Figure 1. Genealogy of La Légende d’Eer : the production in Cologne at Elektronisches Studio des Westdeutschen Rundfunks, later mixes, digitizations and CD releases.
Reinhold Friedl (Berlin, Germany)
ABSTRACT
La Légende d’Eer is the musical part of the so-called Diatope, a multimedia event by Iannis Xenakis, premiered in 1978. This article focuses on this composition as an example for critical editing of electroacoustic music. La Légende d’Eer not only includs a broad collection of typical editorial difficulties in electroacoustic music, but also possesses unusually large and multifaceted source materials : from analogue material tapes, not only of the piece itself, but also from the production process, different multitrack-tapes, different commercial CD releases, different digitizations, a score to correspondence between different partners. Furthermore, as both the WDR and the edition house Salabert (now Durand-Salabert-Eschig as a part of Universal Music) gave access to their archives and as some of the protagonists are still alive, it was possible to interview them and to try to reconstruct the production and editing processes that happened to the piece. A discussion of the difference between mistakes and interpretations became possible. This finally leads to a discussion of the different nature of a critical edition of electroacoustic music in comparison to a classical music or text edition. And the example of Xenakis’s La Légende d’Eer shows that critical editing can lead to multiple results : the discovery of unknown methods used by the composer, a more or less complete genealogy of the studio production and the editing processes, and the implications of all that : the composer’s notion of work, his approach to interpretation, and at least sharpening the practical question of which version should be played today and in what way ? To underline the importance of this question : an official performance version of La Légende d’Eer, sent to a German concert promoter in 2011, turned out to have been digitized backwards.
The starting point for this research was to ask about Xenakis’s concept of work, especially in his electroacoustic music. Did he think about electroacoustic music as fixed media, or did he have a more flexible and open concept ? The first approach to this question was to compare different versions of his electroacoustic compositions and to find out if there are any differences. If so, this might indicate that Xenakis included in his concept that there can be different versions of the same composition. Comparing the different commercial releases of Persepolis80, it turned out, that one CD release had been transferred from the master tape at the wrong sample rate81, another one82 was missing about three minutes in the middle of the piece83. So my first assumption, that the existence of different versions shows already an open concept of work, was wrong : a different version can just be the result of an interpretation or a technical fault. The question “what is a fault” stems from the birth of philology in the 3rd century A.D. and the beginning of the development of editing techniques, in order to put further interpretations on a solid base.
Persepolis (ca 54’) and La Légende d’Eer (ca 45’) are the two longest electroacoustic compositions by Xenakis, both composed, produced and interpreted in concert by the composer himself several times. As for Persepolis, there are two different versions of La Légende d’Eer available in the commercial market. Comparing these existing releases (Auvidis Montaigne 199584, hence called Auvidis version, and Mode records 200585, hence called Mode version), there are five significant differences :
1. Density of voices in the beginning :
The Mode version is denser in the beginning ; several pitches come in almost together as a cluster in the beginning of the piece. In the Auvidis version, the different pitches come in one by one.
2. Movements in the stereo panorama :
There are some movements in the stereo panorama on the Auvidis version, but none on the Mode version.
3. Different pitches at the end of the piece :
In the Mode version the end of the piece is about one tone lower than in the Auvidis version. This is the classical effect, if a 48kHz-file has been decoded with 44,1 kHz.
4. Length of the piece :
The official lengths given on the covers of the releases are : Montaigne CD : 46 :00, Mode Records CD : 47 :02, Mode Records DVD : 47 :04, so the difference would be about one minute. Comparing the length of the two CD versions, measuring from the first sound to the end of the last one the difference is about 1 minute 50 seconds.
5. The different sound qualities :
The Mode Records version has a more brilliant sound quality, probably due to the fact, that the analogue tapes have been digitized a better quality, in this case with 96 kHz, as mentioned in the CD booklet.
The first three differences are not mentioned in the CD-booklets. But the variation in length is explained on the cover of the Mode records CD, which says : « Use of the original master tape restored almost 2 minutes and 30 seconds to the piece, released here for the first time. »86 The aim was to find out the reasons for those differences : were there different versions of the piece, made by Iannis Xenakis himself ? This research has been made possible by the richness of the source material and a commission of Frank Hilberg, Westdeutscher Rundfunk Köln, Germany, to realize a radio feature about the subject for WDR3, Studio elektronische Musik, Cologne87.
