{"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 shariff-align-left shariff-widget-align-left\"><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 facebook shariff-nocustomcolor\" style=\"background-color:#4273c8\"><a href=\"https:\/\/www.facebook.com\/sharer\/sharer.php?u=https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F07%2Fiannis-xenakis-persepolis-remixes-edition-i%2F\" title=\"Bei Facebook teilen\" aria-label=\"Bei Facebook teilen\" role=\"button\" rel=\"nofollow\" class=\"shariff-link\" style=\"; 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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 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