Скачать с ютуб Xenakis - N'Shima (1975) – out of print recording в хорошем качестве

Xenakis - N'Shima (1975) – out of print recording

Iannis Xenakis (1922-2001) N'Shima (1975) For 2 female voices, 2 horns, 2 trombones, and cello Anne Bartelloni, Voice Geneviève Renon, Voice Members of Kölner Rundfunk-Symphonieorchester Michel Tabachnik, Conductor Record Sleeve Note: N'Shima was created with the help of a computer. For Xenakis, data processing – like mathematics – is a tool for achieving his artistic goals, and he masters these tools to a remarkable extent. Heir of both Pythagoras and Aristoxenus, he reconciles musical art and science as the inseparable complements of the same humanism. Undoubtedly, N'Shima is one of the most fascinating of Xenakis' works, those which have had the greatest impact on the public. Commissioned by the Festival Testimonium of Jerusalem, N'Shima was composed in 1975 for two female voices, two horns, two trombones and a cello. Xenakis uses voices with a rasping quality, close to the popular music of the Eastern Mediterranean. It never theless requires an extensive knowledge of the most complex music being written today. The best musicians of the Radio Cologne Symphony Orchestra join their talents to the exceptional voices of Geneviève Renon and Anne Bartelloni. Recorded in 1982 under the direction of Michel Tabachnik, one of the greatest Xenakis specialists, they give us an extraordinary interpretation. Concerning this work, Iannis Xenakis wrote in 1979: "The melodic lines of N'Shima are taken from a computer-designed curve based on a theory using Brownian movements (random walks) which I conceived as a synthesis of sounds on a computer in the area of pressure-time. In addition, I also applied this theory to the creation of linear paths in the area of height-time (melodic lines) for mixed choir and orchestra, as in Cendrées (1974). Here the laws of intertwined probability are the 'logistical' and exponential, with elastic barriers and time that is also contingent." Notes from the score: The Hebrew title means "souffle" (nearly but not quite "breath" or "exhalation"). The text from which the music springs, but which it does not explicitly set, is a parable by Rabbi NACHMAN of Bratzlaw called "Emperor's Daughter and King's Son". Syllables only of the Hebrew words are used as purely musical material, absorbed entirely into an abstract texture, at no point directly narrative or programmatic. More precise meanings are left for the listener to decide: Rabbi NACHMAN's story tells of the children of two families, destined by history to be united but divided by the cruelty and meanness of the world. It is an odd, exciting and very difficult score. There is constant use of glissandi meshed in complex rhythms, of stochastic random sequences, and as ever in XENAKIS's music, of extremes of contrast—brass against gut against flesh and breath. There is a hardness and a great sadness to the sound. Rather as the recent Flegra was of the family of Empreintes, so this N'Shima is a cousin of Cendrées – only that the colour of N'Shima is not ashen but vibrant with vivid shades, blood-red hues. Horn and trombone and voice alternate a tragic battle and tragic commentary; the cello, set apart like a desert voice, seemingly the only optimsitic note, sings a lonely sul pont song. Towards the end, urgent cries and morse-like messages—echoes here of Empreintes are flung from player to player; but the last word is given to the cello, barely audible in half-voice, a muted benediction. The rest is silence. Technical notes: The voices are "peasant-like," warm, full-throated, open, round and homogeneous. The following Hebrow words have been used: HA-YO (to be), HA-YA (was), GAM (also), SHA-CHACH (forgot), ISH (man), AV-DA (was lost), V'TA-A (and went astray), A-RETS (country), TO-SHAV-ZAR (stranger), V'HI-NE (behold), I-HUD (unification), OLAM (world). The breathing indicated should produce a clear sound at its topmost point. The brass instruments and the cello produce accentuated attacks, containing as much noise as possible, every time the broken line of glissandi is taken up again, as a kind of explosion. This attack is followed by the ordinary note with a dynamic which is indicated in the score... The intermediate notes of a zig-zagging glissando have no duration, being only touched upon. The broken line is what should be heard. On the left cello the left hand should slow down the movement toward the higher register and accelerate it towards the lower. This remark is equally valid for the slide of the trombone.