Petr Kotík will present the seminal works of Iannis Xenakis in Prague
Original and highly acclaimed composer, outstanding architect, and close collaborator of Le Corbusier, Iannis Xenakis (1922–2001) was sentenced to death in absentia as a student for his resistance against the establishment of monarchy in Greece; he was one of the most remarkable artists of the 20th century. Xenakis linked musical composition with mathematics and architectural concepts. His three fundamental compositions for a large orchestra will be performed on Tuesday, November 5, at the Centre for Contemporary Art – DOX. The 85-member international orchestra of young players, Ostrava New Orchestra/ONO, and top soloists from the USA, Germany, and Hungary will be led by a uniquely qualified personality – Petr Kotík. He met Iannis Xenakis in the early 1960s in Warsaw and has systematically devoted many years to Xenakis's work as a conductor. “Xenakis had a great influence on me, not only musically. His personality was a great example for me. As one of the first, he gave me confidence and support as a composer. His charisma, the intellectual depth of his work, which never looked back at the reactions of the surroundings, were a great inspiration and encouragement for me,” explains Petr Kotík.
Iannis Xenakis does not spare musicians or listeners; he draws them into his sound world – raw, fascinating, unmistakable. A genius autodidact, who was dismissed by Arthur Honegger as a student but later received education and mentorship from Olivier Messiaen, he himself formed generations of musicians and composers. Among his students was, for instance, one of the most influential contemporary composers of electronic music, Zbigniew Karkowski. Xenakis is considered a pioneer of modern music and one of the most interesting composers of the last century. A man about whom Milan Kundera wrote in a special essay “Xenakis: Prophet of Non-Emotion,” stating that he opens to listeners a rich, vast, and complex world devoid of emotions – a realm of comforting objectivity, where there is no place for the soul's aggression striving for self-expression, yet he still manages to reliably emotionally engage and uplift crowds of listeners. Tickets are on sale at GoOut.
At the Ostrava Days festival, thirteen works by Iannis Xenakis have been presented over the last ten years, including major orchestral compositions and the oratorio Oresteia. In Prague, we will hear Xenakis's orchestral works for the very first time! (While in Warsaw, Xenakis's orchestral works have been presented since the 1960s). Petr Kotík has included the pieces Troorkh, AÏS, and Ata in the Prague program. Three extraordinary soloists will perform with ONO/Ostrava New Orchestra: trombonist William Lang from New York, baritone Holger Falk from Frankfurt, and percussionist Tamás Schlanger from Budapest.
Iannis Xenakis (1922–2001) studied architecture and engineering at the Technical University in Athens while simultaneously studying music. While still a student, in 1944, he actively participated in the Greek Civil War on the side of the resistance against the British army and was seriously injured. That he did not die is often described as a miracle. In 1947, he fled to France, where he was sentenced to death in absentia for his resistance activities in Greece. The architectural studio of Le Corbusier employed him shortly after his arrival in Paris, despite his status as an illegal immigrant. He soon became a close collaborator of Corbusier. One of their last joint projects was the Philips Pavilion at the World Expo EXPO 1958 in Brussels. The pavilion was constructed as a giant hall for multimedia performances. Among the works that were heard in the pavilion were, for example, Poème électronique by Edgard Varèse or Xenakis's musique concrète: Concret PH.
As a composer, Xenakis initially found it challenging in Paris. Several personalities resolutely refused to teach him (for instance, Arthur Honegger remarked that his compositions “are not music”). Ultimately, he was accepted into Olivier Messiaen's class (1951-53), and his support was very important for Xenakis. Gradually, Xenakis began to establish himself, and by the late 1950s, he was already recognized and admired as one of Europe's leading composers. His original work did not conform to the style of contemporary new music in any way. From the 1960s until the end of the 1990s, Xenakis devoted himself exclusively to composition and pedagogy (Indiana University Bloomington, Sorbonne in Paris, London’s Gresham College, etc.). His extensive oeuvre includes works for large orchestra, choir, ballet, and oratorio, compositions for chamber orchestra as well as solo instruments, and electronic music on tape.
