XAS by Iannis Xenakis for saxophone quartetWelcome The blog Serge Bertocchi 1/2/17, 10(54 PM CD XASAX n°1 on Bandcamp Thuillier-Bertocchi Duo Historical Instruments Texts-Interviews Ensembles Cerbère Editions Sax Bicentenary Collection XASAX Rare instruments Pedagogical Collection Contacts XAS by Iannis Xenakis for saxophone quartet This piece by Iannis Xenakis, commissioned by the Rascher Saxophone Quartet was composed in 1987. It is written for the traditional quartet instrumentation of soprano, alto, tenor, and baritone saxophones. The title is an anagram of SAX: S (the single unbalanced letter of the title) is written backwards, in order to create a mirror image. One also might note a play on the name of XenAkiS (i.e. highlighting the outermost letters and the center of his name). since Xenakis never wrote for sax before, giving part of his name and reversing the inventor's name in the title is a kind of appropriation of the saxophone for his own use, for the use of his own music. This is also the only piece Xenakis wrote for the saxophone, since his concerto project was never composed. When listening, the work exudes a sense of power mixed with rudeness, despite a small instrumental ensemble. Note the main use of fff dynamic, which probably contributes greatly to this particular perception. The formal clarity is particularly noteworthy and the general architecture is simple enough (see the summary table realized below). The total theoretical duration of the piece is 8'32 ", but Xenakis states that tempi must evolve according to the acoustics of the space, and offers a typical duration of 9'00". The composer only briefly uses new techniques: some quarter tones and simple multiphonics (almost clarinets' broken sounds) punctuate the piece; on the contrary, most http://saxophonemes.fr/eng.saxophonemes.fr/XAS_2.html Page 1 of 11 XAS by Iannis Xenakis for saxophone quartet 1/2/17. but the old instruments the Rascher Quartet plays (dating from the first half of the century) do not have this extension. opposite and very disjointed pitches in sixteenth notes seems less ordered than a line of semi-joint thirty-second notes). It seems that the composer followed the wish of the dedicatees. it goes without saying that I consider this study as the analytical application of the work of the performer. 10(54 PM "attack modes" and tone colors (aside from extreme dynamics) are absent. The measure numbers indicated refer to the published Salabert score.Harmony: distribution of aggregates from narrow and regular to wide and irregular . evaded. which is now common on modern instruments.Melody : from joint to disjoint .fr/XAS_2.saxophonemes. time information (t) to the recording made by Xasax. essentially based on psycho-acoustic sensations.html Page 2 of 11 . track 7). specialized in the high register. a view of the piece illuminated from the inside out. or left to the performer's choice. The Material : As in most pieces of his same composing period. I had to define a rating scale of the degree of order from O = -5 to +5. and up to an eleventh on baritone above the theoretical limits of the respective instruments). for example : . But the exploration of the unheard by Xenakis is not only based on the development of particular techniques (the effect of which would soon be outdated). but also in an unconventional use of already known principles."Orchestration": Regular / in opposition / every man for himself b) Degrees of auditory perception -to identify the prevalence of a given parameter in relation to another. a minor ninth on alto and tenor. Seeking to identify. we note that he adopts the principle of a very extended high tessitura (a minor sixth on soprano.Rhythm: from regular flow to chaotic . The writing of this work came after the recording I made as part of Xasax. through the study of this piece. This scale is based on several concepts: a) Degrees of "mathematical" complexity of the parameters.g.Dynamics : from stable to moving . modular saxophone ensemble (EROL Records CD 7019. a joint melody with dynamic movement) -to determine the relative degree of instability of each parameter with respect to others in the juxtapositions (e. Xenakis uses two "out-of-time http://saxophonemes. in the case of opposite treatments (e. the practical implications of Xenakis' work on the notions of order and disorder.g.fr/eng. However. the low C on the baritone is omitted. On the contrary. http://saxophonemes. which do not repeat at the octave.saxophonemes. and are explored in several ways in the piece (here classified by degree of order).fr/eng.fr/XAS_2. 