Iannis Xenakis

Iannis Xenakis in his studio in Paris, c. 1970

Iannis Xenakis (Greek: Γιάννης (Ιάννης) Ξενάκης[ˈʝanis kseˈnacis]; 29 May 1922 – 4 February 2001) wasa Greek-French composer, music theorist, and architect-engineer. After 1947, he fled Greece, becoming a natu-ralized citizen of France.[1] He is considered an importantpost-World War II composer whose works helped revo-lutionize 20th century classical music.[2][3]

Xenakis pioneered the use of mathematical models inmusic such as applications of set theory, stochastic pro-cesses and game theory and was also an important in-fluence on the development of electronic and computermusic. He integrated music with architecture, designingmusic for pre-existing spaces, and designing spaces to beintegrated with specific music compositions and perfor-mances.Among his most important works areMetastaseis (1953–54) for orchestra, which introduced independent partsfor every musician of the orchestra; percussion workssuch as Psappha (1975) and Pléïades (1979); composi-tions that introduced spatialization by dispersing musi-cians among the audience, such as Terretektorh (1966);electronic works created using Xenakis’s UPIC system;and the massive multimedia performances Xenakis calledpolytopes. Among the numerous theoretical writingshe authored, the book Formalized Music: Thought andMathematics in Composition (French edition 1963, En-glish translation 1971) is regarded as one of his most im-portant. As an architect, Xenakis is primarily known forhis early work under Le Corbusier: the Sainte Marie deLa Tourette, on which the two architects collaborated,and the Philips Pavilion at Expo 58, which Xenakis de-signed by himself.

1 Life

1.1 1922–47: Early years

Xenakis was born in Brăila, Romania. He was the eldestson of Klearchos Xenakis, a Greek businessman fromEuboea, and Fotini Pavlou from Lemnos. His parentswere both interested in music, and it was Fotini who in-troduced the young Xenakis to music. Her early death,when Xenakis was five years old, was a traumatic expe-rience that, in his own words, “deeply scarred” the fu-ture composer.[4] He was subsequently educated by a se-ries of governesses, and then, in 1932, sent to a boardingschool on the Aegean island of Spetsai, Greece. He sangat the school’s boys’ choir, where the repertoire includedworks by Palestrina, and Mozart's Requiem, which Xe-nakis memorized in its entirety.[5] It was also at the Spet-sai school that Xenakis studied notation and solfège, andbecame enamoured with Greek traditional and sacredmusic.[5]

In 1938, after graduating from the Spetsai school, Xe-nakis moved to Athens to prepare for entrance exams atthe National Technical University of Athens. Althoughhe intended to study architecture and engineering, he alsotook lessons in harmony and counterpoint with AristotelisKoundouroff.[6] In 1940 he successfully passed the ex-ams, but his studies were cut short by the Greco-ItalianWar, which began with the Italian invasion on 28 Octo-ber 1940. Although Greece eventually won the war, itwas not long before the German army joined the Italiansin the Battle of Greece, in April 1941. This led to theAxis occupation of Greece during World War II, whichlasted until late 1944, when the Allies began their driveacross Europe, forcing the Axis forces to withdraw. Xe-nakis joined the National Liberation Front early duringthe war, participating in mass protests and demonstra-tions, and later becoming part of armed resistance—thislast step was a painful experience Xenakis refused to dis-cuss until much later in life.[7][8] After the Axis forcesleft, Churchill ordered that British forces step in to helprestore the Greek monarchy; they were opposed by theDemocratic Army of Greece, and the country plungedinto a civil war. In December 1944, during the periodof Churchill's martial law,[9] Xenakis (who was by thena member of the communist students’ company of theleft-wing Lord Byron faction of ELAS) became involvedin street fighting against British tanks. He was gravelywounded when a shell hit his face; that Xenakis survivedthe injury has been described as amiracle.[10] He survived

1

2 1 LIFE

seriously scarred, and lost his left eye.[11]

The Technical University operated intermittently duringthese years. Despite this, and Xenakis’s other activities,he was able to graduate in 1947, with a degree in civilengineering.[12] Xenakis was then conscripted into the na-tional armed forces. Around 1947 the Greek governmentbegan arresting former resistance members that were left-wing oriented and were sent to prison. Xenakis, fearingfor his life, went into hiding. With the help of his fatherand others he fled Greece through Italy. On 11 November1947 he arrived in Paris. In a late interview, Xenakis ad-mitted to feeling tremendous guilt at leaving his country,and that guilt was one of the sources of his later devotionto music:

