- Outlet Anciennes collections, fin de séries, articles commandés en trop grande quantité, … découvrez notre sélection de produits à petits prix Profitez-en !
- Publiez votre livre : sur Kindle Direct Publishing En format papier ou ebook c'est simple et rapide et vous pourrez toucher des millions de lecteurs en quelques clics ici !
- Plus de 10 000 ebooks indés à moins de 3 euros à télécharger en moins de 60 secondes .
- Gratuit : téléchargez l'application Amazon pour iPhone, iPad, Android ou Windows Phone ou découvrez la nouvelle application Amazon pour Tablette Android !
Xenakis Edition, vol. 1 : Musique d'ensemble I
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Prime bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Offres spéciales et liens associés
Les clients ayant acheté cet article ont également acheté
Détails sur le produit
Voulez-vous nous parler de prix plus bas?
Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?
Description du produit
Iannis XENAKIS : Plektó, pour flûte, clarinette, piano, percussion, violon et violoncelle - Eonta, pour 2 trompettes, 3 trombones et piano - Akanthos, pour soprano et 8 musiciens - Rebonds, pour percussion seule - N'Shima, pour 2 voix amplifiées, 2 cors amplifiés, 2 trombones ténor et violoncelle amplifié
Commentaires client les plus utiles sur Amazon.com
The first problem with this issue is the recording, which, unbelievably, seems to carry over the sound issues from the first cd. The disc starts off with the gnomic little chamber work 'Plekto', which, at the time, was a new work, and based on this recording, a work that was going to require some time. The winds and strings start us off just fine, and then, CLANK!, the hideously engineered piano just erases all pleasure. The piano clusters are recorded perfectly in the Aki/Mode release of the piano and cello piece 'Paille in the Wind', but here the effect is not pretty for all the wrong reasons. Even the percussion sounds fine (though the player, as so many many times, isn't the last word in Xenakis percussion theory or ability), but the sound of the piano is... well, it's certainly 'get used to' bearable. An alternate version on Bvhaast, which adds about 4 minutes to the time (making a bit more sense of things), still has an interesting timbre for the piano, but it is light years better than here. We truly need an Ensemble Intercontemporain version or something here. The piece is very friendly in Xenakis terms, with a melody that I think comes from the 'Symphony in Three Movements'. I most certainly heard it in one of Stravinsky's two main Symphonies.
Next up we have 'Eonta', which I just compared with the other version on Mode with Aki Takahashi. To be fair, this may not be the worst recording of this piece, and, frankly, it's alright if you have nothing (but you must at least have the old school Yuji, no?,... played to death?), but, though the piano sound here is much better, it is ever so slightly recessed, which robs the part of a lot of detail. Just compare with the supernatural Aki and all bets are off. Basically, to make a long story short, the Aki version makes all others disappear, though Yuji is still good, and this one makes a good digital comparison (do we have 6-8 recordings of 'Eonta'?).
The recording issues return in 'Akanthos', and the soprano is not really up to the task of this transcendental siren song (literally). The recording on Wergo is very beautiful, and apt, and remains the only real choice. This version barely qualifies as a compare.
I was basically spurred on to write this review by the earlier gentleman's critique of this 'Rebonds'. Yes, it's probably the worst recorded performance (though, curiously, Johan Faber on Bvhaast falls short also; my choice is Leoson over Schick), as I submitted myself to it again. It's really not fair that it got by the editors, but it certainly is probably THE major black eye on this release,... like watching a cock fight.
Lastly we have what I consider the only real triumph on this album, and I'm sorry it had to be this piece 'NiShima' which I'm still working on wanting to like. To the world it sounds like... well, you know what it sounds like, it's like 'Eonta' but with two 'peasant voices' (females here; male in the competing Col Legno version) instead of the piano. Spare and obsessive begin to describe this relentless piece which some claim as Xenakis's most 'beautiful'. I simply accept it as it is.
Direct comparison reveals the Col Legno group the more pleasing overall experience, though the Mode players as no less passionate. The Mode singers work well in a mix favoring the brass, and the typically open and crisp studio sound Mode has here works well. The Col Legno sound is a bit more 'live', though it is more beautifully integrated,... don't forget the role of amplification in this piece. The cello sounds marginally more psychedelic in the Col Legno.
In all, these first two Mode releases were frustrating and disappointing, though this cd bears the brunt of criticism. Xenakis's music doesn't do mistakes well, and this release could have been so much better, but, I have most certainly returned to it over and over, slavishly, and do consider this pair indispensable. The Mode series has gone on to much greater things since, and, one might be tempted to ask Brian if he might consider a redo on some of these newer pieces (There are two 'Eonta's on Mode). Anyhow, anything more that comes our way from the Xenakis Cycle on Mode is a blessing I'm sure.
Bornstein and the ST-X Ensemble seem to have simply vanished from this series, though, and one does wonder where the series might turn since we haven't had a new release in what seems like two years. I begin to wonder if we'll ever hear the few remaining late pieces that have yet to reach our ears.