10(54 PM sieves" as base material: scales A and B.XAS by Iannis Xenakis for saxophone quartet 1/2/17.html Page 3 of 11 . Both scales are complementary with the exception of a single note: F# 2. and are only temporarily "forgotten" during the introduction. and central random passages. A and B scales are present throughout the whole of the work. coda. O = +5. but since it is obtained by a shift of instrumental entrances. t = 6 '08 ". but sometimes with a mixture of sieves A and B to form complex "chords.). In this example.saxophonemes. It is interesting to note that Xenakis chose the center point (bar 50 of this 100-bars piece) to adopt this particularly stable process. compact chords are commonly used in opposite registers (bass/treble in bar 31.g. O = -1). while the previous passage was an example of a totally random cloud (i. t = 4 '10 ".g. creating a sense of calm. The same type of rhythmic writing technique is used in the figures of the "stuttering" solo alto saxophone (bar 22).e. as in bar 25. bars 73-81. usually high-pitched homorythmic pointed rythms . which is similar perceptually to the highest degree of order in the score. t = 2'37 ". http://saxophonemes. O = -2 and +2). built on the rhythmic patterns of "Calls.XAS by Iannis Xenakis for saxophone quartet 1/2/17.html Page 4 of 11 . A comparable process is the use of very tight canons (at the sixteenth note and in unison): first appearing in the piece in bar 10 (t = 0 ' 53 ". despite extremely loud dynamics (fff)." generally consist of four joint notes from the same sieve (e.fr/XAS_2. 10(54 PM Sieves A and B appear first in the form of parallel and joint scales (e. Aggregates. t = 0 '47 " O = 2).) Both sieves are also the basis of "calls" (i. bar 9).e. O = 4. .fr/eng.) The result is quite similar to the joint scales. the estimated order degree is +4 (or even +3 when the rhythmic values are unequal. the long held notes follow a rhythmically agitated and complex section.g. or O = -5). order: bar 9." In these passages Xenakis desired to hear an ‘Organ’-like sound. the lowest level of order. the impression of verticality is blurred at the beginning of every phrase and on each held note. In this type of playing. introduction and bars 50-53. The four instruments must then play in a homogeneous and continuous way despite the great leaps of range and respiratory needs of the performers (e. Here. iterative. pointed. We find the same principle of vertical construction. In the two examples above. since it opposes.XAS by Iannis Xenakis for saxophone quartet 1/2/17. http://saxophonemes. B regular) in bars 31/32 and 73/81: one may refer to this analysis for a better understanding of these "harmonies" of Xenakis. regular and ordered "chords" in the treble register.html Page 5 of 11 . on equal note values.fr/eng.saxophonemes. I analyzed the distribution of notes of the two sieves (A in bold.fr/XAS_2. These aggregates of consecutive even or odd degrees of sieve B (which would sound like major seventh chords) are against the more complex superpositions of the two sieves (BABA) in the low register. 10(54 PM The construction of aggregates is particularly interesting here. and with opposing dynamics (fff against mf). acting as a sort of "herald" of the generative material used in the rest of the piece. t = 7 '11 ") in time and space.g.XAS by Iannis Xenakis for saxophone quartet 1/2/17. particularly in the opening and final passages. The degree of disorder is created by the simultaneous use of both sieves. Occasional techniques Apart from writing processes developed throughout the piece as described above. where the rhythms are at the discretion of space distribution in the score. short agitated 32nd note values are emphasized by the random movement of the four instruments. It is then their incongruity in the discourse of Xenakis that is striking. it is also here that we find the only F# 2 of the piece (with the exception of the Coda. These techniques are generally related to sound acoustics: 1/4 tones. In the example. where the outer voices are opposed to the medium in a alternative 14 notes against 15 during 8 bars: the effect obtained oscillates between a paradoxical impression of simultaneous stability and instability. slow vibrato (or waves).g. 10(54 PM With "independent lines" (e.saxophonemes. The advantage of this method lies in the possibility of brief rhythmic (and sometimes melodic) stabilization (mm. C. t = 1 '37 ". In the quicker figures. Xenakis uses fragments of sieves A (soprano) and B (alto). t = 3 '26 ". O = -3). Xenakis nevertheless follows a general strategy that brings the saxophones from an extreme high to extreme low register: individual lines are driven by random processes. amplified by the regular or animated use of dynamics.g. the use of totally random "Clouds. Xenakis builds three short http://saxophonemes. As if to emphasize the "alien" aspect of this passage. Bars 66 to 73 provide an interesting special case of “fixed” ataxia (t = 5 '35 ". a principle of controlled delay between different voices by the use of highly complex rhythmic layering. Finally. bars 54-58. end 57-early 58). +1 to -1).g.html Page 6 of 11 . the writing of pitches is mainly unstructured. bars 19-21. where it appears twice in the baritone part). bars 1-6 ) in order to change the base material. and split sounds (multiphonics). But they can also sound quite "ordinary" in a classical acception." (e. In the central part. where the pitches are freed from the rule of the sieves. thus played and perceived as equal. Xenakis manages to create an extreme illusion of disorder: the next step in this direction is the realization of totally random events. creating a striking mass effect. the instruments grouped in pairs (A: soprano and tenor. I allowed myself to isolate an "Introduction" (bars 19) and "Coda" (bars 88-100). 