On February 4, the world lost one of the greatest
composers and musical thinkers of our time, Iannis Xenakis. Born in 1922, his
education led him to the Polytechnic School in Athens, where he graduated as a
civil engineer in 1947. During World War II he was a member of the Communist
resistance in Athens and was injured by a shell fragment from a British tank,
losing his left eye and severely scarring that side of his face. He was
condemned to death because of his activities during the war, and fled to France
in 1947. Though he originally planned to go to the United States, he remained in
Paris, where he joined Le Corbusier’s architectural firm. While working with Le
Corbusier, he contributed to some of the twentieth century’s most innovative
designs: the Philips Pavilion for the Brussels World’s Fair of 1958 replaced
ordinary planar construction with flowing surfaces based on the continuous
displacement of the straight line. Having had some musical training in his
youth, Xenakis resumed his studies in Paris, attending classes taught by Olivier
Messiaen at the Conservatoire. He would eventually concentrate exclusively on
composition, but his musical works always bore a strong relationship to the
mathematical thinking he also incorporated into his architecture.
Although Xenakis was certainly multi-talented, there were more important
reasons for him to make links between different disciplines. His music embodies
an ideal akin to that of the ancient Greeks, in which the arts, particularly
music, are branches of human intelligence. He felt that these different branches
of intelligence should inform one another, using mathematics as the common
ground through which universal ideas may be shared. This notion is reflected in
the diversity of his own artistic output, which includes chamber music,
orchestral music, electronic music, and combinations of music and laser light
projections such as Polytope de Montréal, presented during Expo 67.
Xenakis employed many different mathematical models in his music. His first
major composition, Metastasis (1954), for orchestra, translates lines like those
of the Philips Pavilion into huge networks of glissandi. The systems he began to
devise in the early fifties were partly a reaction against serial technique,
which was widely used by other composers at that time. He argued that while
serial procedures were basically polyphonic in conception, the complex textures
which resulted were heard as "a mass of notes in various registers," not as
polyphony. Xenakis turned to a mathematical model which was designed to deal
more adequately with complex textures. He coined the term stochastic music. As
in probability theory, in stochastic music dense textures which he called
"clouds" or "galaxies" had so many components that the behaviour of each
individual component could not be determined, although the composite musical
effect could be. This conception can be heard clearly in his second orchestral
piece Pithoprakhta (1956). The composer likened the principles of stochastic
textures to those involved in natural sound phenomena such as "a collision of
hail or rain with hard surfaces, or the song of cicadas in a summer field."
In the two decades which followed the composition of Pithoprakhta, Xenakis
continued to use stochastic principles, and also incorporated ideas from set
theory and symbolic logic into his music. Meanwhile, he increasingly used
computers for the complex and numerous calculations involved in the composition
process. As machines became more powerful and the programs designed by the
composer became more sophisticated, computers actually injected more freedom
into Xenakis’ creative process. By 1979, his UPIC system was able to translate
graphic ideas into musical results. Drawing always played a major part in the
former architect’s thought process, and in the seventies, his sketches
frequently took the shape of what he called arborescences, sets of organic
curves branching out into tree-like formations. Points on these curves would be
interpolated to dictate musical elements, especially pitches within melodic
lines. This method of working, like that of the first stochastic pieces, placed
the conceptual emphasis on texture, and the result was bold gestures which make
Xenakis’ work of the seventies some of his strongest. Phlegra (1975), for eleven
instruments, is a good example of this type of clarity. The eerie sound world of
N’Shima (1975) created by quarter tones and the unusual scoring for two
amplified peasant voices, two horns, two trombones and amplified cello proves
beyond a doubt that computers and mathematical models were anything but a
limitation on the composer’s imagination.
Xenakis’ personal voice speaks through much of his music in a way that
demonstrates both his musicality and his ability to create systems which
promoted this musicality. Several books that he wrote, particularly Formalized
Music (1963), go into great detail concerning the mathematical models and
computer algorithms he used. Little is written, however, on the role intuition
played in his compositions, although he maintained that it is present, and the
personal character of the music supports this fact. Indeed, while it is not
difficult to appreciate the clear powerful forms in Xenakis’ music, it is very
difficult to know which elements of the music are the results of systems and
which are the products of his intuition. In general he avoided speaking about
the personal significance of his music, and this may well be because the
significance was often painful to him. Occasionally he would reveal that the
sentiment of his music was derived from his experiences during the war, or that
stochastic principles not only mimic the structure of sounds in nature but also
the sound of a crowd of demonstrators chanting and then being dispersed by
machine-gun fire. Judging from a later work, Dämmerschein (1994), for large
orchestra, the violence he experienced in the forties continued to affect his
music throughout his life.