theoctapus είπε:
Βέβαια ύψιστη μαγκιά θα ήταν να έχεις την δεξιοτεχνία ΚΑΙ να προσφέρεις ένα εύηχο αποτέλεσμα. Αλλά μάλλον είναι δύσκολο να το πετύχεις μ' αυτά τα μέσα.
Διάβασε το παρακάτω απόσπασμα συνέντευξης, για να δεις τι εστί Ξενάκης. Θα σου προκαλέσει ανάμικτα συναισθήματα.
Lansky:
I have another question I'd like to ask. You're an architect, and mathematician, and philosopher, and composer, and it's obvious that you bring all these things to bear in your music, at least I like to think it's obvious. Now the question I have is, what do you expect of your audiences, in other words, since all these things are, in a sense, brought to bear in your music, what kinds of expectations do you have that listeners will, will...
Xenakis: That's an easy question.
Lansky:
I'm glad I've got an easy one.
Xenakis: I don't care what they think. There are so many different kinds of audiences. I can't do a statistical thing: I prefer these audiences; therefore, I will write a specific music for them. No. The problem is what is the specific interest in what I am doing, and that's the important thing. And if the solutions are interesting, then perhaps there will be two or three people at the beginning, and then more than that. But who cares? I'll be dead in ten years, or maybe five, or maybe tomorrow. You are not responsible for what has been done. There are composers who write their compositions thirty years late. I don't believe in that because then they belong to a stratum that is in the past. If the public is interested in that, it is the public's fault.
Lansky:
Let me make my question a little harder, then. One of the things that Roger was getting at in his question is that there is a conception of music and entertainment in which it's a one-time experience, in other words, people will turn on the television or watch a movie and basically go from beginning to end without having any difficulty understanding it; and it'll be something that they won't want to do again. Now, this is obviously, at least I think this is obviously, not the case with our music. I would state strongly that it's not the case with your music, because I would say, in many cases, your music is very difficult and it presents a great many challenges. Now, I can't believe that you do not regard yourself as challenging listeners to rise to the conceptions of your music.
Xenakis: My problem is not to challenge the listener, no, no. To challenge myself, yes. And that is the most difficult thing, to understand, to do, and not to be driven or absorbed by your success, by the thought of a possible success or of making money out of your music. That's very important. I think that at the conservatories, whatever, or the painting schools, or even the architectural schools, that's not clearly enough stated. That is, that what they are doing is for the sake of what they are doing, the object that they are doing, not to gain money or to be wealthy or to be glorious or, as I said before, to obtain the Nobel Prize. Many people are doing that, just that.
Lansky:
I'm not talking about that. I'm talking about questions of understanding.
Xenakis: Once again, if I understand that (I think that everyone's like me; I'm not exceptional.), so everybody should understand that.
Lansky:
Everybody should understand. If you understand it, everybody understands it.
Xenakis: Right.