40-49.g. t = 4 '31 ". O = -5) images of the most complete disorder. but borrows momentarily from other scales (e. Xenakis sporadically employed special techniques. as Xenakis’ development takes the form of "Arborescences" a process that he had abandoned for several years.fr/XAS_2. Xenakis uses a variety of "Distortions" of pitches (e. increased by vehement dynamic and punchy staccato. tenor and baritone). bars 88-94. apparently lacking any relation. In the initial part. B: alto and baritone). O = -4).fr/eng. Because of these stylistic breakthroughs.g. In the coda. This writing sometimes leads to a form of "Ataxia" (e. as in the case of the use of unison or trills : what is striking is their incongruity in Xenakis' writing. based on rotations and permutations of intervals and simple cells (e. in addition to the presentation of sieve A. The writing is then essentially chromatic. mm. as the transformation of an aleatoric cloud into joint scales is united by a progressive fixation on certain pitches (bar 50). in "compact writing. The main break is placed exactly at the center of the piece (bar 50). which was discussed in the "Material" section. alto. The first part of the work (bars 10-50) can be read as a journey from the highest order (canons at the sixteenth note in bars 10-16. ten. recalling the process of the 3rd rarefaction. On the contrary. Second. it does not indicate the predominance of a particular instrument relative to another: this passage seems rather to serve as a "bridge" between the recall of 34 and the final "chords. during which each bar alternates the development of B. then A again. The third rarefaction is entrusted mainly to the baritone saxophone (bars 34-39).fr/eng. The successive entries here are: bar. in the form of long low notes in multiphonics ("split sounds"). 10(54 PM passages that I call "rarefactions". But. A fourth kind of rarefaction starts in bar 81. before being joined by the other three (soprano. in which Xenakis chose to explore a specific aspect or instrumental technique. with staggering (almost) inverted instrumental entries in the altissimo register (s. O = -5). and dissolves in the great central "aleatoric cloud". solo or accompanied by long tones. Note that the control of random processes allows the author to generate very convincing mass movements.saxophonemes. but I am interested mainly in relations between the two parts. desynchronised. a. then are doubled as an echo by the baritone at a very soft dynamic. which can http://saxophonemes. joined by the baritone holding a note in the low register (bar 85). s). is a kind of solo screaming in an extremely high register played at full power. Order and form Of particular note is the elegance of changes in the level of order in the piece. tenor and alto. t. entrusted to the soprano saxophone. bars 97-100." The contrast between the three instruments in the altissimo register (because of its bias of extended tessitura) and baritone in the low register.html Page 7 of 11 . t = 8 '00 ") designed to generate the most curious of the "effects" in the piece: three (later two) altissimo notes played simultaneously generate an audible difference tone. I will not repeat here the details of the first half of this paper. A. The first is a stuttering solo by the alto sax in the low register (bars 22-24. these sections are representative of the specific nature of the solo instrument. O = -4 to +4). where it contrasts a completely random section (rhythm and pitches) with parallel scales of Sieve A (O = 5).g. supported by punctuation in the other three voices.fr/XAS_2. These breaks are particularly noteworthy since the four instruments are normally used together. using the same technique).g. sop." and are treated as roughly equivalent without undue concern for their "idiomatic" considerations. This major breakthrough is immediately followed by the passage containing maximum movement between order and disorder (e. a. O = 4) to complete disorder (“clouds” in measures 40-49. They consist of moments of "rest" where one of the voices is highlighted. and at a medium dynamic. t = 1 '51 ").XAS by Iannis Xenakis for saxophone quartet 1/2/17. is at the end of the work (e. which bursts into multiphonics (bars 86 and 87). t = 3 '26 ". in an attempt at "melodism" that is quickly integrated into the canonic writing that follows. bars 54-65. fr/eng. Note that the average size of the sections of the second part is larger than the first: their number is reduced accordingly. the ‘Organ’ tutti of bar 59 is in sixteenth notes. Nevertheless I want to identify four of these "uncertainties": Bar 5.fr/XAS_2. t = 6'08 ". This is both a reminder of the 3rd rarefaction and an anticipation of the end of the piece. linking between the last note of the alto saxophone and the first note of the soprano: the connection between these two notes seems to have slipped from one staff to http://saxophonemes. 