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Document généré le 2 oct. 2021 23:28 Circuit Musiques contemporaines Xenakis au Québec : chronologie et repères Xenakis in Quebec: chronology and highlights Sophie Galaise, Daniel Leduc, Guy Marchand, Marianne Perron, Johanne Rivest et Diana Thiriar Espace Xenakis Résumé de l'article Volume 5, numéro 2, 1994 Chronologie et description des différents séjours de Iannis Xenakis au Québec, de 1967 à 1979. URI : https://id.erudit.org/iderudit/902109ar DOI : https://doi.org/10.7202/902109ar Aller au sommaire du numéro Éditeur(s) Les Presses de l'Université de Montréal ISSN 1183-1693 (imprimé) 1488-9692 (numérique) Découvrir la revue Citer cet article Galaise, S., Leduc, D., Marchand, G., Perron, M., Rivest, J. & Thiriar, D. (1994). Xenakis au Québec : chronologie et repères. Circuit, 5(2), 76–82. https://doi.org/10.7202/902109ar Tous droits réservés © Les Presses de l’Université de Montréal, 1994 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ 77 XENAKIS AU QUEBEC : Chronologie et repères'11 Sophie Galaise, Daniel Leduc, Guy Marchand, Marianne Perron, Johanne Rivest et Diana Thiriar'2' Première visite : été 1967 Xenakis, les quatre autres étant ( 1 ) Chronologie de base tirée de Kendergi(1981,pp. 301-313). {3) Persepolis en Iran (1971), le Pour la création du Polytope de (2) Membres du Cercle de musicologie Polytope de Cluny{5] à Paris ( 1972), Montréal au pavillon de la France de la Faculté de musique de l'Université le Polytope de Mycènes en Grèce à l'Exposition universelle de Montréal. Ce texte a été conçu pour (1978) et le Diatope extrait de La une exposition du Cercle de musicologie Pour Xenakis, c'est à la fois l'idée Légende d'Eer pour inaugurer le consacrée aux divers séjours de Xenakis de nombreux endroits et de beau• Centre Georges-Pompidou à Paris au Québec, tenue à la salle Claude- {4 Champagne du 1 3 au 16 avril 1993, à coup de place \ En effet, (e Polytope (1978). l'occasion de la semaine Iannis Xenokis de Montréal, élaboré pour le pa• Malgré une imposante structure à Montréal. Celui-ci dut malheureuse• villon de la France à l'Exposition matérielle, avec cinq nappes de câ• ment annuler sa visite à Montréal. universelle de Terre des Hommes (3) Polytope : du grec polus (beaucoup bles d'acier et de multiples lampes de Montréal en 1 967 et commandé de, nombreux, plusieurs) et topos (place, et projecteurs de couleur, l'aspect par l'État français, occupait un large endroit, lieu). visuel du Polytope de Montréal a (4) D'après Olivier Revault d'Allonnes espace vide au centre du bâtiment été conçu tel une composition so• (1975, p. 10). et s'élançait depuis le rez-de-lagune nore. Pour ce faire, la lumière s'est (5) Auquel l'informaticien québécois jusqu'au dernier des neuf niveaux Robert Dupuis a étroitement collaboré vue décomposée en paramètres, que comportait ce pavillon, conçu pour la réalisation informatique. comme peut l'être le son : durée, par l'architecte Jean Faugeron. Le intensité, chaleur, brillance, etc. spectacle lumineux pour lampes et flashes électroniques de Xenakis, I Toute mon expérience de la compo• d'une durée de six minutes, était ac• sition musicale, je l'ai utilisée ici pour compagné d'une musique indépen• la lumière : le calcul des probabili• dante pour quatre orchestres sur tés, les structures logiques, les structu• bandes magnétiques. res de groupe. Il y a 1 200 circuits indépendants (ou lumières indépen• Le Polytope de Montréal fut le dantes) qui fonctionnent grâce à un premier d'une série de cinq specta• tableau de cellules photo-électriques cles à la fois lumineux et sonores de I où elles sont toutes reproduites. Sur 78 I ce tableau, ce film est