Xenakis Edition, Vol. 7: Percussion Works

Presentación del Álbum

For many of Iannis Xenakis' fans, his percussion works have served as practical introductions to his methods and ideas; yet they are also valued for their accessibility, bracing vitality, and amazing virtuosity. Much of Xenakis' music challenges the listener because the underlying mathematical theories, complex networks of lines, dense textures, and abrasive dissonances are a lot to take in. However, his percussion works are considerably easier to absorb than, say, the ritualistic theater pieces, the dynamic orchestral scores, or even some of his cutting-edge chamber music, because their strong rhythmic emphasis provides a handle that most listeners can easily grasp. The compositions for solo percussion, such as Psappha (1975) and Rebonds B/A (1989), are showstoppers for Steven Schick, who performs both with astonishing accuracy and stunning force. Schick also presents several of Xenakis' exploratory pieces for percussion with pitched instruments, and his performances with oboist Jacqueline Leclair in Dmaathen (1977), harpsichordists Shannon Wettstein in Komboï (1981) and John Mark Harris in Oophaa (1989), and vocalist Philip Larson in Kassandra (1987) are as intensely expressive as they are precisely executed. But the real powerhouses on this triple-disc set from Mode are the ensemble works -- Persephassa (1969), Pléïades (1978), and Okho (1989) -- which the brilliant percussion ensemble Red Fish Blue Fish delivers with fierce concentration and exciting volatility. This comprehensive package is one of the most rewarding in Mode's series of Xenakis' oeuvre, and his admirers should snap up this excellent package without hesitation.

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