The problem was to track back the two different CD-releases to common sources, to try to reconstruct the whole production process of the composition. As the WDR gave access to his archives, it was possible to digitize all the existing analogue tapes88 of La Légende d’Eer. There were four kind of tapes : preparation tapes (table 1, 1), material tapes (table 1, 2), multitrack tapes (table 1, 3.1 and 3.2) and stereo mixdowns89. Durand-Salabert-Eschig provided the official performance material, the multitrack version on DVD90. So it was possible to compare those versions and to find out the relations between them.
A score or synchronization plan91 of the musical composition can be found in the Xenakis Archives at the Bibliothèque Nationale in Paris92 and in the archive of Westdeutscher Rundfunk in Cologne93. It might be possible that Xenakis had to finish this score, as Dr. Wolfgang Becker wrote him in a letter from September 1978. He mentioned that Xenakis would get the second part of his fee “when the score is delivered”.94 The score must have been written during the production, as the so-called Müller-sounds, which were produced in Cologne, can be found in it. Volker Müller remembers that Xenakis had asked for a big drawing table but that there was no table in the small room which they were working in. So Volker Müller unhinged a door and put it on an old 4-track-machine which was not in use.95
La Légende d’Eer is the musical part of the so-called Diatope, a multimedia event by Iannis Xenakis which includes four media : text, music, light and architecture.96 The Diatope was commissioned by the Centre Beaubourg for the inauguration of the Centre George Pompidou in Paris in January 1977, the musical part by Westdeutscher Rundfunk Köln (WDR), Germany. As Xenakis had to change the proposals several times, the Diatope was finally premiered in Paris in July 1978. The musical part of La Légende d’Eer had already been premiered in the planetarium in Bochum, Germany on February 11, 1978. In both cases, Xenakis used 8-track-tapes and the sound was spatialized.
In 1977 Iannis Xenakis came to Cologne to produce his work at the Studio für Elektronische Musik des WDR Köln with some material already prepared. He brought new electronic sounds which he had synthesized with the help of mathematic functions in his own research center Centre d’études de mathématique et automatique musicales (Cemamu) in Paris97 (table 1, 1.1) as well as sounds he had already used in other Polytopes (table 1, 1.2). Another sound, which became very prominent in the piece (the sound which the piece starts and ends with), was produced in Cologne together with the sound engineer of the studio, Volker Müller, on the Synthesizer EMS 100. Xenakis called this sound and its derivatives in the score Müller (table 1, 1.3). Furthermore there is a recording of an extended-technique-double bass improvisation, played by James Whitman98, an American composer, who assisted Xenakis for the production.
Figure 1. Genealogy of La Légende d’Eer : the production in Cologne at Elektronisches Studio des Westdeutschen Rundfunks, later mixes, digitizations and CD releases.
The work proceeded in several steps : for the first step different materials, including the CeMaMu-sounds, the sounds produced in Cologne, and prerecorded sounds were manipulated.99 This included filtering, reverberation, transposition by changing the tape velocity, and various mixing techniques (table 1, 1.1 – 1.4.)100. These materials were used to produce the single tracks which contain the sound materials in the final order of the score (table 1, 2.). Seven of them had to be produced as seven different mono tracks, to be combined later in three different settings to produce the different versions of the piece. In the first setting, simple synchronizations were made (table 1, 3.2), in order to have a definite seven track version on an eight-track tape. Xenakis took one of these back to Paris and this tape was the one he was most interested in, according to Volker Müller101. This was a tape without any spatialization of the individual tracks, but almost a one-to-one synchronization of the seven mono tapes. The reason for using only seven tracks was to reserve the eighth track for control of the spatialization and the synchronization with the visual part of the performance, which would happen later in the Diatope. This means that additional analogue control-signals were recorded on the eighth track later in Paris. The synchronization data, the machines and the computer for realizing this synchronization and even the information of how it all worked, appears to be lost. The Diatope was transported to Marseille to be installed there but during the transport different parts got lost or were damaged. In 1984 the remaining parts were given away as scrap.102 But there are new results by Elisavet Kiourtsoglou103, reconstructing the first minutes of the spatialization inside the Diatope, that used almost the idea of sound rotation in forms of varied circles and spirals.