10(54 PM therefore be considered the peak of instability. the soprano and baritone on one hand. The following passage (bars 73-81. Among other examples. which seems to be contrary to the composer’s will. whereas C in bass clef is borrowed from sieve B. disorder." or controlled. The independent lines of bar 60 are distributed over a wide ambitus and each voice remains stable. I think this passage is representative of a search for a "partial. which shouldn't appear before bar 8. Errata? Some passages are still at odds with the analysis: it is difficult to know if these are copying errors. or a lack of finesse in this same analysis. the last note of the baritone saxophone: it makes more sense to read the note in treble clef (a). which opens with the presence of shrill cries.saxophonemes. The cloud in measures 61-62 remains fixed on Sieve B. Bar 19. followed by low sounds and multiphonics. This second part is a kind of blurred mirror centered around the physical center of the piece. as in bars 19-21. the end of the piece is conceived as a move towards stability. based on complex aggregates juxtaposing and superimposing the two original sieves (see musical examples). This very animated section is followed by a paradoxically calm passage that I call "fixed Ataxia" (bars 66-73. From there on. Distorted images of the main sections of the first part can be found here in the form of "montages" in which the composer chooses to modify some of the original parameters. as the following two sections operate a return to a less severe disorder: firstly a partial disorder is stabilized (bars 66-73) the long ‘organ’-like sounds ensue (bars 73-81).2) is another form of altered recall based on the organ sounds of bar 31. t = 5'35" O = -3) based on a particularly complicated rhythm of 14 against 15. It is also the only two notes (F and G. Supporting this rhythmic "unstable stability" are violent dynamic (p to fff) and tessitura changes. the alto and tenor on the other hand.XAS by Iannis Xenakis for saxophone quartet 1/2/17. which would reconstitute a joint aggregate of sieve A merging perfectly with bar 6. unless we decide to separate in small parts the section of "maximum movement" (bars 54-65) in each of its components. twice as fast as the "original" in bar 31. O =. 2nd and 3rd notes of the 2nd beat) that foray outside of the assigned sieve … Bars 24/25. this time expanded over very long values. . the baritone saxophone is written here without indicating 8va. the aesthetic choice of the composer. each instrument playing alternately with his vis-à-vis. without mass movement. This section then connects to bars 81-87. whereas its model from bars 40-49 is generated from completely random pitches.html Page 8 of 11 . http://saxophonemes.XAS by Iannis Xenakis for saxophone quartet 1/2/17. We can therefore thank Xenakis for his laudable non-conformism.saxophonemes. These composers have also "dared" to confront the many unexplored possibilities of this rich formation of chamber music. remember) and its performers have reached sufficient maturity not to be dissuaded by their first impressions. Is this a question of relay? The alto sax indeed begins the canon in the next bar. translated with the precious help of Sean Fredenburg. Dufourt. to name a few.fr/eng. When the saxophone (the newest of the wind instruments. it is not unreasonable to suggest that this piece will become the major "classic" of the repertoire of the twentieth century for the instrument.html Page 9 of 11 ..fr/XAS_2. Text by Serge Bertocchi. XAS by Iannis Xenakis is (or has become) one of the most compelling pieces for saxophone quartet. 10(54 PM another. we could find a beautiful harmony of sieves. one might even consider it as the first “serious” piece that was written by a major composer for this type of ensemble. originally published in «Présences de Iannis Xenakis» (CDMC).probably due to the necessary high technical and musical level required to play it –. Cage. This was often previously considered as ridiculous or in bad taste (similar to the brass quintet). Conclusion Twelve years after its creation. The saxophone quartets who decided to add XAS to their repertoire are rare . beneath a harsh and angular exterior. which is not quite adequate here. Over time. since the publication of XAS. Indeed. all serious and unresolved chords are BABA except the last (7° eighth note) which is BBBA. If the tenor played a minor third lower. we find a generous and powerful work perfectly architected and teeming with musical ideas that even an unprepared public audience applauds. In fact. Bar 31. as the saxophone was limited to its role in popular music and jazz by most major composers of the twentieth (as well as the nineteenth) century. the saxophone repertoire has been enriched with other prestigious and valuable pieces by Donatoni.. and Aperghis. But it should be noted that this is a piece that is frequently performed at saxophone quartet concerts. a Bb instead of the written Db. after he has just played his stuttering solo. which certainly contributed to the current passion for saxophone quartet. But that would also alas produce the harmony of a minor seventh chord. XAS by Iannis Xenakis for saxophone quartet http://saxophonemes.html 1/2/17. 10(54 PM Page 10 of 11 .saxophonemes.fr/XAS_2.fr/eng. fr/eng.XAS by Iannis Xenakis for saxophone quartet http://saxophonemes. 10(54 PM Page 11 of 11 .html 1/2/17.fr/XAS_2.saxophonemes.
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