For years I was tormented by guilt at hav-ing left the country for which I'd fought. I leftmy friends—some were in prison, others weredead, some managed to escape. I felt I was indebt to them and that I had to repay that debt.And I felt I had a mission. I had to do some-thing important to regain the right to live. Itwasn't just a question of music—it was some-thing much more significant.[13]

In the meantime, in Greece he was sentenced (in absen-tia) to death by the right-wing administration. The sen-tence was commuted to ten years’ imprisonment in 1951,and only lifted some 23 years later, after the fall of TheRegime of the Colonels in 1974.[14]

1.2 1947–59: Architecture and music

The Philips Pavilion at the time of the exhibition. Design by Xe-nakis

Although he was an illegal immigrant in Paris, Xenakiswas able to get a job at Le Corbusier's architectural stu-dio. He worked as engineering assistant at first, butquickly rose to performing more important tasks, and

eventually to collaborating with Le Corbusier on ma-jor projects. These included a kindergarten on the roofof an apartment block in Nantes (Rezé) (Also: Unitéd'Habitation of Nantes-Rezé), parts of government build-ings in Chandigarh, India, the “undulatory glass surfaces”of Sainte Marie de La Tourette, a Dominican priory in avalley near Lyon, and the Philips Pavilion at Expo 58—the latter project was completed by Xenakis alone, froma basic sketch by Le Corbusier.[15] The experience Xe-nakis gained played a major role in his music: importantearly compositions such asMetastaseis B (1953–54) werebased directly on architectural concepts.At the same time, while working for Le Corbusier, Xe-nakis was studying harmony and counterpoint, and com-posing. He worked long and hard, frequently far into thenight,[16] and sought guidance from a number of teach-ers, most of whom, however, ultimately rejected him.Such was the case with Nadia Boulanger, who was thefirst person Xenakis approached about lessons. He thentried studying with Arthur Honegger, whose reaction toXenakis’s music was unenthusiastic. As Xenakis re-counted in a 1987 interview, Honegger dismissed a piecewhich included parallel fifths and octaves as “not mu-sic”. Xenakis, who was by that time well acquainted withmusic of Debussy, Béla Bartók, and Stravinsky, all ofwhom used such devices and much more experimentalones, was furious and left to study with Darius Milhaud,but these lessons also proved fruitless.[17] Then, AnnetteDieudonné, a close friend of Boulanger’s, recommendedthat Xenakis try studying with Olivier Messiaen.[18] Xe-nakis approached Messiaen for advice: should he onceagain start studying harmony and counterpoint? Messi-aen later recalled:

I understood straight away that he was notsomeone like the others. [...] He is of supe-rior intelligence. [...] I did something horriblewhich I should do with no other student, for Ithink one should study harmony and counter-point. But this was a man so much out of theordinary that I said... No, you are almost thirty,you have the good fortune of being Greek, ofbeing an architect and having studied specialmathematics. Take advantage of these things.Do them in your music.[19]

Francisco Estévez has described this work as “mathemat-ical formulas translated . . . into beautiful, exciting, andabove all, convincing music.”[20]

Xenakis attended Messiaen’s classes regularly in 1951–53. Messiaen and his students studied music from a widerange of genres and styles, with particular attention torhythm.[21] Xenakis’s compositions from 1949–52 weremostly inspired byGreek folkmelodies, as well as Bartók,Ravel, and others; after studying with Messiaen, he dis-covered serialism and gained a deep understanding ofcontemporary music (Messiaen’s other pupils at the time

3

included, for example, Karlheinz Stockhausen and JeanBarraqué). Messiaen’s modal serialism was an influenceon Xenakis’s first large-scale work, Anastenaria (1953–54): a triptych for choir and orchestra based on an ancientDionysian ritual. The third part of the triptych, Metasta-seis, is generally regarded as the composer’s first maturepiece; it was detached from the triptych to mark the be-ginning of the “official” Xenakis oeuvre.[15]

