#karlheinz-stockhausen — Public Fediverse posts

musik im bauch / karlheinz stockhausen

https://youtu.be/MozVF8DmR38?is=cJoJkQBxWbPyxa1w

musik im bauch / karlheinz stockhausen

https://youtu.be/MozVF8DmR38?is=cJoJkQBxWbPyxa1w

klavierstück xii / karlheinz stockhausen. 1983

[youtube https://www.youtube.com/watch?v=w99vk76rhVM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent&w=625&h=352]

Karlheinz Stockhausen, Klavierstück XII (1983)
Chiara Saccone, pianoforte
Rondò 2016
registrazione effettuata il 31.03.2016 al Teatro Litta di Milano

klavierstück xii / karlheinz stockhausen. 1983

[youtube https://www.youtube.com/watch?v=w99vk76rhVM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=it&autohide=2&wmode=transparent&w=625&h=352]

Karlheinz Stockhausen, Klavierstück XII (1983)
Chiara Saccone, pianoforte
Rondò 2016
registrazione effettuata il 31.03.2016 al Teatro Litta di Milano

Berückendes Konzert im ausverkauften Glaspavillon

Vor zwei Jahren verbreitete der Auftritt seiner Band Sommerfeststimmung. Der Kölner Musiker kehrte nun in den Skulpturenpark zurück…
#Wuppertal #Deutschland #Deutsch #DE #Schlagzeilen #Headlines #Nachrichten #News #Europe #Europa #EU #ausverkauften #Berückendes #Duo #Germany #KarlheinzStockhausen #Konzert #MarkusStockhausen #Moving #Nordrhein-Westfalen #Skulpturenpark #Sounds #TaraBouman
https://www.europesays.com/de/768733/

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

@GreenSkyOverMe

Danke für diesen Hinweis. Wie knuffig. Wobei ich selbst mit 5 Jahren erstmals in einem Großen Theater saß um die Zauberflöte zu sehen (Vater war Musiklehrer und dachte, Mozart schadet dem Kinde nicht).

Noch heute, 50 Jahre später, ist die Zauberföte meine Lieblingsoper.

PS: Zum Glück war der Vater kein reiner Bildungsbürger, sondern vermittelte mir fast alle Genres die es so gibt- lediglich mit der 12-Tonmusik eines Stockhausen wurde ich nie recht warm.

#zauberflöte #mozart #bildungsbürger #stockhausen #karlheinzStockhausen #lego #kinder #kindgerecht

@GreenSkyOverMe

Danke für diesen Hinweis. Wie knuffig. Wobei ich selbst mit 5 Jahren erstmals in einem Großen Theater saß um die Zauberflöte zu sehen (Vater war Musiklehrer und dachte, Mozart schadet dem Kinde nicht).

Noch heute, 50 Jahre später, ist die Zauberföte meine Lieblingsoper.

PS: Zum Glück war der Vater kein reiner Bildungsbürger, sondern vermittelte mir fast alle Genres die es so gibt- lediglich mit der 12-Tonmusik eines Stockhausen wurde ich nie recht warm.

#zauberflöte #mozart #bildungsbürger #stockhausen #karlheinzStockhausen #lego #kinder #kindgerecht

@GreenSkyOverMe

Danke für diesen Hinweis. Wie knuffig. Wobei ich selbst mit 5 Jahren erstmals in einem Großen Theater saß um die Zauberflöte zu sehen (Vater war Musiklehrer und dachte, Mozart schadet dem Kinde nicht).

Noch heute, 50 Jahre später, ist die Zauberföte meine Lieblingsoper.

PS: Zum Glück war der Vater kein reiner Bildungsbürger, sondern vermittelte mir fast alle Genres die es so gibt- lediglich mit der 12-Tonmusik eines Stockhausen wurde ich nie recht warm.

#zauberflöte #mozart #bildungsbürger #stockhausen #karlheinzStockhausen #lego #kinder #kindgerecht

@GreenSkyOverMe

Danke für diesen Hinweis. Wie knuffig. Wobei ich selbst mit 5 Jahren erstmals in einem Großen Theater saß um die Zauberflöte zu sehen (Vater war Musiklehrer und dachte, Mozart schadet dem Kinde nicht).

Noch heute, 50 Jahre später, ist die Zauberföte meine Lieblingsoper.

PS: Zum Glück war der Vater kein reiner Bildungsbürger, sondern vermittelte mir fast alle Genres die es so gibt- lediglich mit der 12-Tonmusik eines Stockhausen wurde ich nie recht warm.

#zauberflöte #mozart #bildungsbürger #stockhausen #karlheinzStockhausen #lego #kinder #kindgerecht

@GreenSkyOverMe

Danke für diesen Hinweis. Wie knuffig. Wobei ich selbst mit 5 Jahren erstmals in einem Großen Theater saß um die Zauberflöte zu sehen (Vater war Musiklehrer und dachte, Mozart schadet dem Kinde nicht).

Noch heute, 50 Jahre später, ist die Zauberföte meine Lieblingsoper.

PS: Zum Glück war der Vater kein reiner Bildungsbürger, sondern vermittelte mir fast alle Genres die es so gibt- lediglich mit der 12-Tonmusik eines Stockhausen wurde ich nie recht warm.

#zauberflöte #mozart #bildungsbürger #stockhausen #karlheinzStockhausen #lego #kinder #kindgerecht

https://www.europesays.com/ee/55736/ Ooper algab raseda naise tõusmisega majakasse #EE #Eesti #EestiKeel #Entertainment #Estonia #Estonian #KarlheinzStockhausen #licht #meelelahutus #PariisiFilharmoonia #valgus

gruppen / karlheinz stockhausen

#contemporaryMusic #Gruppen #KarlheinzStockhausen #music #musica #musicaContemporanea #Stockhausen

gruppen / karlheinz stockhausen

#contemporaryMusic #Gruppen #KarlheinzStockhausen #music #musica #musicaContemporanea #Stockhausen

gruppen / karlheinz stockhausen

#contemporaryMusic #Gruppen #KarlheinzStockhausen #music #musica #musicaContemporanea #Stockhausen

gruppen / karlheinz stockhausen

#contemporaryMusic #Gruppen #KarlheinzStockhausen #music #musica #musicaContemporanea #Stockhausen

gruppen / karlheinz stockhausen

#contemporaryMusic #Gruppen #KarlheinzStockhausen #music #musica #musicaContemporanea #Stockhausen

Loss of an engaging sphinx – Pierre Audi died unexpectedly in Beijing

Pierre Audi, the headstrong opera director who brought Dutch National Opera world fame with his adventurous productions, died on the night of May 2 to 3. He suffered a heart attack in Beijing, where, according to The New York Times, he was ‘for meetings related to future productions’, but was ‘preparing a reprise of one of his productions’, according to Le Figaro. With his demise, Audi leaves a huge void in the international theatre scene.

In the Netherlands, Audi, born in Beirut in 1957, shook up the mothballed Netherlands Opera (later renamed De Nationale Opera) considerably. He was hired in 1988 as a complete unknown director –lacking any experience in opera– by then director Truze Lodder, who had recognized his amazing talents as director of the avant-garde Almeida Theatre he had set up in London in his twenties. Audi grabbed his opportunity and set to work relentlessly.

Earthly elements

Audi at once made a name for himself with his staging of Il ritorno d’Ulisse in patria in 1990. He soon developed a completely unique signature, in which empty playing surfaces, fire and other earthly elements play a prominent role. Perhaps best known are his several times repeated productions of Wagner’s integral Der Ring des Nibelungen and the gigantic enterprise Aus Licht in 2019. This production in the Holland Festival presented no less than 15 hours out of the 29 hours of Karlheinz Stockhausen’s opera Licht, die sieben Tage der Woche in the Amsterdam Gashouder.

https://www.youtube.com/watch?v=QI3A0Er5Agw&ab_channel=NationaleOpera%26Ballet

When he left Dutch National Opera in 2018, after 30 years of service, it occupied a prominent place on the theatrical world map. In recent years, Audi was both artistic director of Festival D’Aix en Provence and Park Avenue Armory in New York. Nevertheless, he continued to live in Amsterdam with his wife and two children.

I myself got to know Audi during my study of musicology, when in 1995 I was involved as an intern in his production of the Schoenberg trilogy, with the one-acts Erwartung, Die glückliche Hand and Von heute auf morgen. For Erwartung, he had the stage filled with real trees, forming the forest through which the female protagonist wanders confused.

Amiable

Audi also remained a fixture in my later life as a music journalist. Many times I interviewed him for NPOKlassiek, the Dutch classical radio station, and in 2019 I made a reportage on his spectacular production Aus Licht, which included the controversial Helikopter-Streichquartett.

https://open.spotify.com/episode/7JP6kQ8LRYLutrherA653I

Audi was distinctly amiable, and despite his ever busy schedule, he always found time for a talk. Calmly and thoughtfully he formulated his views on the subjects at hand. His brown eyes invariably gazed penetratingly into mine, yet nevertheless he also remained somewhat distant and elusive, like a sphinx. When once I teased him in a column that he invariably spoke English despite his long stay in our country, he presented his next press conference in Dutch.

In 2004 I browsed through his record closet with him, for the magazine of the Asko Ensemble and the Schönberg Ensemble (later merged into Asko|Schönberg and renamed Het Muziek as of season 2025-26). With his somewhat nasal voice and French-tinged Dutch, he declared that he intended to listen to the many CDs still wrapped in cellophane after his retirement. –

Unfortunately, Audi never made it that far. He died in harness, aged 67. I will miss him.

Below our talk on his cd-collection, published in 2005 in the Asko-Schönberg magazine.

Amsterdam, 1 November 2004

THE RECORD COLLECTION OF PIERRE AUDI

When I ring his bell at the appointed time, someone from television opens the door: the recordings for a documentary are running late. I wait in a room furnished with baroque furniture, but otherwise Spartan; there are no carpets, no paintings on the walls. After a while Audi arrives, excuses himself and leads me into an immense study, where he points to an eighteenth-century semainire. Once its seven drawers secured aristocrats’ shirts for each day of the week; now they serve as a record cabinet. Audi invites me to browse through them, while he once again speaks with the camera crew.

Beethoven alongside Ligeti

Like a thief in the night, I open drawer after drawer. Each of these turns out to be crammed with two rows of CDs, in which the complete string quartets of Beethoven and Haydn are egalitarian juxtaposed with such incendiary operas as Ligeti’s Le Grand Macabre and Birtwistle’s Punch and Judy. The integral symphonies of Bruckner and Sibelius are flanked by recordings of Louis Andriessen, Claude Vivier, Giacinto Scelsi and Mauricio Kagel; compilation boxes of Callas, Furtwängler and Celibidache are sandwiched between albums of Philip Glass, Arvo Pärt and Charles Ives.

Just when I wonder how Audi manages to find a CD of his liking in this chaos, he enters: ‘No problem, because I rarely listen to music.’ – Not even to the operas he stages? ‘I do, but then it only concerns fragments, which I analyse.’ Suddenly fierce: ‘A recording is not the ultimate statement about how an opera should sound, as some critics believe. They come with the sound of a particular CD in their ears, and if the production deviates from that, they don’t like the singers, or the conductor, or both. That shows mental laziness: a recording only gives an impression of the vision of a certain group of people at a certain time under a certain conductor.’

Wrapped CDs

At least a third of his CDs are still  wrapped in cellophane. Why does he buy so many if he doesn’t listen to them anyway? ‘That’s for when I retire, I’m afraid they will no longer be available then. They form a time document: they represent a need I felt at certain times in my life; that way I can relive this later.’ But when I ask him what his first purchase was, he replies, puzzled: ‘I don’t remember…’

We go to a side room filled from floor to ceiling with books and LPs. He stares at the records and says, ‘It started with film music. I wanted to be a film director and from the age of ten I collected everything I could find in that field.’

Among the soundtracks of films by Fellini, Pasolini, French and American filmmakers, there are also some LPs with music by Scelsi, Handel and Bach. ‘Around age 16, I also became interested in modern and classical music.’ Rock music and jazz are missing. ‘Don’t ask me why, but that never interested me…’

No opera!

What music will he listen to first after retirement? ‘Definitely not opera, the human voice forces one to think, because of the text. Also no Mahler, because his music is so theatrical, it is too close to the voice… Bach, but especially modern composers, I want to really immerse myself in their pieces.’

‘In addition, I long for a more meditative form of listening, for music with which I feel synergy. For instance that of Russian composers, their work is evocative and spiritual.’ Does he mean composers such as Pärt and Gubaidulina? ‘No, I’m thinking of Tchaikovsky, Mussorgsky, the classics.’

With a longing smile, ‘Maybe I’ll start listening even before my retirement, when I finally have a home in the country…’

https://www.youtube.com/watch?v=eu0uDOPAgFc&ab_channel=NationaleOpera%26Ballet

#DutchNationalOpera #GyörgyLigeti #KarlheinzStockhausen #PierreAudi #TruzeLodder

Our latest interviewee, Carl Bergstrøm-Nielsen, is an #improviser of #intuitiveMusic, and #composer of #experimentalMusic.

You can ask Carl questions on the topic of both #music and #games for our crowdsourced #interview:

http://musicgames.wikidot.com/source:carl-bergstrom-nielsen-interview

The photo of #KarlheinzStockhausen's intuitive music group (and #moog #synth) is by Lene Duus ("educational usage", please, etc.), @carlintuitive is in the middle.

Our latest interviewee, Carl Bergstrøm-Nielsen, is an #improviser of #intuitiveMusic, and #composer of #experimentalMusic.

You can ask Carl questions on the topic of both #music and #games for our crowdsourced #interview:

http://musicgames.wikidot.com/source:carl-bergstrom-nielsen-interview

The photo of #KarlheinzStockhausen's intuitive music group (and #moog #synth) is by Lene Duus ("educational usage", please, etc.), @carlintuitive is in the middle.

Our latest interviewee, Carl Bergstrøm-Nielsen, is an #improviser of #intuitiveMusic, and #composer of #experimentalMusic.

You can ask Carl questions on the topic of both #music and #games for our crowdsourced #interview:

http://musicgames.wikidot.com/source:carl-bergstrom-nielsen-interview

The photo of #KarlheinzStockhausen's intuitive music group (and #moog #synth) is by Lene Duus ("educational usage", please, etc.), @carlintuitive is in the middle.

Our latest interviewee, Carl Bergstrøm-Nielsen, is an #improviser of #intuitiveMusic, and #composer of #experimentalMusic.

You can ask Carl questions on the topic of both #music and #games for our crowdsourced #interview:

http://musicgames.wikidot.com/source:carl-bergstrom-nielsen-interview

The photo of #KarlheinzStockhausen's intuitive music group (and #moog #synth) is by Lene Duus ("educational usage", please, etc.), @carlintuitive is in the middle.

Our latest interviewee, Carl Bergstrøm-Nielsen, is an #improviser of #intuitiveMusic, and #composer of #experimentalMusic.

You can ask Carl questions on the topic of both #music and #games for our crowdsourced #interview:

http://musicgames.wikidot.com/source:carl-bergstrom-nielsen-interview

The photo of #KarlheinzStockhausen's intuitive music group (and #moog #synth) is by Lene Duus ("educational usage", please, etc.), @carlintuitive is in the middle.

He listened to the colour of his dreams - and the decade exploded.

https://happymag.tv/how-the-beatles-recorded-tomorrow-never-knows/

#JohnLennon #TheBeatles #MOJOMagazine #60s #psychedelia #lsd #TimothyLeary #pot #varispeed #TapeLoops #mellotron #BackwardsGuitars #BackwardsVocals #SoundEffects #KarlheinzStockhausen

He listened to the colour of his dreams - and the decade exploded.

https://happymag.tv/how-the-beatles-recorded-tomorrow-never-knows/

#JohnLennon #TheBeatles #MOJOMagazine #60s #psychedelia #lsd #TimothyLeary #pot #varispeed #TapeLoops #mellotron #BackwardsGuitars #BackwardsVocals #SoundEffects #KarlheinzStockhausen

Karlheinz Stockhausen about to get into a tiny boat to hear a delightful song about world peace! Not real but perhaps he did ride this ride at some point. Mary Blair’s finest work with one of Germany’s finest avant garde composers! If you are unaware of the art of Mary Blair explore her lovely art! This pic was lifted via the NoWave Facebook group and I’m not certain who created it.

#KarlheinzStockhausen #Disneyland #ItsASmallWorld #MaryBlair

Karlheinz Stockhausen about to get into a tiny boat to hear a delightful song about world peace! Not real but perhaps he did ride this ride at some point. Mary Blair’s finest work with one of Germany’s finest avant garde composers! If you are unaware of the art of Mary Blair explore her lovely art! This pic was lifted via the NoWave Facebook group and I’m not certain who created it.

#KarlheinzStockhausen #Disneyland #ItsASmallWorld #MaryBlair

Karlheinz Stockhausen about to get into a tiny boat to hear a delightful song about world peace! Not real but perhaps he did ride this ride at some point. Mary Blair’s finest work with one of Germany’s finest avant garde composers! If you are unaware of the art of Mary Blair explore her lovely art! This pic was lifted via the NoWave Facebook group and I’m not certain who created it.

#KarlheinzStockhausen #Disneyland #ItsASmallWorld #MaryBlair

THE SOUND OF COLOGNE
Mi 20:45 Uhr bei uns im Lichtspielhaus.
#AMusik #ClausBachor #barnt #can #mkBraun #djBrom #HolgerCzukay #DesmondDenker #HerbertEimert #FrankDommert  #jeandado #JakiLiebezeit #kompakt #MichaelMayer #MalcolmMooney #MouseOnMars #niobe #popnoname #MathiasSchaffhäuser #KarlheinzStockhausen #DamoSuzuki #WolfgangVoigt #LenaWillikens 

David Tudor and Karlheinz Stockhausen
in New York for performances of Refrain and Kontakte
1964

#DavidTudor #NYSchool
#KarlheinzStockhausen

David Tudor and Karlheinz Stockhausen
in New York for performances of Refrain and Kontakte
1964

#DavidTudor #NYSchool
#KarlheinzStockhausen

David Tudor and Karlheinz Stockhausen
in New York for performances of Refrain and Kontakte
1964

#DavidTudor #NYSchool
#KarlheinzStockhausen

David Tudor and Karlheinz Stockhausen
in New York for performances of Refrain and Kontakte
1964

#DavidTudor #NYSchool
#KarlheinzStockhausen

David Tudor and Karlheinz Stockhausen
in New York for performances of Refrain and Kontakte
1964

#DavidTudor #NYSchool
#KarlheinzStockhausen

Karlheinz Stockhausen: Originale, musical theater. First performance directed by Carlheinz Caspari, Theater am Dom, Cologne, June 1961, with Christoph Caskel, Nam June Paik, David Tudor and others. Photos: Peter Fischer. More informations: Dreher, Thomas: Performance Art seit 1945. Aktionstheater und Intermedia. Munich 2001, p.117f. PDF: https://digi20.digitale-sammlungen.de/de/fs1/object/display/bsb00041413_00116.html #karlheinzstockhausen #stockhausen #thomasdreher #performanceart #performanceartwork #musicaltheater #experimentalmusic #happenings

Karlheinz Stockhausen: Originale, musical theater. First performance directed by Carlheinz Caspari, Theater am Dom, Cologne, June 1961, with Christoph Caskel, Nam June Paik, David Tudor and others. Photos: Peter Fischer. More informations: Dreher, Thomas: Performance Art seit 1945. Aktionstheater und Intermedia. Munich 2001, p.117f. PDF: https://digi20.digitale-sammlungen.de/de/fs1/object/display/bsb00041413_00116.html #karlheinzstockhausen #stockhausen #thomasdreher #performanceart #performanceartwork #musicaltheater #experimentalmusic #happenings

@acousticmirror

mysterious #JohnCage and #KarlheinzStockhausen meme
#NYSchool

@acousticmirror

mysterious #JohnCage and #KarlheinzStockhausen meme
#NYSchool

@acousticmirror

mysterious #JohnCage and #KarlheinzStockhausen meme
#NYSchool

@acousticmirror

mysterious #JohnCage and #KarlheinzStockhausen meme
#NYSchool

@acousticmirror

mysterious #JohnCage and #KarlheinzStockhausen meme
#NYSchool

#DavidTudor and #KarlheinzStockhausen
in New York for performances of Refrain and Kontakte
1964

#NYSchool

#DavidTudor and #KarlheinzStockhausen
in New York for performances of Refrain and Kontakte
1964

#NYSchool

#DavidTudor and #KarlheinzStockhausen
in New York for performances of Refrain and Kontakte
1964

#NYSchool

#DavidTudor and #KarlheinzStockhausen
in New York for performances of Refrain and Kontakte
1964

#NYSchool

#DavidTudor and #KarlheinzStockhausen
in New York for performances of Refrain and Kontakte
1964

#NYSchool

#otd 5 Dec 2007: #KarlheinzStockhausen (*1928)

German composer, known for his groundbreaking work in electronic music; excited often controversy, e.g. for calling the 9/11-attacks "the biggest work of art there has ever been"

~ heart failure

https://www.youtube.com/watch?v=nffOJXcJCDg

«Battiato, i Nirvana, Usw»
Fare l'editore alternativo è uno stranissimo metiere che a volte dà soddidsfazioni enormi. Come racconta Claud'io qui sotto … per lasciare poi la parola a Stefano Orofino.

BATTIATO, I NIRVANA, USW

tracce utopiche nell
https://www.labottegadelbarbieri.org/battiato-i-nirvana-usw/
#bottegadelbarbieri #labottegadelbarbieri
#Articoli #Libri #FrancoBattiato #industriamusicale #KarlHeinzStockhausen #KurtCobain #Nirvana #StefanoOrofino #TheodorAdorno #Usw

Zomernieuwsbrief: Holland Festival en meer

Markus Stenz + Thea Derks + Os, 7-6-2019 TivoliVredenburg

Ook zo aan het genieten (of balen) van de aanhoudende hitte? Hierbij wat verstrooiend lees- en luistervoer. Enjoy!

Op vrijdag 7 juni nam het Radio Filharmonisch Orkest afscheid van chef-dirigent Markus Stenz. Ik interviewde hem voor het Avondconcert op Radio 4 en vroeg hem naar zijn achtergrond (Engelstalig).

Als dank voor de vele mooie concerten schonk ik Stenz Een os op het dak: moderne muziek na 1900 in vogelvlucht. Hij toonde zich aangenaam verrast en noemde het een ‘ideaal vakantieboek’. Als onverwachte bonus kreeg de Os ondertussen een prachtrecensie van Michaja Langelaan in het weekblad Argus. Dus grijp je kans: koop de Os voor jezelf of geef hem cadeau, het is tenslotte volgens velen ‘een must have voor elke muziekliefhebber’.

Ik gaf zondag 18 mei twee lezingen over mijn Os in het gloednieuwe Eratofestival in Meppel, waar ik twee dagen daarvoor tevens het openingsconcert had afgetrapt met een inleiding op het concert van Miranda van Kralingen.

Een week later ging de Os alweer mee naar het Oranjewoudfestival, waar ik twee lezingen mocht geven in het gelijknamige landgoed. Ik verzorgde daarnaast inleidingen bij How to Play the Triangle van Tatiana Koleva en ‘8’ van David Lang met Cello8tet Amsterdam.

Ongeveer tegelijkertijd barstte het Holland Festival los, met als hoogtepunt de driedaagse voorstellingen van Aus Licht, een belevenis!

Stockhausen was uiteraard niet de enige attractie van het Holland Festival. Ik bezocht ook de mixed-media-installatie Eight van Michel van der Aa en de opera Pelléas et Mélisande van Debussy. Deze productie van De Nationale Opera kreeg maar 2 sterren van verschillende collega’s, ik vond het prachtig.