projeté lais• nit la musique et le rôle qu'elle oc• sant passer le rayon du projecteur cupe dans la société contemporaine. aux endroits seuls où il faut qu'une Pour lui, la musique est normative, cellule photo-électrique soit activée. parce que construite sur des modè• Il y a 800 tubes blancs de xénon et les de comportements physiques et 400 de couleurs, moitié froides, psychologiques, et catalytique, car moitié chaudes. (Xenakis, 1972, elle permet, par sa seule présence, I p. 33.) d'atteindre des états de dépasse• ment. Elle est également marquée De son côté, la continuité propre par la gratuité de son jeu, par son à la musique exclusivement instrumen• action en soi. En partant de cette tale du Polytope de Montréal offre conception de la musique, le com• un contraste avec le discontinu des positeur tente de réformer l'enseigne• arrêts et départs du spectacle lumi• ment et les habitudes d'écoute. Si neux, «car le son change mais ne l'éducation musicale commençait dès s'arrête pas» (ibid.). La complexité la maternelle, «on permettrait [...] à extrême du Polytope de Montréal l'homme de réaliser la possibilité qu'il ressemble bien à toute l'entreprise a par nature de jouer et de créer. musicale de Xenakis : l'important est Possibilité qu'il perd progressivement de permettre la pluralité à la fois dans les vieilles conditions tradition• dans la conception et dans la per• nelles d'éducatîonJ6U Et il ajoute : (6) Extrait des bandes d'enregistrement ception. «L'éducation musicale dépend sur• de la conférence de Xenakis du 1er décembre 1967, déposées à la er Deuxième visite : 1 et 2 décem• tout des compositeurs qui sont obli• bibliothèque du Conservatoire de bre 1967 gés de tout remettre en question pour musique du Québec à Montréal. l'avenir'71...» En affirmant «qu'on peut (7) Ibid Conférence suivie le lendemain traduire toute la musique en nom• (8) Ibid d'une rencontre amicale avec de bres et en graphiques'8'», il explique jeunes compositeurs au Conserva• la théorie de la probabilité, la sto• toire de musique du Québec à chastique et sa technique graphique Montréal de composition par ordinateur. Il il• En 1967, le compositeur québé• lustre ses idées et méthodes nouvel• cois Gilles Tremblay invite Iannis les en présentant Metastasis ( 1 953- Xenakis, par l'entremise du Conser• 1954), Pithoprakta (1955-1956), vatoire de musique de Montréal. Son Achorripsis (1956-1957), SI/AS passage à Montréal est souligné par ( 1959-1962) et l'œuvre pour bande deux journées d'activités dans cette Orient-Occident ( 1960). institution, les 1er et 2 décembre, pendant lesquelles il donne une con• Troisième visite : 2 juin 1969 férence et rencontre les étudiants de la classe de composition de Gilles Création du ballet Kraanerg pour Tremblay. Lors de la conférence, in• l'inauguration du Centre national titulée Idées et méthodes nouvelles des arts (Ottawa) avec le Ballet de composition, Iannis Xenakis défi• national du Canada 79 Après le succès du premier Clive Barnes du New York Times Polytope de Montréal, Xenakis re• dira au lendemain de la création çoit une commande pour le specta• mondiale à Ottawa : «Une des par• cle d'ouverture du Centre national titions de ballet majeures de notre des arts à Ottawa. La création a lieu siècle.» Au lendemain de la créa• le 2 juin 1 969 dans un décor de tion, il faut souligner combien la cri• Vasarely et Yvaral, avec une choré• tique avait vu juste. La plupart furent graphie de Roland Petit, sous la di• d'accord pour dire que de l'ensem• rection musicale de Lukas Foss. ble du ballet, la musique de Xenakis C'est pendant la période mouve• en avait probablement été l'élément mentée de 1968-1969^ que Xe• le plus marquant. (9) Mentionnons