In 1953 Xenakis married Françoise Xenakis (née Gar-gouïl), journalist and writer, whom he met in 1950.[22]Their daughter Mâkhi, later a painter and sculptor, wasborn in 1956. In late 1954, with Messiaen’s support,Xenakis was accepted into the Groupe de Recherchesde Musique Concrète,[23] an organization established byPierre Schaeffer and Pierre Henry, dedicated to study-ing and producing electronic music of the musique con-crète variety. Shortly after that Xenakis met conduc-tor Hermann Scherchen, who was immediately impressedby the score of Metastaseis and offered his support. Al-though Scherchen did not premiere that particular work,he did give performances of later pieces by Xenakis, andthe relationship between the conductor and the composerwas of vital importance for the latter.[24]

By the late 1950s Xenakis slowly started gaining recog-nition in artistic circles. In 1957 he received his firstcomposition award, from the European Cultural Foun-dation, and in 1958 the first official commission camethrough, from Service de Recherche of Radio France.[25]In the same year he produced a musique concrète piece,Concret PH, for the Philips Pavilion, and in 1960 Xenakiswas well-known enough to receive a commission fromUNESCO, for a soundtrack for a documentary film byEnrico Fulchignoni.[26]

1.3 Later life

After leaving Le Corbusier’s studio in 1959, Xenakis sup-ported himself by composition and teaching, and quicklybecame recognized as one of the most important Eu-ropean composers of his time. He became especiallyknown for his musical research in the field of computer-assisted composition, for which he founded the Equipede Mathématique et Automatique Musicales (EMAMu)in 1966 (known as CEMAMu: Centre d’Etudes de Math-ématique et Automatique Musicales, since 1972). Hetaught at Indiana University in 1967–72 (and establisheda studio similar to EMAMu there), and worked as visitingprofessor at the Sorbonne in 1973–89.[15] Xenakis fre-quently gave lectures (for instance, from 1975 to 1978 hewas Professor ofMusic at GreshamCollege, London, giv-ing free public lectures),[27] taught composition, and hisworks were performed at numerous festivals worldwide,including the Shiraz Arts Festival in Iran. Notable stu-dents include Pascal Dusapin, Henning Lohner, MiguelÁngel Coria and Susan Frykberg.In addition to composing and teaching, Xenakis also au-

thored a number of articles and essays on music. Ofthese, Musiques formelles (1963) became particularlyknown. A collection of texts on applications of stochasticprocesses, game theory and computer programming inmusic, it was later revised, expanded and translated intoEnglish as Formalized Music: Thought and Mathematicsin Composition (1971) during Xenakis’s tenure at IndianaUniversity.Xenakis was an atheist. According to Zbigniew Skowron,“In accordance with his atheist views, Xenakis empha-sizes the finality of death as the ultimate event of hu-man life, and this is probably why wild shrieks and moanspunctuate his score”.[28] Xenakis wrote, “Man is one, in-divisible, and total. He thinks with his belly and feels withhis mind. I would like to propose what, to my mind, cov-ers the term “music": ... 7. It is a mystical (but atheistic)asceticism ...”.[29]

Xenakis completed his last work, O-mega for percussionsoloist and chamber orchestra, in 1997. His health hadbeen getting progressively worse over the years, and by1997 he was no longer able to work. In 1999, Xenakiswas awarded the Polar Music Prize “for a long succes-sion of forceful works, charged with sensitivity, commit-ment and passion, through which he has come to rankamong the most central composers of our century in therealm of art music, exercising within its various fields aninfluence which cannot be readily overstated”.[30] Afterseveral years of serious illness, on 1 February 2001 thecomposer lapsed into a coma. He died in his Paris homefour days later, on 4 February, aged 78. He was survivedby his wife and his daughter.[31]

2 Works

See also: List of compositions by Iannis Xenakis

Specific examples of mathematics, statistics, and physicsapplied to music composition are the use of the statisticalmechanics of gases in Pithoprakta, statistical distributionof points on a plane inDiamorphoses, minimal constraintsin Achorripsis, the normal distribution in ST/10 andAtrées, Markov chains in Analogique, game theory inDuel, Stratégie, and Linaia-agon, group theory in NomosAlpha (for Siegfried Palm), set theory in Herma andEonta,[32] and Brownianmotion inN'Shima. Persephassa,commissioned by the Shiraz Arts Festival, performed byLes Percussions de Strasbourg, receiving its world pre-miere in Persepolis in 1969. This is a “polytope” com-posed specific to the historic site. Subsequently, he wasonce again commissioned by the Shiraz Arts Festival andcomposed Persepolis for the occasion.Although electroacoustic compositions represent only asmall fraction of Xenakis’s output, they are highly rele-vant to musical thinking in the late 20th century. Impor-tant works in this medium include Concret PH (1958),

