{"id":205,"date":"2003-07-28T08:01:00","date_gmt":"2003-07-28T07:01:00","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/blog\/iannis-xenakis-persepolis-remixes-edition-i\/"},"modified":"2023-12-18T08:50:12","modified_gmt":"2023-12-18T07:50:12","slug":"iannis-xenakis-persepolis-remixes-edition-i","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/07\/iannis-xenakis-persepolis-remixes-edition-i\/","title":{"rendered":"Iannis Xenakis: Persepolis \u2013 Remixes (Edition I)"},"content":{"rendered":"<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"204\" data-permalink=\"https:\/\/www.kritische-masse.de\/logbuch\/2005\/01\/wittgenstein-noch-einmal\/attachment-persepolis\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030726-masse-cd-xenakis-persepolis.jpg?fit=145%2C145&amp;ssl=1\" data-orig-size=\"145,145\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Persepolis\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030726-masse-cd-xenakis-persepolis.jpg?fit=145%2C145&amp;ssl=1\" class=\" alignright size-full wp-image-204\" hspace=\"5\" align=\"right\" src=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030726-masse-cd-xenakis-persepolis.jpg?resize=145%2C145&#038;ssl=1\" alt=\"Persepolis\" width=\"145\" height=\"145\" \/>Persepolis (1971) von Iannis Xenakis ist urspr&uuml;nglich f&uuml;r eine Outdoor-Auff&uuml;hrung an alten persischen Pl&auml;tzen gedacht gewesen &ndash; erg&auml;nzt um zahlreiche multimediale Zusatzbestandteile. Persepolis ist ein Tonbandst&uuml;ck aus &bdquo;konkreten Kl&auml;ngen&ldquo; in der L&auml;nge von 56 Minuten. 56 Minuten puren musikalischen Dauerstresses k&ouml;nnte man auch sagen. Es quietschen und kreischen da Kl&auml;nge auf einer zum Teil extrem lauten Basis. Das St&uuml;ck scheint kein Ziel zu kennen &ndash; und es bricht dann auch fast &uuml;berraschend ab. Gerade die die letzten sechs Sekunden klingen merkw&uuml;rdig anders. Wumm.<br \/>\n<!--more--><\/p>\n<p><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" data-attachment-id=\"204\" data-permalink=\"https:\/\/www.kritische-masse.de\/logbuch\/2005\/01\/wittgenstein-noch-einmal\/attachment-persepolis\/\" data-orig-file=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030726-masse-cd-xenakis-persepolis.jpg?fit=145%2C145&amp;ssl=1\" data-orig-size=\"145,145\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Persepolis\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030726-masse-cd-xenakis-persepolis.jpg?fit=145%2C145&amp;ssl=1\" class=\" alignright size-full wp-image-204\" hspace=\"5\" align=\"right\" src=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030726-masse-cd-xenakis-persepolis.jpg?resize=145%2C145&#038;ssl=1\" alt=\"Persepolis\" width=\"145\" height=\"145\" \/>Persepolis (1971) von Iannis Xenakis ist urspr&uuml;nglich f&uuml;r eine Outdoor-Auff&uuml;hrung an alten persischen Pl&auml;tzen gedacht gewesen &ndash; erg&auml;nzt um zahlreiche multimediale Zusatzbestandteile. Persepolis ist ein Tonbandst&uuml;ck aus &bdquo;konkreten Kl&auml;ngen&ldquo; in der L&auml;nge von 56 Minuten. 56 Minuten puren musikalischen Dauerstresses k&ouml;nnte man auch sagen. Es quietschen und kreischen da Kl&auml;nge auf einer zum Teil extrem lauten Basis. Das St&uuml;ck scheint kein Ziel zu kennen &ndash; und es bricht dann auch fast &uuml;berraschend ab. Gerade die die letzten sechs Sekunden klingen merkw&uuml;rdig anders. Wumm. Ein im wahrsten Sinne des Wortes dicker Kracher. Die CD reduziert das achtkanalige St&uuml;ck nat&uuml;rlich auf zwei Kan&auml;le. Auf der zweiten CD finden sich dann Remixe von Persepolis von Otomo Yoshihide, Ryoje Ikeda, Zbigniew Karkowski. Antimatter, Construction Kit, Francisco Lopez. Laminar, Merzbow und