Furthermore another eight-track version was produced in Cologne (table 1, 3.1.) : the spatialization of the seven mono tapes on eight outputs, recorded onto an eight-track tape : the so-called “Bochum Version”, as this version was premiered in the Planetarium in Bochum. As there did not exist any software or hardware at that time – except the one developed by Xenakis later on for the Diatope in Paris - to realize this spatialization, a very special set-up had to be made. Xenakis spatialized four of the mono tapes to four different tracks (1, 3, 5, 7) by hand, using quadrophonic effect Generators EMS QUEG, James Whitman spatialized two more tapes to the other four tracks (2, 4, 6, 8), using two quadrophonic joysticks, and Volker Müller spatialized the last material tape to all eight tracks, using a normal fader box.104 This created the illusion of continuous rotating movements possible for all of the spatialized materials, even when they could not be projected onto each track. This final spatialization had to be recorded on an 8-track- tape without interruption. There was no possibility to stop during the piece and to restart at a certain moment, as it was technically impossible to synchronize the mono tape machines at that time. They had to be started together by several people operating the equipment at the same time with the help of a sophisticated communication technique. They were even positioned on different levels of the building because there was not enough space for the seven tape machines in one single room. Volker Müller recalls that the spatialization itself was more or less improvised. And finally, Xenakis could probably not hear the result properly as he was almost deaf in one ear.105
Xenakis used the same score for the Bochum Version and the Diatope-version with automated spatialization : in the Xenakis archives the mentioned score can be found, extended with the movements of the electronic flashes and the laser lights106. The beginning of the composition is worked out in the typical geometrical way which Xenakis often used : in this case with part of a circle defining the successive entrances of the single tracks in the beginning.107 The synchronization plan for the Diatope uses the same score and adds the visual parts in an additional system.108 Xenakis came back to Cologne from April 12 to 15, 1981109 and worked for two days in the Hörspielstudio to produce several stereo versions (table 1, 3.3) of La Légende d’Eer110, using the same synchronization plan which he had used for the multi-track versions. He only applied slight stereo panning to the mix and did not try to approximate a translation of the eight-channel spatializations into stereo. This became the official “Sendeversion” at WDR Cologne, and is the version subsequently released on Auvidis Montaigne, Paris.111
In 2005 a new version was released by the New York-based label Mode Records112 (table 1, 5.2). This version is based on the seven-track non- spatialized version which Xenakis took back to Paris and probably passed on to his publisher Salabert. This is also the tape which he used as the ground material for the spatialization inside the Diatope. This tape was digitized sometime in 2003 in Paris at the studios of the Groupe de Musique de Recherches Musicales (GRM) by Diego Losa, who is responsible for the digitization of all the analogue tapes in the archives of GRM113. These files were given to Gerard Pape, the former director of the CCMIX (Centre de Création Musicale Iannis Xenakis, former Ateliers UPIC) in Paris, who then realized new mixes in stereo and 5.1. These versions have been described by the label as an « Electroacoustic Work for 7-channel tape, New stereo mix from the original master tape ». The label explains : « The analog master was transferred at high-resolution 96khz/24-bit sound for the optimum quality, revealing details not heard in the previous stereo CD release. » And : « Use of the original master tape restored almost 2 minutes and 30 seconds to the piece, released here for the first time. »114
In order to find the reasons for the above mentioned differences between the two CD releases, it makes sense to compare the digitized single tracks, the material tapes with the 7-track material tape, digitized 2003 in Paris, and used not only for the Mode version, but also became in the multi-track- version the official performance material, digitized as 8 tracks on DVD. The first two differences are then explained easily :
1. Density of voices in the beginning :
Considering the score (Figure 2) it is clear that the Mode version does not respect the instructions, but just plays what is on the tape. Xenakis always followed the circle-like bow in his versions, and brought in the different pitches one by one, following the timeline.
Figure 2. The beginning of La Légende d’Eer.
So this is clearly not a result of restoration, as explained by the label, but of playing sounds that are on the 7-channel-material-tape, but not intended to be played.