4 5 REFERENCES

Analogique A–B (1958–59), Bohor (1962), La légended'Eer (1977), Mycenae-Alpha (1978), Voyage absolu desUnari vers Andromède (1989), Gendy301 (1991), andS709 (1994).[33]

By 1979, he had devised a computer system calledUPIC, which could translate graphical images into mu-sical results.[34] “Xenakis had originally trained as an ar-chitect, so some of his drawings, which he called 'arbores-cences’, resembled both organic forms and architecturalstructures.” These drawings’ various curves and lines thatcould be interpreted by UPIC as real time instructions forthe sound synthesis process. The drawing is, thus, ren-dered into a composition. Mycenae-Alpha was the firstof these pieces he created using UPIC as it was beingperfected.[35]

3 Writings• Xenakis, Iannis. 2001. Formalized Music: Thoughtand Mathematics in Composition (Harmonologia Se-ries No.6). Hillsdale, NY: Pendragon Press. ISBN1-57647-079-2

4 Notes[1] Gagné 2012, 299: “Xenakis settled in Paris, becoming a

French citizen in 1965.”

[2] Hoffmann n.d.: "[Xenakis] belonged to the pioneeringgeneration of composers who revolutionized 20th-centurymusic after World War II.”

[3] MSN Encarta encyclopedia, “Iannis Xenakis (ΙάννηςΞενάκης) (May 29, 1922 – February 4, 2001) was aGreek composer and one of the most important modernistcomposers of the 20th century” . Archived 31 October2009.

[4] Matossian 1986, 13.

[5] Varga 1996, 14.

[6] Matossian 1986, 14–17.

[7] Matossian 1986, 18–27.

[8] Varga 1996, 14–19.

[9] Gilbert, Martin. 1966. Winston Churchill, 56. OxfordUniversity Press.

[10] Harley 2004, 2.

[11] Barthel-Calvet 2002, .

[12] Baltensperger 1996, 72.

[13] Varga 1996, 47.

[14] Harley 2004, 92.

[15] Hoffmann, Grove.

[16] Matossian 1986, 37.

[17] Xenakis, Brown, and Rahn 1987, 20.

[18] Harley 2004, 4.

[19] Matossian 1986, 48.

[20] Thatcher 2016, 116.

[21] For a study of Messiaen’s teaching methods, see Boivin1995, .

[22] F. Xenakis and Waldburg-Wolfegg n.d.

[23] Harley 2004, 12.

[24] Matossian 1986, 77–79.

[25] Harley 2004, 23.

[26] Harley 2004, 19.

[27] Cole 2009.

[28] Skowron 2001, 122–23.

[29] Xenakis 1992, 181.

[30] Anon. 1999.

[31] Griffiths 2001.

[32] Chrissochoidis, Houliaras, and Mitsakis 2005.

[33] Di Scipio 1998, 201.

[34] Hugill 2008, 95, 182.

[35] Di Scipio 1998, 220.

5 References• Amagali, Rosemary Tristano. 1975. “Texture as anOrganizational Factor in Selected Works of IannisXenakis”. M.M. Thesis, Indiana University.

• Anon. 1999. "Iannis Xenakis, Laureate of the Po-lar Music Prize 1999". Polar Music Prize website(accessed 29 April 2016) Archived 8 March 2012at the Wayback Machine.

• Ariza, Christopher. 2005. “The Xenakis Sieve asObject: A New Model and a Complete Implemen-tation”. Computer Music Journal 29, no. 2:40–60. http://www.mitpressjournals.org/doi/pdf/10.1162/0148926054094396'

• Baltensperger, André. 1995. Iannis Xenakis und dieStochastische Musik – Komposition im Spannungs-feld von Architektur und Mathematik. Zürich. PaulHaupt.

• Bardot, Jean-Marc. 1999. “Cendrées de Xenakisou l'émergence de la vocalité dans la pensée xenaki-enne.” Undergraduate thesis (equivalent). Saint-Etienne: Université Jean Monnet.

5

• Barthel-Calvet, Anne-Sylvie. 2002. “Chronologie”.In Portrait(s) de Iannis Xenakis, edited by François-Bernard Mâche, 25–82. Paris: Bibliothèque Na-tionale de France. ISBN 2-7177-2178-9.

• Biasi, Salvatore di. 1994. Musica e matematica neglianni 50–60: Iannis Xenakis. Bologna. Universitàdegli Studi di Bologna.