Ulf Langheinrich. Diese Remixe haben es zum Teil in sich. Ikedas &bdquo;Per Se&rdquo; scheint beinahe dazu angelegt, die Boxen der Anlage kaputt zu machen: Extreme Klangsituationen folgen da dicht an dicht. Viele der anderen Remixe machen sich &auml;hnliche Krachsituationen zu eigen. Das wirkt nicht immer so sicher, haut aber jedesmal rein. Dagegen ist das Original mit seiner 56-min&uuml;tigen Klangpr&auml;senz und -aufdringlichkeit noch von anderm Kaliber und sicher ein Standardwerk der computergest&uuml;tzen Komposition. <\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Iannis%20Xenakis%3A%20Persepolis%20%E2%80%93%20Remixes%20%28Edition%20I%29 https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F07%2Fiannis-xenakis-persepolis-remixes-edition-i%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" y2=\"79\" gradientUnits=\"userSpaceOnUse\"><stop stop-color=\"#6364FF\"\/><stop offset=\"1\" stop-color=\"#563ACC\"\/><\/linearGradient><\/defs><\/svg><\/span><span class=\"shariff-text\" style=\"color:#6364FF\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button bluesky shariff-nocustomcolor\" style=\"background-color:#84c4ff\"><a href=\"https:\/\/bsky.app\/intent\/compose?text=Iannis%20Xenakis%3A%20Persepolis%20%E2%80%93%20Remixes%20%28Edition%20I%29 https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F07%2Fiannis-xenakis-persepolis-remixes-edition-i%2F \" title=\"Bei Bluesky teilen\" aria-label=\"Bei Bluesky teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Persepolis ist ein Tonbandst&uuml;ck aus &bdquo;konkreten Kl&auml;ngen&ldquo; in der L&auml;nge von 56 Minuten. 56 Minuten puren musikalischen Dauerstresses k&ouml;nnte man auch sagen. Es quietschen und kreischen da Kl&auml;nge auf einer zum Teil extrem [&hellip;]<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Iannis%20Xenakis%3A%20Persepolis%20%E2%80%93%20Remixes%20%28Edition%20I%29 https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F07%2Fiannis-xenakis-persepolis-remixes-edition-i%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient 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alt='' src='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=96&#038;d=blank&#038;r=g' srcset='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=192&#038;d=blank&#038;r=g 2x' class='avatar avatar-96 photo' height='96' width='96' loading='lazy' decoding='async'\/>"],"featured_video":null,"jetpack-related-posts":[{"id":207,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/07\/iannis-xenakis-la-legende-d-eer-diatope\/","url_meta":{"origin":205,"position":0},"title":"Iannis Xenakis: La L\u00e9gende d\u2018eer [diatope]","author":"huflaikhan","date":"29. Juli 2003","format":false,"excerpt":"\u201ePi\u00e8ce electroacoustique pour bande 8 pistes 1977\/1978\u201c: ebenfalls so ein Monsterst\u00fcck f\u00fcr Tonband, das aber einen ganz anderen Aufbau als Persepolis hat. Nicht das dichte Gegrummel von Persepolis sondern viel ziselierter. Xenakis beschreibt sie folgenderma\u00dfen: \u201ePi\u00e8ce electroacoustique pour bande 8 pistes 1977\/1978\u201c: ebenfalls so ein Monsterst\u00fcck f\u00fcr Tonband, das aber\u2026","rel":"","context":"In &quot;Tontr\u00e4ger&quot;","block_context":{"text":"Tontr\u00e4ger","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/rezension\/tontrger\/"},"img":{"alt_text":"Legenden von Xenakis","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2003\/07\/20030726-masse-cd-xenakis-legende.