ESSENTIAL XENAKIS
Tuesday, November 5, 2019
Orchestral works by Iannis Xenakis
19:00 DOX – Centre for Contemporary Art (Poupětova 1, 170 00 Prague – Holešovice)
William Lang, trombone (New York)
Holger Falk, baritone (Frankfurt)
Tamás Schlanger, percussion (Budapest)
ONO – Ostrava New Orchestra (international)
Petr Kotík, conductor (New York / Ostrava)
Troorkh (1991) concert for trombone and large orchestra
Ata (1987) for large orchestra
intermission
Aïs (1980) double concert for baritone, percussion, and large orchestra
Concert duration is approximately 90 minutes.
More information >
Iannis Xenakis does not spare musicians or listeners; he draws them into his sound world – raw, fascinating, unmistakable. A genius autodidact, who was dismissed by Arthur Honegger as a student but later received education and mentorship from Olivier Messiaen, he himself formed generations of musicians and composers. Among his students was, for instance, one of the most influential contemporary composers of electronic music, Zbigniew Karkowski. Xenakis is considered a pioneer of modern music and one of the most interesting composers of the last century. A man about whom Milan Kundera wrote in a special essay “Xenakis: Prophet of Non-Emotion,” stating that he opens to listeners a rich, vast, and complex world devoid of emotions – a realm of comforting objectivity, where there is no place for the soul's aggression striving for self-expression, yet he still manages to reliably emotionally engage and uplift crowds of listeners. Tickets are on sale at GoOut.
At the Ostrava Days festival, thirteen works by Iannis Xenakis have been presented over the last ten years, including major orchestral compositions and the oratorio Oresteia. In Prague, we will hear Xenakis's orchestral works for the very first time! (While in Warsaw, Xenakis's orchestral works have been presented since the 1960s). Petr Kotík has included the pieces Troorkh, AÏS, and Ata in the Prague program. Three extraordinary soloists will perform with ONO/Ostrava New Orchestra: trombonist William Lang from New York, baritone Holger Falk from Frankfurt, and percussionist Tamás Schlanger from Budapest.
Iannis Xenakis (1922–2001) studied architecture and engineering at the Technical University in Athens while simultaneously studying music. While still a student, in 1944, he actively participated in the Greek Civil War on the side of the resistance against the British army and was seriously injured. That he did not die is often described as a miracle. In 1947, he fled to France, where he was sentenced to death in absentia for his resistance activities in Greece. The architectural studio of Le Corbusier employed him shortly after his arrival in Paris, despite his status as an illegal immigrant. He soon became a close collaborator of Corbusier. One of their last joint projects was the Philips Pavilion at the World Expo EXPO 1958 in Brussels. The pavilion was constructed as a giant hall for multimedia performances. Among the works that were heard in the pavilion were, for example, Poème électronique by Edgard Varèse or Xenakis's musique concrète: Concret PH.
As a composer, Xenakis initially found it challenging in Paris. Several personalities resolutely refused to teach him (for instance, Arthur Honegger remarked that his compositions “are not music”). Ultimately, he was accepted into Olivier Messiaen's class (1951-53), and his support was very important for Xenakis. Gradually, Xenakis began to establish himself, and by the late 1950s, he was already recognized and admired as one of Europe's leading composers. His original work did not conform to the style of contemporary new music in any way. From the 1960s until the end of the 1990s, Xenakis devoted himself exclusively to composition and pedagogy (Indiana University Bloomington, Sorbonne in Paris, London’s Gresham College, etc.). His extensive oeuvre includes works for large orchestra, choir, ballet, and oratorio, compositions for chamber orchestra as well as solo instruments, and electronic music on tape.
ESSENTIAL XENAKIS
Tuesday, November 5, 2019
Orchestral works by Iannis Xenakis
19:00 DOX – Centre for Contemporary Art (Poupětova 1, 170 00 Prague – Holešovice)
William Lang, trombone (New York)
Holger Falk, baritone (Frankfurt)
Tamás Schlanger, percussion (Budapest)
ONO – Ostrava New Orchestra (international)
Petr Kotík, conductor (New York / Ostrava)
Troorkh (1991) concert for trombone and large orchestra
Ata (1987) for large orchestra
intermission
Aïs (1980) double concert for baritone, percussion, and large orchestra
Concert duration is approximately 90 minutes.
More information >
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