• Boivin, Jean. 1995. La Classe de Messiaen. Paris:Christian Bourgois.

• Chrissochoidis, Ilias, Stavros Houliaras, and Chris-tos Mitsakis. 2005. “Set theory in Xenakis’EONTA". In International Symposium Iannis Xe-nakis, edited by Anastasia Georgaki and MakisSolomos, 241–49. Athens: The National andKapodistrian University.

• Cole, Jonathan 2009. "Music and Architecture:Confronting the Boundaries between Space andSound". Gresham College website (21 September,archive from 18 January 2015, accessed 29 April2016)

• Di Scipio, Agostino. 1998. “Compositional Modelsin Xenakis’s Electroacoustic Music”. Perspectives ofNew Music 36, no. 2 (Summer): 201–43.

• Gagné, Nicole V. 2012. Historical Dictionary ofModern and Contemporary Classical Music. Lan-ham: Scarecrow Press.

• Griffiths, Paul. 2001. "Iannis Xenakis, ComposerWho Built Music on Mathematics, Is Dead at 78".The New York Times (5 February): B7 (accessed 13September 2009).

• Harley, James. 2004. Xenakis: His Life in Music.London: Taylor & Francis Books. ISBN 0-415-97145-4.

• Hoffmann, Peter. n.d. “Xenakis, Iannis”. GroveMusic Online, edited by Deane Root (accessed 29April 2016).

• Hugill, Andrew. 2008. The Digital Musician. NewYork: Routledge.

• Matossian, Nouritza. 1986. Xenakis. London:Kahn and Averill. ISBN 1-871082-17-X.

• Skowron, Zbigniew (ed.). 2001. Lutosławski Stud-ies. Oxford and New York: Oxford UniversityPress. ISBN 978-0-19-816660-3.

• Thatcher, Nathan. 2016. Paco. New York: Mor-mon Artists Group. ISBN 9781523859092.

• Varga, Bálint András. 1996. Conversations withIannis Xenakis. London: Faber and Faber. ISBN0-571-17959-2.

• Xenakis, Françoise, and Andreas Waldburg-Wolfegg. n.d. "Mme Xenakis in Conversation",translated by Sarah Green and Maro Elliott. Inter-national Contemporary Ensemble website (archivefrom 11 June 2015, accessed 29 April 2016).

• Xenakis, Iannis. 1992. Formalized Music: Thoughtand Mathematics in Composition, second edition.Harmonologia Series, no. 6. Stuyvesant, NY: Pen-dragon Press. ISBN 9781576470794.

• Xenakis, Iannis, Roberta Brown, and John Rahn.1987. “Xenakis on Xenakis”. Perspectives of NewMusic 25, nos. 1 and 2 (Winter and Summer): 16–63.

6 Further reading• Clark, Philip. 2009. “Xenakis”, in The WirePrimers: A Guide To Modern Music, 191–98. Lon-don and New York: Verso. ISBN 978-1-84467-427-5.

• Paland, Ralph, and Christoph von Blumröder (eds.).2009. Iannis Xenakis: Das elektroakustische Werk.Internationales Symposion. Tagungsbericht 2006.Signale aus Köln. Beiträge zur Musik der Zeit 14.Vienna. Der Apfel. ISBN 978-3-85450-414-6.

7 External links• xenakis.musicportal.gr from the Institute for Re-search on Music and Acoustics, Athens (Greece) –in Greek and English with many score and audio ex-amples

• Iannis-Xenakis.org by the Friends of Xenakis

• Medieval.org: Modern Music: Xenakis

• Luque, Sergio. 2009. “The Stochastic Synthesis ofIannis Xenakis.” Leonardo Music Journal (19): 77–84

• Works catalogue 70-page PDF from Xenakis’s pub-lisher Éditions Durand-Salabert-Eschig

• Iannis Xenakis @ Boosey & Hawkes Publisher

• Iannis Xenakis: the aesthetics of his early works byMarkos Zografos

• Iannis Xenakis Bibliography and Discography com-piled by James Harley for Leonardo/ISAST

• Two articles by Grant Chu Covell (2006) document-ing then-recent Xenakis recordings and books aboutXenakis: Part 1 and Part 2

• A biography on IRCAM's website (French)

6 7 EXTERNAL LINKS

• Excerpts from sound archives of Xenakis’s works.

