Uploaded October 2017 | Updated September 2026, 5 days ago
Anton Webern's Concerto for Nine Instruments, Op. 24 (German, Konzert für neun Instrumente, op. 24, 1934) is a twelve-tone concerto for nine instruments: flute, oboe, clarinet, horn, trumpet, trombone, violin, viola, and piano; containing three movements: I. Etwas lebhaft, II. Sehr langsam, and III. Sehr rasch; and composed with a derived row, often cited [such as by Milton Babbitt (1972)] as a paragon of symmetrical construction.
In the words of Luigi Dallapiccola: a work of incredible conciseness . . . and of unique concentration . . . . Although I did not understand the work completely, I had the feeling of finding an aesthetic and stylistic unity as great as I could wish for. [Prague, September 5, 1935].
The second movement limits quite severely the values of many domains, for example featuring only two durational values (quarter and half note[s]), and, partly as a result, features great uniformity in texture and gesture.
The opening displays [the Concerto's] distinctive trichordal structuring, four of which comprise an aggregate, or partition. The six combinations of [the partition's] trichords generate three pairs of complementary hexachords. Webern takes full advantage of this property [its fourfold degree of symmetry] in the Concerto, that under four appropriate transformations (T0T6I5IB), the tone row maintains its unordered trichords (j=019,091,etc., k=2te, l=367, and m=458). The hexachord featured is sometimes called the 'Ode-to-Napoleon' hexachord (014589).
Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 8 Jessie Linux System.
Anton Webern's Concerto for Nine Instruments, Op. 24 (German, Konzert für neun Instrumente, op. 24, 1934) is a twelve-tone concerto for nine instruments: flute, oboe, clarinet, horn, trumpet, trombone, violin, viola, and piano; containing three movements: I. Etwas lebhaft, II. Sehr langsam, and III. Sehr rasch; and composed with a derived row, often cited [such as by Milton Babbitt (1972)] as a paragon of symmetrical construction.
In the words of Luigi Dallapiccola: a work of incredible conciseness . . . and of unique concentration . . . . Although I did not understand the work completely, I had the feeling of finding an aesthetic and stylistic unity as great as I could wish for. [Prague, September 5, 1935].
The second movement limits quite severely the values of many domains, for example featuring only two durational values (quarter and half note[s]), and, partly as a result, features great uniformity in texture and gesture.
The opening displays [the Concerto's] distinctive trichordal structuring, four of which comprise an aggregate, or partition. The six combinations of [the partition's] trichords generate three pairs of complementary hexachords. Webern takes full advantage of this property [its fourfold degree of symmetry] in the Concerto, that under four appropriate transformations (T0T6I5IB), the tone row maintains its unordered trichords (j=019,091,etc., k=2te, l=367, and m=458). The hexachord featured is sometimes called the 'Ode-to-Napoleon' hexachord (014589).
Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 8 Jessie Linux System.
![Jean-Claude Risset - Sud (1985) [Full Version]](https://i.ytimg.com/vi/Fhj2O4jToKI/mqdefault.jpg "Jean-Claude Risset - Sud (1985) [Full Version]
Jean-Claude Risset - Sud (1985)
This work was commissioned by the French Ministry of Culture, from a project initiated by the GRM, where it was produced circa 1984-1985. The piece mainly uses sounds recorded in the Massif des Calanques, south of Marseille, as well as sounds synthesized via a computer (again in Marseille). These sounds were then treated via another computer at the GRM. The natural and synthetic sounds are first presented separately. Along the piece, they increasingly merge, through mixing and processing. Thus real bird songs, as well as synthetic bird-like or insect-like sounds, have been spatialised. In the third movement, the filtering of birds caws first appears as a colored echo, later as a genuine birds raga using the defective scale. The origin of the many sounds deduced from the germinal material can be ascribed to a family tree displaying the sonic proliferation and resembling a rhizome. (J-C. R.)
Video created with Sonic Visualizer and Vokoscreen on an OpenSUSE 12.3 Linux System.")
![Christian Zanési - Arkheion, les voix de Pierre Schaeffer [1996]](https://i.ytimg.com/vi/HJnLZvBk3KI/mqdefault.jpg "Christian Zanési - Arkheion, les voix de Pierre Schaeffer [1996]
Former student of Guy Maneveau and Marie-Françoise Lacaze at the Pau University (South of France) (1974–1975), of Pierre Schaeffer and Guy Reibel at the Paris Conservatory (1976–1977).
In 1977 he joined the Groupe de Recherches Musicales (GRM). There, he learnt and practised all the technical skills linked to sound, thanks to a wide range of experiences, productions and encounters.
He has initiated many projects in the field of radio, publications and musical events including: the Electromania radio show on France Musique, the festival Présences électronique and the CD box sets « Archives GRM », « Bernard Parmegiani, l’œuvre musicale », « Luc Ferrari, l’œuvre électronique ».
He currently is the artistic director of the Ina GRM.
Since the 90s Christian Zanési has been composing from his home studio and drawing his inspiration from the poetic encounter with remarkable sounds.
In 2011, Christian Zanési takes part in Jérémie Carbonis Musique(s) électronique(s) documentary on Electronic music.
video created with vokoscreen and Sonic Visualizer on a Kubuntu 14.04 LTS Linux System.")
