Abstract
Xenakis’s orchestral work Pithoprakta was composed for forty-nine musicians: fortysix divisi strings, two trombones, and one percussionist playing woodblock and xylophone. Hermann Scherchen (1891–1966) conducted the first performance of the work in 1957. We present the outcome of a phenomenological investigation of Pithoprakta, encompassing comparatively detailed descriptions and hermeneutical interpretations of the work, including prominent musical features, sonorities, densities and transformations of sound masses. In order to minimize presuppositions and promote unbiased listening, we did not study the score or research on Pithoprakta prior to the listening sessions. Subsequently, in a survey of the work, we summarize the macroform and possible emotional interpretations of the music, and include references to the printed score. In addition, we quote texts and statements by Xenakis in order to enable comparisons between our investigation and the composer’s intentions. References to selected research widen the perspective of the investigation by pointing out important aspects of Xenakis’s music and his personality.
Original language | English |
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Title of host publication | Meta-Xenakis : New Perspectives on Iannis Xenakis’s Life, Work, and Legacies |
Editors | Sharon Kanach, Peter Nelson |
Number of pages | 21 |
Publisher | Open Book Publishers |
Publication date | 9 Oct 2024 |
Pages | 297-317 |
Chapter | 18 |
ISBN (Print) | 978-1-80511-225-9, 978-1-80511-224-2 |
ISBN (Electronic) | 978-1-80511-226-6, 978-1-80511-229-7, 978-1-80511-227-3 |
DOIs | |
Publication status | Published - 9 Oct 2024 |
Keywords
- Iannis Xenakis, music composition, aesthetics, twentieth century’s European culture