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P. Boulez and I. Xenakis, Selected Piano Works (CD)
Artist/Band: David Ezra Okonsar
Pierre Boulez and Iannis Xenakis, both lived around the same dates, Boulez 1925 - 2016, Xenakis 1922-2001, and in the same country (France). Both are revolutionary, incisive, sharp and no-compromise artists. Both attended the musical analysis class of Olivier Messiaen at the Paris National Conservatory, but they have totally different approaches to music composition. Two very different approaches to music composition by two giant composers gave us two kinds of superior piano works. In the featured works by Xenakis , Evryali describes better the methods of the architect-composer.
Pierre Boulez's Sonata N.2 (1948) is a major work of the composer's early style, it is also a landmark piece of twenty first century piano music. Stupefying as an accomplishment of a young composer aged 23, even though molded in the classical Sonata model, it displays an amazing novelty in its rhetoric.
Xenakis' first piece for the piano solo, "Herma" (1961) means connection, but also foundation and embryo. A new step in the composer's line of work, the mathematical Set Theory will be the basis for the upper structure of the piece.
Iannis Xenakis: "Evryali" for piano (1973) uses the idea of "arborescences", ramifications to create "bushes" of melodic lines. Beginning with a punctual approach, one dynamic per note, the piece evolving by steps, swiftly leads to high intensity climaxes.
Contrasting textures like repeated notes, uniform rhythms interrupted by melodic lines or interjected chords over held notes or harmonic resonance chords/notes constitute the main aspect of Pierre Boulez: "Incises" for piano (version 2001). The opposition between what the composer calls "temps strié" (regularly subdivided time/rhythm; a metric based on a regular impulse) and "temps lisse" (where no regular impulse can be recognized) is the most striking aspect of Incises.