a bit impulsively. I'm currently listening to the recently downloaded version of Diamorphoses, having previously listened to the one of the first disk of the Alpha & Omega box. So far, I actually prefer the download, I think it's more vivid and sounds 'closer'.

[Bryn]

I don't expect so! I want to give them a good listen before shelling out though. The problem is that most of the pieces were created for multichannel sound projection (12 channels in the case of Hibiki), and how the tracks were distributed to the speakers is in most cases poorly documented, so that making a stereo version always involves decisions that can have quite a significant effect on the sound of the result. Additionally, the original tapes are sometimes distorted or otherwise seemingly defective, and they all sound extremely "dry" (being made to be played in an actual performing space), so there's the question of whether to add some "realistic" reverberation or leave the material as it is (Xenakis himself favoured the latter, as you can hear from the original release version of Persepolis).

At least, with the drier audio the adventurous home listener can tweak the reverberation themselves, should she so desire.

[RichardB]

So far, I actually prefer the download, I think it's more vivid and sounds 'closer'.

That's exactly what I didn't want to hear!

[Joseph K]

That's exactly what I didn't want to hear!

Oh! Does this mean we can expect a smoothed-out Persepolis? Are the properties of vividness and closeness signs that reverberation has been added?

[RichardB]

Oh! Does this mean we can expect a smoothed-out Persepolis? Are the properties of vividness and closeness signs that reverberation has been added?

No, it means I shall probably have to part with some cash!

[Joseph K]

[RichardB]

For those who might be interested, I've just put out a new release on my Bandcamp label, not my own work this time but three electronic compositions by my Dutch friend and colleague Kees Tazelaar (b. 1962), director of the Institute of Sonology and maestro of its unique analogue studio. This series of pieces entitled Chatoyance begins with sound-structures produced in that studio, distantly recalling the music of its founder Gottfried Michael Koenig; as it continues, the focus moves increasingly to "concrete" sounds so that several distinct sound-worlds eventually come to coexist in a constantly shifting balance.

https://strangestrings.bandcamp.com/

[Joseph K]

Currently listening to Richard B's 'Lakhesis', from the album 'binary systems' and I'm hearing much more of it than I remember doing which is great. Some potent juxtapositions of hysterical bass clarinet with electronic sounds - the latter often weaving a beguiling accompaniment around the former, though sometimes their relation might take a more combative turn. Sometimes the electronic sounds evoke a forest of chirping, sparkling alien birds and dripping rain - in fact, often there is more than one electronic part in the texture, as one oscillating riff might be taken up and repeating with variations at the same time as another variously shaped strand of the texture continues concurrently; such a riff or drone might return in a transformed form, with synth-type sounds that microtonally wobble. Overall, a very futuristic & fascinating tapestry of colourful & trippy textures and timbres for the ears to explore - also there is much great affect gained in surreal combination of humour and playfulness with the aforementioned intensity and screams from the bass clarinet. I have tried to capture something of the piece's form which might escape the neophyte - and offer further commendation for music of such richness that, before the invention of electronic music, a composer would doubtless have had to resort to an orchestra to try to recreate such imaginative conception.