By the mid-to-late 1960s, Iannis Xenakis had become an internationally known composer of an uncompromisingly modernist stance. That was an era of experimentation, and funding agencies, particularly in Europe, were not hesitant to rain money on all kinds of extravagant projects. Xenakis, by 1969, had been the recipient of three major orchestral commissions for the Royan Festival, and his music had a major focus of the annual new music festival held in Paris the previous year. Along with Royan, another regional festival had been recently launched, this time in Avignon, and for that Xenakis was commissioned to write a more modest work. Anaktoria was written for the classical group, Octuor de Paris. Xenakis consulted with each musician one by one, listening to (and eventually using) both the possibilities and impossibilities of their instruments, with extensive use of glissandi, quartertones, and thirdtones.
Originally scored for clarinet, bassoon(doubling contrabassoon), horn, and five strings, tonight's performance is a "pragmatic interpretation" that utilizes more players (and their unique skills!) from sfSound's core roster.
credits
from sfSound @ sfcm 1/25/2014,
released February 11, 2014
Kyle Bruckmann, English horn; Matt Ingalls, clarinet;
John Ingle, alto saxophone and contrabass hose;
Brendan Lai-Tong, trombone; Benjamin Kreith, violin; Ellen Ruth Rose, viola;
Monica Scott, cello; George Cremaschi, contrabass
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