Search - Iannis Xenakis, red fish blue fish, Shannon Wettstein :: Iannis Xenakis: Percussion Works

Absolutely amazing collection

Steward Willons | Illinois | 12/22/2006

(5 out of 5 stars)

"Iannis Xenakis is one of the most original and unusual composers and theorists of the 20th century. His music has a remarkably small connection to previous music, as if it arrived from some distant galaxy. His ideas are important and influential - he made music unlike anyone else. To go one step further, I believe that his music was never more powerful than when he wrote for percussion. His works are brutal, severe, intricately conceived, and expertly notated. This collection is an awesome testament to the raw power of his percussion music.



Steven Schick is one of the preeminent interpreters of Xenakis's music and thus it is fitting that he should produce this first collection. I can think of no one more qualified to perform these works. There ARE other excellent records of certain works (namely "Psappha" and "Rebonds") by Sylvio Gualdo, Gert Mortensen, and others, but these artists haven't recorded as widely as Schick. Red Fish Blue Fish, the resident percussion ensemble at the University of California, San Diego (where Schick teaches) provides interesting interpretations of the ensemble works, which I will comment on later.



The collection begins with Persephassa convincingly performed by RFBF. This is a very clean recording of an enormously difficult work. There is much attention to details and excellent sonic choices all around. The stereo mix is not the correct format to experience the work due to the placement of the six percussionists who encircle the audience, but the individual musicians are nicely panned, so the listener gets broad soundstage. Unfortunately, many of us don't have access to a 5.1 system, so this is the next best thing. Interestingly, RFBF decided to overdub extra parts at the very end of the work. Xenakis notates clouds of note densities from each instrument class. Thus, RFBF used a take for each and then layered them, providing the first technically "accurate" realization of the score. This seems surprising, but it IS effective and I wouldn't consider it cheating because I have seen them perform the work live without the help of overdubs to great effect.



Psappha is one of the trademark works from Schick's repertoire (along with Bone Alphabet, Rebonds, and Toucher) - he seems to play it a lot, as well he should. It's significant that he has never recorded Psappha until now, especially since he's released Rebonds multiple times. His interpretation differs from the European predilection for large, low drums as his interpretation uses smaller drums and very clear, distinct sounds. After seeing Schick perform Psappha in concert numerous times, I'm a little surprised with this recording. Parts feel almost lethargic. His tempos seem to be much more conservative here, but it's not necessarily a bad thing. This is, without a doubt, the most precise realization of Psappha that I've ever heard. Each stroke seems to be in the exact correct place. This work presents enormous difficulty for the performer, but Schick manages to execute it with almost clinical precision. However, that is not to say that his interpretation is overly analytical - it is alive and vibrant to be sure. This is an interpretation that stands well on its own, but it will also be quite useful for performers wishing to study the work simply because of its accuracy and clarity.



Dmaathen is an intense work for percussion and oboe. Again, Schick realizes a remarkably difficult score without making it seem difficult. The performer is often required to play both vibraphone and marimba simultaneously, a largely physical challenge, but Schick breezes through these sections as if they were one instrument. I'm not quite as taken with Jacqueline Leclair's oboe performance. I have heard more spirited performances, but considering the unusual extended techniques required, it's still a solid performance.



Pleiades has taken some time to get used to. I still maintain the Percussions de Strasbourg recording as my reference because it is somehow a little more exciting. Also, I prefer the sound of Strasbourg's Sixxen (an instrument Xenakis created that each ensemble must build themselves) to the RFBF set. It's true that Xenakis didn't want a 12-note scale and the RFBF set are definitely more microtonal than the Strasbourg set, but they sound weaker some how. The main benefit of the RFBF recording is the amazing clarity. Every part is performed with excellent precision.



Since Schick has recorded Rebonds previously, and each recording is special, but not wildly different. He turns in the typical amazing performance once again. I'm not as familiar with Okho for three djembes, but it is also a successful, exciting performance.



The remaining works are available for the first time in this collection. There may be previous recordings on vinyl or on small international labels, but as these are not widely available, this is essentially the first chance many will have to experience these works. My favorite is Komboi for harpsichord and percussion. Aiyun Huang provides a stellar interpretation. Incidentally, she is a very promising solo artist that I'm sure we will be hearing more from very soon. What's more impressive though is the harpsichord performance. Komboi means "knots" - as Xenakis says, knots of rhythm, knots of harmonies. The harpsichord part is unbelievably complex sometimes indicated on up to 4 separate staves. The unlikely combination of harpsichord and percussion is actually extremely effective. Although it lasts a solid 20 minutes, it never gets tiresome.



Oophaa is also for percussion and harpsichord, but I didn't find it quite as exciting as Komboi. Similarly, I didn't enjoy Kassandra as much as the others, but they are well performed and interesting works. All the works are well recorded with an amazing dynamic range, nice spatialization, and great sonic clarity. Mode Records should be commended for backing this project.



