I’ll end Xenakis Week with an unscientific, Letterman-style take on one of the composer’s favorite devices, the glissando. The sound of an instrument or a voice sliding from one note to another has an ambiguous effect: depending on the context, it can suggest jazzy liberation, wartime destruction, otherworldly realms, or primitive rituals. Inevitably, making a list of favorite glissandos is a deeply personal matter, and I expect that my choices will spur intense debate, especially on trombone forums. Nonetheless, here goes:
1. Alexander Zemlinsky, “Die Seejungfrau” (1902-3):
Riccardo Chailly conducting the RSO Berlin (London).
2. Stravinsky, “The Rite of Spring” (1911-13):
Esa-Pekka Salonen conducting the LA Philharmonic (DG).
3. Kid Ory, “Ory’s Creole Trombone” (1922):
Kid Ory’s Original Creole Jazz Band, aka Spike’s Seven Pods of Pepper Orchestra, on “Kid Ory” (Membran).
4. Gershwin, “Rhapsody in Blue” (1924):
Arturo Toscanini conducting the NBC Symphony, with Benny Goodman, clarinet (Iron Needle).
5. Bartók, Music for Strings, Percussion, and Celesta (1936):
Fritz Reiner conducting the Chicago Symphony (RCA).
6. Eduard Tubin, Symphony No. 6 (1952-54):
Neeme Järvi conducting the Swedish Radio Symphony (BIS).
7. Xenakis, “Metastasis” (1953-54):
Hans Rosbaud conducting the Southwest Radio Symphony (col legno).
8. Nina Simone singing “Strange Fruit” (1965):
From the “Nina Simone Anthology” (RCA).
9. Led Zeppelin, “Whole Lotta Love” (1969):
From “Led Zeppelin II” (Atlantic).
10. Michael Giacchino, “Eyeland,” from “Lost” (2004):
Tim Simonec conducting the Hollywood Studio Symphony (Varese Sarabande).
For maximum effect, press all the buttons in quick succession.