Yep, I got the
Anastenaria cycle. Procession is very post-Stravinsky/Orff, greek modes and all. Very characteristically Xenakian percussion going on there!
I singled out Le Sacrifice in particular because it seems to reflect his later mature style but at a still very formative stage in his development as a composer. It's like "this is 70s Xenakis, but not" in a less-literal way.
Bartok is a big part of Xenakis' style absolutely, those early Zyia pieces blatantly reflect this but there are so many allusions to Bartok all throughout Iannis' career.
The Six Chansons have that strong correlation with Ravel, the kinda post-"impressionist" thing. The counterpoint is so much like Bach though!
But Bartok, Stravinsky and Messiaen are Xenakis' spiritual "guides" their ideas parallel many of Xenakis' in many way and their influence would be a better way for the general public to grasp what Xenakis is about from an initial introduction than perhaps how he is usually introduced.
Back to the Zyia pieces though, I really like them. So fascinating, the soprano + piano version vaguely reminding me of Varese's "
Un grand sommeil noir".
Brings to mind an alternate reality where young Iannis decided to compose arias
