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Xenakis - Nekuia (1981) – out of print recording

Iannis Xenakis (1922-2001) Nekuia (1981) for mixed chorus and orchestra Kölner Rundfunkchor Kölner Rundfunk-Symphonieorchester Michel Tabachnik, conductor Sleeve note: With Nekuia (funeral ceremony, necromancy) in 1981, commissioned by the Westdeutscher Rundfunk (Radio Cologne), Xenakis brings us a score for choir and orchestra of rare expressive power. An authentic festival of sound, it conveys breathtaking visions of the end of the world. One of Xenakis' most moving works, Nekuia attains almost metaphysical dimensions, through a subject marked by its humanity. By its very theme, "a funeral ceremony and a magic rite in which the spirits of the dead are called forth and questioned on life in the future. The general idea of this music is the profound cry of the ideologies crossing the surface of our planet, often to the noises of street demonstrations, explosions and shouts, under a sky that is sometimes dark, but sometimes of a splendid azure." In a climate of controlled violence, this work blends the poignant savagery of the ancient rites with visions of our everyday universe. Admirably interpreted by the Radio Cologne choir, one of Europe's leading groups, and the Symphony Orchestra of Radio Cologne, Nekuia is, again, conducted by Michel Tabachnik in this 1982 recording. Xenakis's note from the score: Nekuia: Funerary ceremony. Also necromancy, magical rite by which ghosts were called up and questioned about future. Commissioned by the department Neue Musik of the Westdeutscher Rundfunk in Cologne. Dedicated to Wolfgang Becker. On the technical level there is, for example, a discussion and a treatment of the non-octaviating scales in relation to my "sieve" theory with, in addition, multiplicities of shifted melodic patterns, like in a kind of artificial reverberation. The general idea of this music, the background, is the remarkable crisis of crisscrossing ideologies in the ether, on the planet's surface, often accompanied by street demonstration sounds, the battlefield explosions and cries, beneath the now gloomy light of the sky, the now bright blue light. But the chant of the chorus is essentially phonemic without a semantic weight. I have, however, taken strips of phrases in Siebenkäs of Jean-Paul Richter: "Orkanen; Sternen-Schneegestöber; funkelende Tau der Gestrine ausblinkt" (Rede des toten Christus...*), in Ecoute of Françoise Xenakis: "Le vent qui décoiffe les morts, casques roulés au loin; ventre ouvert... corolle étalée". ** These texts are remarkable by the force of their bare words, which express implicitly the same everlasting disarray that man has in front of death and life, sung by them in so different manners, also echoing the preoccupations of their own times. * "gales; snow-whirlpools of stars; scintillating dew of stars cease shining" (Speech of the dead Christ...). ** "the wind that disarranges the hair of the dead, while helmets have rolled far away; the belly cut open... like a spread out corolla."