Klarinet Archive - Posting 000201.txt from 2004/02

From: Tony Pay <tony.p@-----.org>
Subj: Re: [kl] Multiphonics in general
Date: Fri, 13 Feb 2004 17:15:30 -0500

In message <20040213.163850.-476921.1.jvarineau@-----.com> you wrote:

> This discussion of multiphonics reminds me of Iannis Xenakis' "Charisma".
> Towards the end of this very short piece he writes a low E, and then two
> and three octaves above that low E, with square shaped notes (denoting
> harmonics), two more e's.
>
> I was very frustrated with Xenakis because of his apparent flaunting of
> the clarinet's inablility to overblow at the octave and yet he wrote
> these darned octave harmonics! I was somewhat comforted when I heard a
> recording of the work where the performer was no more successful getting
> the written pitches than I. What Xenakis wanted is still a mystery to me.

Well, funnily enough, I can do this. It's not easy to hit 'out of the blue',
or at varying dynamics, but the result is recognisable. (I don't say that I
manage to be reliable in performance with 'Charisma'.)

I need to develop a secure technique; but one way of approaching the
experience is to extend the downward glissando of the complete low E
multiphonic well beyond what you would normally do. It needs a quite precise
and very 'high' and crowded tongue position.

> This also reminds me of an anecdote about Xenakis. He is also a
> mathmetician. Apparently at math conventions, when he is discussed,
> mathmeticians freely admit that, although he wasn't a very good at
> mathmatics, he was a fine composer. At music conventions, apparently
> musicians mention that although he wasn't a very good composer, he was an
> excellent mathmetician!

My own experience of Xenakis's music is that I'm very often very taken with
the results when I listen in the concert hall, but find it very hard work to
play myself.

For example, I remember hearing a new piece played by the London Sinfonietta,
and thinking that it was very striking and original. When I went backstage
to congratulate my colleagues, they were all complaint: "Oh my God, what a
torment! We'll be glad to get out of here!"

Similarly, when I played 'Charisma' in a clarinet, 'cello and piano recital,
the audience was very appreciative of that piece in particular, even though I
found it very difficult and frustrating personally.

I think he's doing *something* right.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd tony.p@-----.org
| |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
tel/fax 01865 553339

... I refuse to star in your psychodrama.

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