2. Movements in the stereo panorama :
As the 7-track material tape was never projected as it is, but automatically spatialized, it becomes clear that Xenakis tried at least to simulate a little bit of this spatialization in the stereo version he realized in Cologne in 1981, released on Auvidis. The Mode version just digitized the material tape, supposing that this was the performance tape.
Looking at the digitization of the Paris 7-track-tape (figure 3), used as official performance material, there are even two more faults :
Figure 3. The beginning of the 2003 digitized Paris version of La Légende d’Eer.
The test-tone in the beginning of the tape (figure 2 : the synchronized sounds in all 8 tracks), used originally probably to synchronize the speed of the different tape machines, when producing the multi-track-tape, is still included in the performance material. It is easy to imagine that somebody would mistake those sine waves as part of the piece, as the next sounds are almost sine waves too. The other fault is that the 8th track has also been digitized : what you cannot see, but what you hear, if you listen to it, is that there are the typical cross-talk-sounds on it. So somebody not familiar with the music and not looking carefully at the files might even think that this piece is an 8-track-piece and project this channel too.
So the remaining questions concern the :
1. different pitches at the end of the piece and
2. length of the piece.
Why is the Mode version longer and the end about one note lower than the Auvidis version ? Such a transposition is exactly what happens when a master tape that has been produced with 48 kHz is decoded with 44.1 kHz.115 A similar mistake already happened with the release of Xenakis’s Persepolis on Asphodel Records116, which is clearly a wrong decoding with 44.1 kHz of a master tape with 48 kHz.117 But the problem here is that the beginnings of both versions have the same pitches. And the assumption that the digitization of the whole piece was decoded at the wrong sample rate leads to a contradiction :
Reading a 48kHz file with 44,1 kHz would stretch the length with the factor
(i) 48 kHz / 44,1 kHz = 1,088
But the file length of the Auvidis version is 46 :00, and 46 :00 * 1,088 = 2760 sec * 1.088 = 3003 sec = 50 :00. Had this error occurred, the Mode version would have to be 50 minutes long, but it is only 47 :02. So this could not be the reason.
But as the differences in length and pitch between the Auvidis version and the Mode version are exactly the same between the 7-track-Salabert-tape (table 1, 5.2) and the material tapes (table 1, 2), it is possible to compare the tracks one by one.
Figure 4. Comparison of channel 1 of the 2003 digitized Paris tape (upper channel) used for the Mode record CD with the Cologne material tape 1 (lower channel).
Here it is visually obvious that there is only a stretching of the last part of the piece (Figure 45 gray background on the right side), and not of the whole tracks. The same effect can be found in other tracks, for example track 6 :
Figure 5. Comparison of channel 6 of the 2003 digitized Paris tape (upper channel) used for the Mode record CD with the Cologne material tape 6 (lower channel).
Measuring the stretched passages, it turns out that the Mode version stretched passage is 13 minutes 23 seconds long, while the relating Auvidis version is only 12 minutes 18 seconds long.
So the Mode version ending passage is 13 :23 = 803 sec, the Auvidis version ending is 12 :18 = 738 sec. But :
(ii) 803 sec / 738 sec = 1,088
which is exactly the factor of a wrong decoding with 44.1 kHz of a file with 48 kHz (compare formula (i)). But even if this looks mathematically obvious, it is still completely unclear, how it might have happened that only a part of a file is decoded in the wrong way.
At the time of the production of La Légende d’Eer, the maximum length of tapes was about 30 minutes. But La Légende d’Eer had more than 45 minutes. As Volker Müller118 remembers, two tapes had to be connected together, in order to realize the piece on one tape roll. Subsequently a special oversized box had to be constructed and Müller remembers well that over decades the box of La Légende d’Eer did not fit into his tape archive because of its oversize (Figure 6).
Figure 6. Original oversized 8-track tape box of La Légende d’Eer, Archiv WDR Cologne.
