Biographies of composers artists

The shrapnel of the British tank mutilated his left half of his face; Xenakis survived the contusion and lost one eye. Starting from the year, when in Greece, cleaning among the Communists and former resistance fighters began, according to fake documents, he fled to Italy, and then to France, where he was illegally. His father, brother and many friends who remained in Greece ended up in prison; Ksenakis himself at home was accused of treason and sentenced in absentia to the death penalty - at the beginning of X it was replaced by summer imprisonment, and the verdict was abolished only in M, with the fall in Greece of the right dictatorship.

The culmination of his work at Le Corbusier was the Philips pavilion: the illustrious design built for the World Exhibition in Brussels in the city of Korbezier, extremely loaded with work on the architectural complex of the city of Chandigarch in India, was the author of the concept and sketch of the pavilion, but completely delegated its design to xenakis, which created the working drawings.

And he led the process of construction. Deprived of the facade, consisting of curved "fluid" forms and dynamic planes "twisting" into hyperbolic paraboloids, the pavilion reflected the composer classes and interests of Xenakis: “We want it or not, but there is a bridge between architecture and music. It is based on the structures of our psyche, which in both cases are the same. When designing the Philips pavilion, I borrowed ideas from orchestral music that I composed at that time, ”he said.

Corbusier was planned as a multimedia space: “Symphony will sound in this room, depicting the liberated forces of electronics in musical forms. The performance will include images, color and musical rhythms. The electronic poem will be combined together that before that could be perceived separately: a movie, a musical record, color, word, noise and silence.

The action of the poem will unfold in front of the audience for 10 minutes at each session. ” A visit to the pavilion meant listening to music: its authors were the French-American avant-garde Edgar Varez and Xenakis himself. His work was Musique Concrete - “specific music”. This is the name of the direction associated with the use and editing of the sounds of the physical world.

The miniature “Concrete PH”, which sounded at the entrance and exit from the pavilion, has an almost physiological effect on the listener and creates the illusion of an essential, “textured” sound environment, which, it seems, can be perceived not by hearing, but with a touch of miniature. There is no musical material in it: Xenakis used the hiss of hot coals, turning the natural sounds into a “coarse-grained” noise veil, creating an Aspr-Relations.

Its name refers to the architectural structure: an ecumenical chapel located in Houston, Texas and bearing the name of the artist Mark Rotko. Its construction was initiated by patrons and art collectors John and Dominic de Menil in the year. Their idea was the creation of a prayer space, initially a Catholic, but now open to followers of any beliefs. It functions as sacred, but not belonging to any organized religion; performed by the artist - but not museumified; Modern - but associatively related to the traditions of the cult structures of different civilizations.

The result was a small octagonal building, inscribed in a Greek cross, lined with pink-beige stone, without windows, but with glass arches of ceilings that pass the light. Inside, benches are placed for prayer or meditation, and on the walls - fourteen paintings of the mouth: single work and several triptychs. Super -chanted, almost monochrome, they are huge fields of elusively different shades of black and create an ambivalent effect characteristic of the painting: this is tension and peace, burning saturation and a figurative vacuum.

The artist himself did not live until the opening of the chapel and did not see the picture in her interior: in M, he committed suicide. Morton Feldman throughout his life was close to the aesthetics of abstract expressionism and the circle of artists associated with it. In the year, he was present at the opening of the chapel, having received from the couple of de Menil a request to write music of Rotko’s memory.

The play sounded in the city in a paradoxical combination of semantic density and ice statics, which refers, according to the composer, to the antique marble frieze, it can be considered a direct sound embodiment of architecture, interior and painting of the chapel; A strange precedent of the “cooperation” of two masters, one of whom was already beyond the line of earthly life.

Or - as a participant in Yellow Magic Orchestra, pioneers of dance electronics, in terms of influence comparable to Kraftwerk. However, the Japanese master, who received a fundamental academic education, was interested in the most different music-from frer-jazz to experimental electronics. There are two operas in the portfolio of Sakamoto, implemented together with the artist of Shiro Takatan, the creator of the Dumb Type art group, which in the middle of X took up technological art.

To start with the fact that Sakamoto-Takatani almost does not sing. In addition, they are not characteristic of the genre of fascinating stories: murders, suicides or magic, and in general there is no linear narrative. Having combined the elements of the Japanese theater, the high -tech video art, Contemporary Dance and the performance, Sakamoto and Takatani created a separate genre, which became the successor to both the western and oriental tradition.

The same applies to music - in his scores, Sakamoto skillfully used the instrumentation of all time: here is the Malera Symphonism and Folk - Japanese and African, and the recorded voices of famous historical characters, and abstract electronic landscapes, and his beloved “impressionist” piano, enhanced by the exoskeleton of synthesized timbres. In total, however, it turns out not a crazy eclectic mishmash, but distinctive polystilicism.

She is an exceptional pop star from Iceland, he is a fashionable American artist creating total installations and Hollywood levels of video art. Their relationship lasted 13 years and ended with a break, but two fruits of love-the daughter of Isador and the film “Drawing Restraint 9” of the art films by Matthew Barney, including the Kremaster, which glorified him, similar to dreams that it is pointless to retell-this is difficult, and magic disappears.

We will only say that in “Drawing Restraint 9” the climax between the lovers played by Bjork and Barney plays on a Japanese whaling ship that has fallen into the storm. In the gusts of passion, they cut each other with knives, which can be considered a vivid way of all -devouring love and a metaphorical announcement of what the novel of two outstanding artists will end.

After a decade, he will try to sue her parental rights to her daughter, and she will divert their gap in the Vulnicura album by the artist filled the surreal world “Drawing Restraint 9” references to the traditional culture of Japan - from tea ceremonies to Sintoi wedding rites. Therefore, before recording the soundtrack to the film, Bjork went to Japan, where she plunged into the study of folk music, and then filled her with her own composition.

The main role in the soundtrack is divided among themselves by the famous voice of the Icelandic singer and an ancient instrument of SO: the Japanese province reed organ, the mysterious sounds from which it extracts Miyumi MIITA, by the way, soloys the opera of RUIITI SAKAMOTO TIME. The soundtrack to “Drawing Restraint 9” sounds more experimentally than the studio albums of Bjork, but it looks like a logical result of the singer’s unquenchable traction to the combination of opposites: the east and west, folk and electronics, a beautiful nasal melody and sound chaos.

As you know, different magnetic poles are attracted to each other - Bjork and Barney once again proved it. The premieres of the writings of a pioneer of minimalism often took place in famous museums and galleries; The composer is married to a video artist Beryl Korot, with whom he made two multimedia operas - “Cave” and “Three Stories”. The composition appeared after the famous German artist Gerhard Richter asked him to make music for his film “Moving Picture”.

The idea of ​​Richter was to show the process of deconstruction of one of its abstract paintings: its decay into the basic color elements of the strip and the creation of an infinite set of new images from them. The composition of the Reich does not complement the video art of Richter, but literally transposes it to the language of music, preserving the original author’s plan and arched structure - the movement from the primary element to complex abstraction and subsequent disintegration of atoms.

Reich begins with the simplest musical pattern of two sixteenth notes and, reacting to each change in the picture and gradually increasing the duration, builds a grandiose sound labyrinth from it, which will again be disassembled to the bricks. In all its brilliance and virtuosity, it demonstrates the skill of the composer, who brought its minimalist techniques to perfection and at the same time continues to look for something new.

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