notamment Mai 1968 nakis, lors d'un séjour aux États-Unis, en France, la répression du Printemps de Quatrième et cinquième visites : Prague en Tchécoslovaquie ainsi que compose ce qui deviendra Kraanerg, 7, 8 mars 1972 et mars-avril 1973 l'apogée des protestations contre la une œuvre monumentale de plus de guerre du Vietnam aux États-Unis. soixante-dix minutes pour orchestre À l'occasion des «Journées Xena• (10) Ce titre énigmatique a été forgé à symphonique et bande magnéti- kis 1972» à la Faculté de musi• partir de deux racines grecques : Kroan-, qui veut dire «accomplissement», et -erg, que1101 que de rUniversité de Montréal « énergie active ». À propos des circonstances qui Professeur eminent invité en 1973 (11) Livret du disque, Xenakis-Kraanerg, entourèrent la gestation de l'œuvre, à la Faculté de musique de l'Uni• Erato STU 70527/528. (1 2) Musicologue, née en Turquie en Xenakis a écrit : versité de Montréal 1915 d'une famille d'origine arménienne Dans trois générations à peine la Les 7 et 8 mars 1972, Mary- et naturalisée canadienne en 1960, qui population du globe sera passée à vonne Kendergi1121, alors professeur a étudié notamment avec Nadia 24 milliards. Les 80 % de cette po• Boulanger à Paris. Tant par son ensei• à la Faculté de musique de l'Univer• gnement à l'Université de Montréal que pulation seront au-dessous de 25 ans. sité de Montréal, organise, en ce par ses diverses activités d'animation, ce De fantastiques transformations dans même lieu, les Journées Xenakis professeur émérite de la Faculté de tous les domaines se produiront en 1972. Autour d'un «musialogue-con- musique de l'Université de Montréal a conséquence.
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  • C:\Users\Hhowe\Dropbox\Courses

    C:\Users\Hhowe\Dropbox\Courses

    Iannis Xenakis (1922-2001): Catalogue of Musical Compositions (from www.iannis-xenakis.org) Seven untitled pieces, Menuet, Air populaire, Allegro molto, Mélodie, Andante : 1949-50; piano, unpublished. Six Chansons : 1951; piano; 8’. Dhipli Zyia :1952; duo (vln, vlc); 5’30. Zyia :1952; 2 versions: a) soprano, men’s chorus (minimum 10) and duo (fl, pno); b) soprano, fl, pno; 10’. Trois poèmes : 1952; narrator and pno; unpublished. La colombe de la paix : 1953; alto and 4-voice mixed chorus; unpublished. Anastenaria. Procession aux eaux claires : 1953; mixed chorus (30), men chorus (15) and orchestra (62); 11’. Anastenaria. Le Sacrifice :1953; orchestra (51); 6’. Stamatis Katotakis, chanson de table : 1953; voice and 3-voice men chorus; unpublished. Metastasis : 1953-4; orchestra (60); 7’ Pithoprakta :1955-6; string orchestra (46), 2 trb and perc; 10’ Achorripsis :1956-7; orchestra (21); 7’ Diamorphoses :1957-8; electroacoustic tape. 7’. Concret PH :1958; electroacoustic tape; 2’45". Analogiques A & B :1958-9; string ensemble (9) and electroacoustic tape; 7’30". Syrmos :1959; string ensemble (18 or 36); 14". Duel :1959; 2 orchestras (56 total) and 2 conductors; variable duration (circa 10’). Orient-Occident :1960; electroacoustic tape; 12’. Herma : 1961; for solo piano; 10’ ST/48,1-240162 :1956-62); orchestra (48); 11’ ST/10, 1-080262 : 1956-62; ensemble (10); 12’ ST/4, 1-080262 : 1956-62; string quartet; 11’ Morsima - Amorsima (ST/4, 2-030762) :1956-62); quartet (pno, vln, vlc, db); 11’ Atrées (ST/10, 3-060962) : 1956-62; ensemble (11); 15’. Stratégie : 1962; 2 orchestras (82 total) and 2 conductors; variable duration (10 to 30’) Polla ta dhina :1962; children's chorus (20) and orchestra (48); 6’ Bohor :1962; electroacoustic tape; 21’30".
  • 2016-Program-Book-Corrected.Pdf

    2016-Program-Book-Corrected.Pdf

    A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue.