#haraldboje — Public Fediverse posts

kurzwellen / karlheinz stockhausen. 1968

Kurzwellen (Short Waves), for six players with shortwave radio receivers and live electronics, is a composition by Karlheinz Stockhausen, written in 1968. It is Number 25 in the catalog of the composer’s works.

Aloys Kontarsky, piano; Harald Bojé, electronium; Alfred Alings and Rolf Gehlhaar, tamtam with microphone; Johannes Fritsch, viola; Karlheinz Stockhausen, sound direction.

Conception
Kurzwellen is one of a series of works dating from the 1960s which Stockhausen designated as “process” compositions. These works in effect separate the “form” from the “content” by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Kurzwellen and three subsequent works (Spiral for a soloist, Pole for two, and Expo for three), this material is to be drawn spontaneously during the performance from short-wave radio broadcasts (Kohl 1981, 192–93). While this separate treatment of the genetic rules for development had existed in Stockhausen’s earlier compositions, the emphasis on the process of transformation and less specificity of what is to be transformed is taken further than ever before in Kurzwellen (Stockhausen 1989, 114). The overall formal process is therefore fixed, whereas the sound materials are extremely variable (Frisius 2008, 224). The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being “the same” (Kohl 2010, 137). While the use of radios in concert works dates back at least to 1942 with John Cage’s Credo in Us, and Stockhausen may well have gotten the idea of using radios from Cage, their approaches could not have been more different. For Cage, the type of radio is a matter of indifference, since their purpose is merely to fill in prescribed time units with any sort of sound at all. Stockhausen, on the other hand, prescribed short-wave receivers because of their capability of bringing in broadcasts from far away, and for the rich variety of available sounds. These sounds are also not used indiscriminately: the performers are to search for and select only materials suitable for improvisational transformations (Kohl 2010, 135–37).

Performance practice
The composer explained that in pieces like this, “the first step is always that of imitating something and the next step is that of transforming what you’re able to imitate” (Cott 1973, 33). Each performer plays a series of events separated by pauses. An event may be played either with the radio or with an instrument, and it is also possible for a player to accompany an event on an instrument with the radio or vice versa, or to blend both together. Each event has a distinct duration defined by its subdivision into segments with a characteristic rhythm (Rigoni 1998, 235).

Each plus, minus, or equal sign indicates that, upon repetition of an event, the performer is to increase, decrease, or maintain the same level in one of four musical dimensions (or “parameters”): overall duration of the event, number of internal subdivisions, dynamic level, or pitch register/range. It is up to the performer to decide which of these dimensions is to be affected, except that vertically stacked signs must be applied to different parameters. Despite this, a large number of plus signs (for example) will result in successive events becoming longer, more finely subdivided, louder, and either higher or wider in range; a large number of minus signs will produce the reverse effect (Kohl 2010, 137).

Video created with Audacity, Sonic Visualizer, vokoscreen and OpenShot on a Debian 10 Buster KDE Linux System.

#AlfredAlings #AloysKontarsky #audio #audiovideo #HaraldBojé #JohannesFritsch #KarlheinzStockhausen #Kurzwellen #musica #musicaContemporanea #musicaSperimentale #processComposition #RolfGehlhaar #video

kurzwellen / karlheinz stockhausen. 1968

Kurzwellen (Short Waves), for six players with shortwave radio receivers and live electronics, is a composition by Karlheinz Stockhausen, written in 1968. It is Number 25 in the catalog of the composer’s works.

Aloys Kontarsky, piano; Harald Bojé, electronium; Alfred Alings and Rolf Gehlhaar, tamtam with microphone; Johannes Fritsch, viola; Karlheinz Stockhausen, sound direction.

Conception
Kurzwellen is one of a series of works dating from the 1960s which Stockhausen designated as “process” compositions. These works in effect separate the “form” from the “content” by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Kurzwellen and three subsequent works (Spiral for a soloist, Pole for two, and Expo for three), this material is to be drawn spontaneously during the performance from short-wave radio broadcasts (Kohl 1981, 192–93). While this separate treatment of the genetic rules for development had existed in Stockhausen’s earlier compositions, the emphasis on the process of transformation and less specificity of what is to be transformed is taken further than ever before in Kurzwellen (Stockhausen 1989, 114). The overall formal process is therefore fixed, whereas the sound materials are extremely variable (Frisius 2008, 224). The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being “the same” (Kohl 2010, 137). While the use of radios in concert works dates back at least to 1942 with John Cage’s Credo in Us, and Stockhausen may well have gotten the idea of using radios from Cage, their approaches could not have been more different. For Cage, the type of radio is a matter of indifference, since their purpose is merely to fill in prescribed time units with any sort of sound at all. Stockhausen, on the other hand, prescribed short-wave receivers because of their capability of bringing in broadcasts from far away, and for the rich variety of available sounds. These sounds are also not used indiscriminately: the performers are to search for and select only materials suitable for improvisational transformations (Kohl 2010, 135–37).

Performance practice
The composer explained that in pieces like this, “the first step is always that of imitating something and the next step is that of transforming what you’re able to imitate” (Cott 1973, 33). Each performer plays a series of events separated by pauses. An event may be played either with the radio or with an instrument, and it is also possible for a player to accompany an event on an instrument with the radio or vice versa, or to blend both together. Each event has a distinct duration defined by its subdivision into segments with a characteristic rhythm (Rigoni 1998, 235).

Each plus, minus, or equal sign indicates that, upon repetition of an event, the performer is to increase, decrease, or maintain the same level in one of four musical dimensions (or “parameters”): overall duration of the event, number of internal subdivisions, dynamic level, or pitch register/range. It is up to the performer to decide which of these dimensions is to be affected, except that vertically stacked signs must be applied to different parameters. Despite this, a large number of plus signs (for example) will result in successive events becoming longer, more finely subdivided, louder, and either higher or wider in range; a large number of minus signs will produce the reverse effect (Kohl 2010, 137).

Video created with Audacity, Sonic Visualizer, vokoscreen and OpenShot on a Debian 10 Buster KDE Linux System.

#AlfredAlings #AloysKontarsky #audio #audiovideo #HaraldBojé #JohannesFritsch #KarlheinzStockhausen #Kurzwellen #musica #musicaContemporanea #musicaSperimentale #processComposition #RolfGehlhaar #video

prozession / karlheinz stockhausen. 1967

Prozession (Procession), for tamtam, viola, electronium, piano, microphones, filters, and potentiometers (six performers), is a composition by Karlheinz Stockhausen, written in 1967. It is Number 23 in the catalogue of the composer’s works.

Christoph Caskel, Joachim Krist, Péter Eötvös, Harald Bojé, Aloys Kontarsky, Karlheinz Stockhausen

Conception
Prozession is one of a series of works dating from the 1960s which Stockhausen designated as “process” compositions. These works in effect separate the “form” from the “content” by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Prozession, the performers choose material from specific earlier compositions by Stockhausen. In the subsequent companion works, Kurzwellen for six performers, Spiral for a soloist, Pole for two, and Expo for three, this material is to be drawn spontaneously during the performance from short-wave radio broadcasts (Kohl 1981, 192–93). The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being “the same” (Kohl 2010, 137).

History
Prozession was begun during a train journey to Basel in May 1967 (Gehlhaar 1998, 53) and was written for and dedicated to the ensemble with which Stockhausen was regularly touring at that time: Alfred Alings and Rolf Gehlhaar (tamtam with hand-held microphone), Johannes Fritsch (viola), Harald Bojé (electronium), and Aloys Kontarsky (piano). Two performers are required for the tamtam: The world premiere was given by this ensemble in Helsinki on 21 May 1967, with subsequent performances in Stockholm, Oslo, at the Bergen Festival, in Copenhagen, London, and finally on 26 August 1967 at the Darmstädter Ferienkurse. Three performances were recorded in Darmstadt a few days later, and one was chosen for release on disc (Stockhausen 1971, 102–103). Earlier recordings had been made for radio broadcast, during rehearsals at the WDR in Cologne, on 9 and 10 May 1967 (Gehlhaar 1998, 55). In addition to recordings, over the scourse of three years this same ensemble performed Prozession approximately twenty-eight times (Gehlhaar 1998, 62).

Structure and technique
Prozession consists of a sequence of 250 events in each of the four parts. There is no written score. Stockhausen explained that in pieces like this, “the first step is always that of imitating something and the next step is that of transforming what you’re able to imitate” (Cott 1973, 33). The tamtam players choose material from Mikrophonie I, the viola from Gesang der Jünglinge, Kontakte, and Momente, the electronium from Telemusik, and the piano from the Klavierstücke I–XI and Kontakte (Stockhausen 1971, 103).