The only negative comment concerns the packaging. The set comes in a cardboard case which holds three cardboard sleeves and a trilingual booklet. The cardboard sleeves fell apart almost immediately. They are no meant to last and that is a shame because this set will clearly be on people's shelves for a long, long time. This is the same problem I have with Mode's release of Feldman's 5-disc String Quartet No. 2. Mode should invest in better packaging. They create amazing releases, so why not put them in a hard case?



Overall, this set is essential for an percussionist, any fan of 20th century music, and many others. Xenakis can be difficult to listen to, but his percussion works are arguably the best introduction to his world. You need this set. Buy without hesitation and enjoy!"

A convenient compilation for collectors, but often inferior

Christopher Culver | 05/18/2009

(3 out of 5 stars)

"It's curious how collections of a composer's collected works for a given instrumentation by any given performer(s) are rarely as satisfying. Either other performances scattered disparately are superior, or among the collected works there are outright mediocre achievements. Such is the case with this Mode 3-disc set of Iannis Xenakis' percussion works, all he produced except his disappointing last piece "O-Mega" written while he was succumbing to Alzheimer's. No composer in the late 20th century produced as many groundbreaking works for percussion as Xenakis, and besides delighting percussion students with their virtuoso demands, they're often supremely enjoyable listening.



"Psappha" (1976) has variable instrumentation. It begins with a section of rhythmic noodling, followed by an exceedingly slow portion where plenty of silence is left after each drumbeat for maximum impact. The main of the work, however, consists of a gradual buildup towards what many have perceived as gamelan-inspired music. The major recording to compare this to is Gert Mortensen's on a BIS disc. The timings are quite different, as Mortensen's performance is 11 minutes, while Schick's clocks in at 14 minutes. While Schick's balance is often admirable, generally it all feels too slow when Mortensen is like some kind of machine. I also prefer Mortensen's instrumentation, especially towards the end when its a fury compared to Schick's much tamer cowbell extravaganza.



"Rebonds A & B" for percussion solo (1989) is one of the most memorable works of Xenakis late period. But Schick's performance seems overly cautious, not embracing the abandonment and rich bodily expression of the piece. I would recommend instead Pedro Carneiro's performance on a Zig Zag Territoires disc (it even comes with a DVD featuring a video of Carneiro's virtuoso work). "Okho" for 3 djembes (1989) continues to some extent the soundworld of "Rebounds", but the performance is more reliable, being given by Red Fish Blue Fish.



I heard "Komboi" for percussion and harpsichord (1981) the first time here. The material is developed from "pitch sieves" (the piece is closely related to "Mists" for solo piano), but the range of sounds is vast, from a flurry of random-seeming notes to hyper-elegant gamelan rhythms. The dry timbres of the woodblock give way to a rainbow of metallic percussion. After the success of "Komboi", Xenakis wrote "Oophaa" (1989) for the same forces, which is shorter and less diverse, being instead based on blocky shapes as much late Xenakis. Entertaining, but a minor achievement.



"Persephassa" (1969) and "Pléïades" (1979), both scored for six percussionists, are very ambitious pieces. They are akin to Xenakis' orchestral works with their large clouds of sound, and feature an enormous diversity of timbres (with whistles even). "Pléïades" is one of Xenakis' most beautiful pieces, and by treating each timbre ("Keyboards", "Metal", "Skins") in its own distinct movement it has a great variety not common in Xenakis' forms. "Unfortunately, as the effect of these two pieces depends to a large extent on the spatial arrangement of the performers around the audience, this merely stereo recording isn't very impressive. Sadly there's not yet a surround recording on DVD Audio like those easily available for his electronic works.



If you are a big Xenakis fan, then this set may be a worthy purchase. However, casual fans of the composer might want to pick up the most important of these pieces on other discs where they might be paired with other composers and better performed."

A Major Percussive Undertaking

Michael Bettine | Milwaukee, WI United States | 09/13/2009

(5 out of 5 stars)

"Steven Schick is acknowledged as one of the major Xenakis experts. There will certainly be (and is in other reviews) a wide range of opinions as to "who does the best Xenakis on percussion." Comparisons, while inevitable, are futile because of the nature of Xenakis' music. As a composer, Xenakis left so much open and up to the performer's interpretation; so much so that different versions can often be very different.



As for this massive set, it's a grand undertaking. On the positive side the recording quality is crisp, and the performances are generally excellent, with spirit. Schick himself has a grasp on the often difficult forms that Xenakis employs. Having been trained as an architect, Xenakis often 'constructs' his scores as one would buildings. Indeed, these are some of the most 'unpercussion' percussion works. Xenakis, by being a non-percussionist, has managed to move away from so many of the typical percussive cliches that often overwhelm contemporary percussion music. He has in fact managed to create his own percussive language (as well as instruments, like the 'Sixun" in Pleiades).



On the negative side, it's a bit pricey for the CD set (but a bargain for the download).



Yes, there are other equally excellent and impressive recordings of many of these pieces (Mortensen, Caneiro, Ueno, Kroumata, etc.--and people will prefer some versions over others), but where else are you going to find all of them in one set??? Highly recommended for fans of percussion music and Xenakis' works.



~ Michael Bettine"