• Interview with Xenakis by Bruce Duffie, 25 March1997

7

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8.1 Text• Iannis Xenakis Source: https://en.wikipedia.org/wiki/Iannis_Xenakis?oldid=718044593 Contributors: Kpjas, Eloquence, Deb, Camem-bert, Michael Hardy, Александър, Hyacinth, Grendelkhan, Naddy, Lesonyrra, Magic Window, Tea2min, Fabiform, Crculver, Yannisd,Ivan Svircevic, Ferdinand Pienaar, Wmahan, D3, Sigfpe, SarekOfVulcan, Antandrus, HorsePunchKid, SethTisue, Uaxuctum~enwiki,D6, Mindspillage, Kwamikagami, Matve, Jashiin, Bobo192, Thedarkestclear, Knucmo2, Jumbuck, Keenan Pepper, Goldom, Byrned-Head, Kelly Martin, Woohookitty, BD2412, Rjwilmsi, Lockley, Chekaz, Marozols, Miskin, FlaBot, RobertG, Mishuletz, RobyWayne,8q67n4tqr5, Krun, Esslk, Chobot, Bgwhite, YurikBot, Badagnani, Trovatore, Tony1, Vlad, Sshadow, Nikkimaria, Fang Aili, GraemeL,AMHR285, SmackBot, Kimon, SaxTeacher, AndreasJS, Mscuthbert, Eskimbot, Gpeddino, Bluebot, Dahn, JackyR, Joseolgon, Eusebeus,Scwlong, ErikLee, OrphanBot, KRBN, LoveMonkey, DMacks, Politis, Pkeets, Ohconfucius, Ser Amantio di Nicolao, JzG, Voceditenore,Rainwarrior, Markjdb, Hectorian, Violncello, GregFox, Alpha Ursae Minoris, CmdrObot, Paranoiac, Ron Oliver, Gregbard, Cydebot,Williamcedar, Thijs!bot, Jan Blanicky, Cyrus Sixguns, Mereda, Sliponshoe, Hunterskye, Atavi, LuisJ, AlexOvShaolin, JAnDbot, Avaya1,MSBOT, Magioladitis, Jerome Kohl, Hekerui, Cgingold, EagleFan, Gede, Mokgamen, DrKay, Danhallett, KMQ0729, Robertgreer, Kld-fghf, Middlepedal, VolkovBot, Hersfold, Electrocdwiki, Homun, TXiKiBoT, A4bot, Thmazing, Jk879, Anthony71, BOTijo, Pjoef, Hrafn,SieBot, MuzikJunky, Ferstel, Stfg, Fuddle, Ombrios, Tautologist, Pr656, Jamesfranklingresham, PipepBot, Pr676sl, Lr667d, Joao Xavier,Hj787d, Grundig, Robbie098, PixelBot, Conical Johnson, Bersho, Pinkhageo, Hrdinský, Pierrej, Semitransgenic, Erikvvold, Zmeea-gain~enwiki, SlubGlub, Heartylunch, Addbot, Larto5, Download, LinkFA-Bot, Lightbot, Zorrobot, Krenakarore, Clestur, Cote d'Azur,Luckas-bot, Yobot, MRJayMach, Zoomazooma, Ggh678, Angry bee, Message From Xenu, Ltr67, Materialscientist, Lapost, Arthur-Bot, LilHelpa, Dungeness, Karljoos, AV3000, Trtt78, Levellers5, False vacuum, Omnipaedista, Dionisis1979, RibotBOT, Lafoliaed8,WebCiteBOT, Latrivian, Orijentolog, LeMiklos, Nlghtnr, Jun Nijo, Eipnvn, Artoffuge, SarahLR, Gerda Arendt, Elekhh, Helterskelter-hipster, Douglasburton, RjwilmsiBot, EmausBot, John of Reading, OlegRosenthal, Rcsprinter123, GodowskyIsDead, Christophe Krief,Bbsuper8, Wikiphysicsgr, Ccarh, Kosmosgr, Helpful Pixie Bot, Needasideneedaside, Wbm1058, Bonnie13J, Toccata quarta, RosieFBath,Ninmacer20, Cyberbot II, Msalkindpearl, Moderatelyaverage, Anglealiveanglealive, Dexbot, Madnessfan34537, TwoTwoHello, VIAFbot,Sheherazade Afshar, SucreRouge, Minglethingie, Prove It, Tigercompanion25, YehudaMann, KasparBot and Anonymous: 123

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