Gerard Pape picked up the analogue tapes from the edition house Salabert in Paris and brought them to the Maison de la Radio, to be digitized in the studios of the GRM (Groupe de Recherches Musicales). Pape could not remember whether or not there was any special tape box when he did this.119 This means clearly, that probably the first and the second part of the pieces have been digitized separately, and the first part was about 33 minutes long, the second about 13 :23. The digitized parts were then connected together again by overlapping a little bit. This was a common practice, as Persepolis, the other long electroacoustic composition of Xenakis, shows120. It was even released on two different sides of a record.121 As the texture between minute 31 :00 and 34 :00 is really dense and the sounds are overlapping each other with glissandi, it’s almost impossible to identify the pitch shifting in this passage by ear. But it is possible, if you listen to the single tracks one by one carefully. So it seems obvious, that the two tapes – the first 8-track tape with a little more than 30 minutes and the second one, with a little more than 13 minutes – were been digitized separately. The fault probably happened afterwards, while transferring the files into the ProTools project. It is widely known that ProTools often does not tell the user when there is a problem with the compatibility of sample rates.
To verify this theory, the Paris synchronized 8 track tape which was used for the digitization at GRM (table 1, 3.2), had to be digitized again. Due to the generosity of Edition Durand-Salabert-Eschig in Paris122, I could bring the tape to Cologne where it was digitized once more at WDR Studio für elektronische Musik in April 2014 by Volker Müller and Sefa Pekelli. Pekelli is one of the responsible engineers for digitizing analogue tapes at WDR today.
Figure 7. Volker Müller investigating the Paris synchronized 8 track tape (table 1, 3.2) in WDR studios Köln, 2014.
Volker Müller investigated the tape which he had produced at the WDR studio (Figure 7). When played with exactly the same machine on which it had originally been produced, it had the same length as all the other Cologne tapes, almost exactly 46 minutes. As predicted the tape was made from two connected tapes, the first one about 33 minutes long (Figure 5, part of the tape on the right side of the tape machine), the second one about 13 minutes long (Figure 5, the remaining tape on the left side of the tape machine). The two parts of the tape must have been disconnected in Paris, as they were connected with a material never used in the WDR studios (Figure 5, Volker Müller pointing on the connecting tape). This means that they were probably reconnected after having been digitized separately. The new digitization also demonstrated that there were no new sounds to discover on this tape of La Légende d’Eer.
CONCLUSION
The interesting question is, how the faults happened, as this leads directly to the different nature of a critical edition of electroacoustic music. Obviously it is not enough to say : “The composition is what is on the tape”. There can be not only different tapes, but also performance instructions – Xenakis’s score can be read as one – text documents that should be respected. The nature of electroacoustic music is multi media.
Nevertheless the question arises, which multi-track version of the ones existing is the right one : the seven-track version from Paris without spatialization or the spatialized eight-track version from Westdeutscher Rundfunk ? Xenakis did not try to assign definitive versions, or forbid the performance of alternate versions. But fortunately, with regard to La Légende d’Eer, at least one question can be answered clearly : during his lifetime Xenakis never performed a non-spatialized version of La Légende d’Eer. Also, what is even more enlightening for this discussion is the fact that Xenakis had no problem at all in performing both spatialized versions in different concerts on the very same day - the eight-channel version from WDR and the Diatope-version with automated spatialization.
The WDR Bochum version (table 1, 3.1) was certainly the first to be performed on February 11, 1978 in Bochum123 (in some publications an incorrect date of February 11, 1977 appears, probably copied from a mistake in a CD text124). The performance was realized in the Planetarium. During this performance Xenakis sat in the central control room for the projection which accompanied this premiere. This is probably where the « Müller » sounds got their poetic name « étoiles filantes sonores » (sounding falling stars), as very impressive images of falling stars were projected together with the sounds, and replaced the laser show that was conceived for the Paris version. In summer 1978 the delayed premiere of the Diatope in Paris finally took place, and it was performed three times a day from June 28 to December 31.
A little more than one month later, in August 1978, Xenakis performed the WDR-version at Darmstädter Ferienkurse125. He sat in the middle of the audience at the mixing desk and the musical part was performed alone for the first time, without visual imagery. It is possible that Xenakis spoke during the introduction to this concert about the « first version » of the composition. A critic described the multimedia nature of the Diatope and concluded that Xenakis had now presented « a first, purely acoustic version of the piece »126.
The simultaneous presentations of different versions in Paris and Darmstadt on the very same day demonstrate that Xenakis considered both to be valid. However, he never performed what now became the official performance material : the seven-channel tape of the Diatope without spatialization. Therefore this tape is nothing other than the only surviving item from the Diatope, which was created at a time when nobody could predict the way in which computer technologies would become antiquated and lose their compatibility.