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":297,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/12\/2003-topps-und-flopps\/","url_meta":{"origin":205,"position":1},"title":"2003 in Topps und Flopps","author":"huflaikhan","date":"20. Dezember 2003","format":false,"excerpt":"Es geh\u00f6rt sich nicht und doch passierts jetzt zum ersten Mal. Eine Liste mit sch\u00f6nen Dingen, die sich im letzten Jahr ergeben haben. Bei Nennungen handelt es sich daher nicht zwingend um Neuheiten. Musik Corinne Douarre: Virages Bernd Begemann: Rezession Baby! the broken beats: the weather beats the rhythm Iannis\u2026","rel":"","context":"Mit 2 Kommentaren","block_context":{"text":"Mit 2 Kommentaren","link":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/12\/2003-topps-und-flopps\/#comments"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":57,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/07\/cluster-experten\/","url_meta":{"origin":205,"position":2},"title":"Cluster: Experten","author":"huflaikhan","date":"14. Juli 2004","format":false,"excerpt":"Haben sie schon einmal versucht, Musik von Helmut Lachenmann aus dem Internet zu laden? Internet haben sie nicht? Sie Gl\u00fccklicher. Andernfalls: Probieren sie mal. \u0084Dal niente, al niente\u0093, sag ich nur, Null Komma nufftig. Dagegen findet man immerhin einiges von Iannis Xenakis oder John Cage. Ist eigentlich nicht so schlimm,\u2026","rel":"","context":"In &quot;nmz&quot;","block_context":{"text":"nmz","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/nmz\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2928,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2009\/11\/nach-der-digitalen-kaelte\/","url_meta":{"origin":205,"position":3},"title":"Nach der digitalen K\u00e4lte","author":"huflaikhan","date":"24. November 2009","format":false,"excerpt":"H\u00f6rte es und war vergn\u00fcgt. Der Xenakis des 18. Jahrhunderts. Dochdoch.","rel":"","context":"In \"Iannis Xenakis\"","block_context":{"text":"Iannis Xenakis","link":"https:\/\/www.kritische-masse.de\/logbuch\/tag\/iannisxenakis\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2465,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2008\/07\/schlag-zeug\/","url_meta":{"origin":205,"position":4},"title":"Schlag-Zeug","author":"huflaikhan","date":"18. Juli 2008","format":false,"excerpt":"Ist immer etwas schwierig, wenn man Vors\u00e4tzen untreu wird. Etwa: Videos einbauen. Denn das machen viele ganz gerne und auch manchmal sympathisch. Das Dekorative \u00fcberwiegt jedoch in vielen F\u00e4llen und das Auffinden des Absurden oder Kuriosen. Im Bereich der sog. E-Musik entwickelt sich aber eine ganze andere Welt auch. N\u00e4mlich\u2026","rel":"","context":"In &quot;das Netz&quot;","block_context":{"text":"das Netz","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/dasnetz\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":440,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/05\/musik-ist-keine-sprache\/","url_meta":{"origin":205,"position":5},"title":"\u00bbMusik ist keine Sprache\u00ab","author":"huflaikhan","date":"17. Mai 2004","format":false,"excerpt":"Endlich wieder die Signatur in der Newsgroup de.rec.musik.klassik eingesetzt: Musik ist keine Sprache. Jedes Musikst\u00fcck ist eine Art Felsblock in einer komplexen Form mit Schrammen und Mustern, die darauf und darein geritzt sind und die ein Mensch auf tausend verschiedene Weisen entziffern k\u00f6nnen, ohne dass eine dieser Weisen die beste\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/205","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=205"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/205\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media\/204"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=205"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=205"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=205"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}