Each plus, minus, or equal sign indicates that, upon repetition of an event, the performer is to increase, decrease, or maintain the same level in one of four musical dimensions (or “parameters”): overall duration of the event, number of internal subdivisions, dynamic level, or pitch register/range. It is up to the performer to decide which of these dimensions is to be affected, except that vertically stacked signs must be applied to different parameters (Stockhausen 1973, 1, 11, 21). Despite this indeterminacy, a large number of plus signs (for example) will result in successive events becoming longer, more finely subdivided, louder, and either higher or wider in range; a large number of minus signs will produce the reverse effect (Kohl 2010, 137). In this way, a continuing process of changes is controlled, and the work’s title is taken from this concept at its core: German Prozeß = “process”, Prozess-ion (Stockhausen 1971, 106), though of course it also means “procession” in the sense of a ceremonial parade or enfilade (Gehlhaar 1998, 55).

Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 10 Buster KDE Linux System.

#250Events #AloysKontarsky #audio #audiovideo #ChristophCaskel #HaraldBojé #JoachimKrist #KarlheinzStockhausen #musica #musicaContemporanea #musicaSperimentale #PéterEötvös #Procession #Prozession #unpredictabilityOfTheMaterials #video

prozession / karlheinz stockhausen. 1967

Prozession (Procession), for tamtam, viola, electronium, piano, microphones, filters, and potentiometers (six performers), is a composition by Karlheinz Stockhausen, written in 1967. It is Number 23 in the catalogue of the composer’s works.

Christoph Caskel, Joachim Krist, Péter Eötvös, Harald Bojé, Aloys Kontarsky, Karlheinz Stockhausen

Conception
Prozession is one of a series of works dating from the 1960s which Stockhausen designated as “process” compositions. These works in effect separate the “form” from the “content” by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Prozession, the performers choose material from specific earlier compositions by Stockhausen. In the subsequent companion works, Kurzwellen for six performers, Spiral for a soloist, Pole for two, and Expo for three, this material is to be drawn spontaneously during the performance from short-wave radio broadcasts (Kohl 1981, 192–93). The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being “the same” (Kohl 2010, 137).

History
Prozession was begun during a train journey to Basel in May 1967 (Gehlhaar 1998, 53) and was written for and dedicated to the ensemble with which Stockhausen was regularly touring at that time: Alfred Alings and Rolf Gehlhaar (tamtam with hand-held microphone), Johannes Fritsch (viola), Harald Bojé (electronium), and Aloys Kontarsky (piano). Two performers are required for the tamtam: The world premiere was given by this ensemble in Helsinki on 21 May 1967, with subsequent performances in Stockholm, Oslo, at the Bergen Festival, in Copenhagen, London, and finally on 26 August 1967 at the Darmstädter Ferienkurse. Three performances were recorded in Darmstadt a few days later, and one was chosen for release on disc (Stockhausen 1971, 102–103). Earlier recordings had been made for radio broadcast, during rehearsals at the WDR in Cologne, on 9 and 10 May 1967 (Gehlhaar 1998, 55). In addition to recordings, over the scourse of three years this same ensemble performed Prozession approximately twenty-eight times (Gehlhaar 1998, 62).

Structure and technique
Prozession consists of a sequence of 250 events in each of the four parts. There is no written score. Stockhausen explained that in pieces like this, “the first step is always that of imitating something and the next step is that of transforming what you’re able to imitate” (Cott 1973, 33). The tamtam players choose material from Mikrophonie I, the viola from Gesang der Jünglinge, Kontakte, and Momente, the electronium from Telemusik, and the piano from the Klavierstücke I–XI and Kontakte (Stockhausen 1971, 103).

Each plus, minus, or equal sign indicates that, upon repetition of an event, the performer is to increase, decrease, or maintain the same level in one of four musical dimensions (or “parameters”): overall duration of the event, number of internal subdivisions, dynamic level, or pitch register/range. It is up to the performer to decide which of these dimensions is to be affected, except that vertically stacked signs must be applied to different parameters (Stockhausen 1973, 1, 11, 21). Despite this indeterminacy, a large number of plus signs (for example) will result in successive events becoming longer, more finely subdivided, louder, and either higher or wider in range; a large number of minus signs will produce the reverse effect (Kohl 2010, 137). In this way, a continuing process of changes is controlled, and the work’s title is taken from this concept at its core: German Prozeß = “process”, Prozess-ion (Stockhausen 1971, 106), though of course it also means “procession” in the sense of a ceremonial parade or enfilade (Gehlhaar 1998, 55).

Video created with Sonic Visualizer, vokoscreen and OpenShot on a Debian 10 Buster KDE Linux System.

#250Events #AloysKontarsky #audio #audiovideo #ChristophCaskel #HaraldBojé #JoachimKrist #KarlheinzStockhausen #musica #musicaContemporanea #musicaSperimentale #PéterEötvös #Procession #Prozession #unpredictabilityOfTheMaterials #video