For a critical edition of electroacoustic music, the comparison of versions is not enough. It is necessary to try to set up a genesis of the production process in respect of the media history, including the distinction between technical and musical signals, considering also text sources and oral history, and last but not least the visualization of the sound files. Also the role of the edition houses is much more important than for example in literature, because of the different legal situation, the access to the archives and the economic difference, a smaller market and a more expensive production. The media history has to be considered especially as regards the media compatibilities, technical conventions such as colours indicating the velocity a tape has to be played at, etc…
Finally, only a critical edition allows us to start a discussion about interpretation, leading back to the music. As Xenakis stated : „We could say that music is in fact something that is behind the sounds, meta-sounds“.127
80 Iannis Xenakis, Persepolis, 1971, 8-track-tape, Salabert - réf. 4965 ; LP, Philips « Prospectives 21e Siècle », Paris 1972 ; Audio-CD, Fractal Records, Paris 2000.
81 Iannis Xenakis, Persepolis, Audio-CD, Asphodel, San Francisco 2002.
82 Iannis Xenakis, Persepolis, Audio-CD, Edition RZ, Berlin 2003.
83 Reinhold Friedl, Polyphone Monophonie, in : Musiktexte 122, p.12-17, Köln 2009.
84 Iannis Xenakis, La Légende d’Eer, Audio-CD, Auvidis Montaigne MO 782058, Paris 1995 ; re-released with different cover, Audio-CD, AuvidisMontaigne, MO 782144, Paris 2002.
85 Iannis Xenakis, La Légende d’Eer, Audio-CD, Mode Records, mode148, New York 2005.
86 Announcement of the release on Mode Records (www.moderecords.com), <http://www.moderecords.com/catalog/148xenakis.html> , last access : November 7, 2014.
87 Reinhold Friedl, Iannis Xenakis – La Légende d’Eer, radio feature, Westdeutscher Rundfunk WDR3, Studio elektronische Musik, first broadcast Cologne March 21, 2012.
88 The digitization was realized at the Audiosuite Cologne with sound engineer Katja Teubner.
89 This is due to the responsible technician Volker Müller, who archived carefully all materials left over from any production. Without his help and his hints, this work would not have been possible.
90 Thanks to Eric Denut from Durand-Salabert-Eschig for his support and the hint, that this research is centered around the critical edition of electroacoustic music.
91 The full musical part can be found in : Makis Solomos, Le Diatope et La Légende d’Eer, auf <http://www.iannis-xenakis.org>, last access : November 7, 2014, download : www.iannis-xenakis.org/fxe/actus/Solom3.pdf, extracts of the score with flashed and lasers in : Iannis Xenakis, musique de l’architecture, hg. von Sharon Kanach, Marseille 2006, p. 340.
92 I have to thank Francoise et Maki Xenakis for giving me access to the Xenakis archives at the Bibliothèque nationale de France, Paris
93 Archiv Westdeutscher Rundfunk Köln, Orch.Part. 16405.
94 „Die zweite Hälfte wird bei der Ablieferung der Partitur gezahlt werden“, Letter from Dr.Wolfgang Becker to Iannis Xenakis from September 27, 1978, Archiv Westdeutscher Rundfunk Köln, Historisches Archiv 05623.
95 Reinhold Friedl, Was ist ein Fehler ? – Xenakis’ „La Légende d’Eer“ : Versuch einer kritischen Edition elektroakustischer Musik, in : Musiktexte 135, p.33-39, Köln 2012.
96 Makis Solomos, Le Diatope et La Légende d’Eer, auf <http://www.iannis-xenakis.org>, last access : November 7, 2014, download : www.iannis-xenakis.org/fxe/actus/Solom3.pdf.
