Source: The Guardian. This is an older article but I don’t think we featured it previously, and it serves as a good intro to Xenakis.
It sounds like something out of a film script. A Greek man in his early 20s fights for his homeland as part of the Communist resistance at the end of the second world war. Shrapnel from a blast from a British tank causes a horrendous facial injury that means the permanent loss of sight in one eye. He is sentenced to death after his exile to Paris (a sentence that was later commuted to a prison term, with his conviction finally quashed with the end of the junta in 1974). By the time he returns, he has become one of the leading creative figures of the century: an architect who trained, worked, and often transcended the inspiration of his mentor and boss, Le Corbusier; an intellectual whose physical and mathematical understanding of the way individual particles interact with each other and create a larger mass – atoms, birds, people, and musical notes – would produce one of the most fertile and prophetic aesthetic explorations in musical history; and above all a composer, whose craggily, joyously elemental music turned collections of pitches and rhythms and instruments into a force of nature, releasing a power that previous composers had only suggested metaphorically but which he would realise with arguably greater clarity, ferocity, intensity than any musician, before or since. This is the music of Iannis Xenakis.