<<  -- 5 --  Bill Newman    BERLIN FESTIVAL DIARY

I remember pricking up my ears when first listening to orchestral music by Iannis Xenakis, the Romanian born Greek composer. A mathematical-musical genius he may be, but I must admit defeat when I heard the Scharoun Ensemble, key personnel of the Berlin Philharmonic Orchestra, with guests -- Olaf Ott, trombone and Christoph Mueller, directing (2 works*) perform Evryali,* Keren, Embellie, Kottos, Anaktoria*. While in Paris, Xenakis studied with Honegger and Milhaud, later on with Messiaen; then with Hermann Scherchen at Gravesano in Switzerland.

Fighting in the German resistance during the Second World War, he obtained an engineering degree in Athens and designed the Philips Pavilion in Brussels, subsequently teaching automated music in Paris and at Indiana University. Basically, Xenakis aims to dominate his musical material -- predetermined from the outset with calculations by himself or by computer -- which is printed out for musicians to perform. Whether or not I was self-consciously cautious when listening to works I did not know, I certainly felt left out of the picture, gazing at budding Einsteins in the audience perched on the edge of their seats literally drooling over the 'adventures in new sounds' (quoting the programme notes).

They arrived unexpectedly in piercing fashion, notably from clarinettist Peter Geisler, while his eminent colleagues (Klaus Thunemann, bassoon; Stefan Jezierski, horn; Alessandro Cappone and Aleksandar Ivic, violins; Ulrich Knärzer, viola; Richard Duven, cello and Peter Riegellbauer, double bass) timed their 'scrunches' and sforzandi with startling aplomb. For me to say more would be foolish. I certainly found György Ligeti's Trio for violin, horn and piano 'Homage to Brahms', 6 Bagatelles for wind quintet, and the Chamber Concerto for 13 instruments far easier to grasp. Here there was definite line and rhythmic pulse to clear my muddled head. The composer's conjurations were decidedly lyrical or pungently satirical, as in the last two pieces. The roster of artists also included the Philharmonisches Bläserquintett, with Majella Stockhausen, piano and celeste and Holger Groschopp, harmonium and harpsichord.

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