97 Iannis Xenakis, musique de l’architecture, ed. by Sharon Kanach, Marseille 2006, p.351 and p.355.
98 It is astonishing that Makis Solomos identified the doublebass already in his auditive analysis in 11) p.14.
99 The assistant in the studio was James Whitman, who died and has not left any descriptions about this work.
100 Iannis Xenakis, musique de l’architecture, ed. By Sharon Kanach, Marseille 2006, p.355.
101 See : Reinhold Friedl, Polyphone Monophonie, in : Musiktexte 122, p.12-17, Köln 2009.
102 Iannis Xenakis, musique de l’architecture, ed. by Sharon Kanach, Marseille 2006, p.355.
103 Elisavet Kiourtsoglou, Diatope : an Analytical Approach of its Conception Process, in : International Symposium Xenakis : the Electroacoustic Music, organized by Makis Solomos, Paris 8 Mai 2012.
104 A sketch by Volker Müller and a discussion of the precise settings can be found in : Marcus Erbe, Klänge schreiben : Die Transkriptionsproblematik elektroakustischer Musik, Wien 2009, p.154.
105 See : Reinhold Friedl, Polyphone Monophonie, in : Musiktexte 122, p.12-17, Köln 2009, compare Bálint András Varga, Gespräche mit Iannis Xenakis, Zürich and Mainz 1995, p.49.
106 Iannis Xenakis, musique de l’architecture, ed. by Sharon Kanach, Marseille 2006, p.340.
107 Makis Solomos, Le Diatope et La Légende d’Eer, auf <http://www.iannis-xenakis.org>, last access : November 7, 2014, download : www.iannis-xenakis.org/fxe/actus/Solom3.pdf.
108 Iannis Xenakis, musique de l’architecture, hg. von Sharon Kanach, Marseille 2006, p.340 et seqq.
109 Letter from the assistant of Dr.Wolfgang Becker to Iannis Xenakis from March 30, 1981, confirming the hotel reservation, Westdeutscher Rundfunk Köln, Historisches Archiv 05623.
110 As Volker Müller kept a diary during his years at WDR, this can be reconstructed precisely.
111 Iannis Xenakis, La Légende d’Eer, Audio-CD, Auvidis Montaigne MO 782058, Paris 1995.
112 Iannis Xenakis, La Légende d’Eer, Audio-CD and /or DVD with 5.1-Mix, Mode Records, mode148, New York 2005.
113 Interview with Diego Losa and the author, March 2011, for a radio feature on Xenakis’ La Légende d’Eer (WDR3, Studio Elektronische Musik WDR 3, Köln see 8) and 16).
114 Announcement of the release on Mode Records, www.moderecords.com/catalog/148xenakis.html, last access : November 7, 2014.
115 A transposition with the factor 44.100 /48.000 = 0,91875
116 Iannis Xenakis, Persepolis, Asphodel Records, San Francisco 2002
117 Reinhold Friedl, Polyphone Monophonie, in : Musiktexte 122, p.12-17, Köln 2009
118 Different Interviews with Volker Müller and the author, 2009-2012, for a radio feature on Xenakis’ La Légende d’Eer (WDR3, Studio Elektronische Musik WDR 3, Köln, see 8) and 16)
119 Interview with Gerard Pape and the auhor, Paris, February 21, 2011, compare 8) and 16)
120 The overlapping discussed in : Reinhold Friedl, Polyphone Monophonie, in : Musiktexte 122, p.12-17, Köln 2009
121 Iannis Xenakis : Persepolis, LP, Philips series „Prospectives 21e Siècle“, Paris 1972
122 Thanks to Bruno Leroy and David Bray, Universal Music, Durand-Salabert-Eschig
123 Iannis Xenakis, musique de l’architecture, ed. by Sharon Kanach, Marseille 2006, p.339
124 CD Iannis Xenakis La Légende d’Eer, Auvidis Montaigne, Paris 1995
125 La Légende d’Eer, concert and introduction by Iannis Xenakis on August 4, 1978 as documented in the archives of Internationales Musikinstitut Darmstadt ; compare : Ivanka Stoianova, Xenakis – vom isolierten Pionier zum Klassiker des 20.Jahrhunderts, in : ed. by Rudolf Stephan [i.a.], Von Kranichstein zur Gegenwart, 50 Jahre Darmstädter Ferienkurse, Stuttgart 1996, p.421
126 Darmstädter Tagblatt, August 7, 1978, Archiv Internationales Musikinstitut Darmstadt
127 Iannis Xenakis, Audio Recording of his Lectures in Darmstadt 1978, Archiv Internationales Musikinstitut Darmstadt