Minder overtuigd was ik door Mitra over de Iraanse psychoanalytica Mitra Kadivar en Triptych, een ode aan de fotograaf Robert Mapplethorpe.

Afgelopen vrijdag toog ik naar Fort Rijnauwen voor de première van King Lear, de opera die Verdi nooit schreef maar die Holland Opera alsnog realiseerde.

Ik wens u een fijne vakantie!!

Thea Derks

#AusLicht #HollandFestival #KarlheinzStockhausen #MarkusStenz #MichelVanDerAa #Oranjewoudfestival #PelléasEtMélisande

15 Stunden aus Licht von Karlheinz Stockhausen im Holland Festival

Thea Derks + Karlheinz Stockhausen 7-3-2006

Das Holland Festival, Koninklijk Conservatorium Den Haag, De Nationale Opera und die Stockhausenstiftung bringen vom 31. Mai bis 10. Juni ‘Aus LICHT’, 15 Stunden aus der wohl längsten Oper der Welt, LICHT, die sieben Tage der Woche von Karlheinz Stockhausen. Angekündigt als ‘a once in a lifetime event’, und das ist bestimmt nicht übertrieben. Ich werde selbstverständlich im Amsterdamer Gaskessel dabei sein.

Im Jahre 1977 hatte Karlheinz Stockhausen begonnen seine Oper LICHT zu komponieren. Drei Jahre später vollendete er den ersten Teil, ‘Donnerstag aus LICHT’, der 1981 uraufgeführt wurde an der Mailänder Scala. Im Jahre 2003 vollendete er den 7-teiligen Zyklus mit ‘Sonntag aus LICHT’; die Uraufführung fand erst 8 Jahre später statt, vier Jahre nach Stockhausens Tod.

Als Stockhausen 2006 in Holland war für eine Aufführung von Hoch-Zeiten (aus Sonntag, nicht Teil der Produktion ‘Aus LICHT’) erzählte er mir über die Superformel und sprach er die Hoffnung aus eine Aufführung des vollständigen Zyklus noch erleben zu dürfen.

Hier hören Sie unser Gespräch aus 2006.

Die Flötistin Kathinka Pasveer, Stockhausens Lebensgefährtin, leitet die Produktion ‘Aus LICHT’. Ich fragte sie vor welche Herausforderungen die Organisation sich gestellt sah, für den klassischen Sender SWR2.

Auch das Helikopterstreichquartett wird aufgeführt im Rahmen des Projekts ‘Aus LICHT’. Es standen nur 2 Testflüge zur Verfügung, ich hatte am 7. Mai einen Blick hinter die Kulissen geworfen. Meinen Podcast hören Sie hier:

Vor 2 Jahren wurde Michaels Reise um die Erde (Donnerstag aus LICHT) in verschiedenen Städten in Holland aufgeführt, ich schrieb darüber auf meinem Blog.

Vor 3 Jahren versuchten ein Paar Musikjournalisten die Produktion ‘Aus LICHT’ zu stoppen, zum Glück ohne Erfolg. Ich erklärte damals auf Cultuurpers warum ich es persönlich eine tolle Idee fand.

Ich freue mich auf ‘Aus LICHT’, und hoffe Sie bei einer der Aufführungen zu treffen!

Nachschrift 7. Juni 2019: hier lesen Sie meine Besprechung.

#AusLicht #dieSiebenTageDerWoche #HollandFestival #KarlheinzStockhausen #KathinkaPasveer #Licht #MichaelsReiseUmDieErde

Goeyvaerts & Ustvolskaya – man & woman with a hammer

In February 2017 Het Collectief combined the radical music of Galina Ustvolskaya with the celestial sounds of Hildegard of Bingen. Less curious than it may seem, for both were profoundly religious and composed from inner neccessity. In 2017 Spectra Ensemble placed Ustvolskaja alongside Karel Goeyvaerts in Muziekgebouw aan ‘t IJ, Amsterdam. Ustvolskaya is well-known in the Netherlands, but who was Karel Goeyvaerts?

Spectra Ensemble

Musical pioneer

Karel Goeyvaerts was born in Antwerp in 1923, the city where he would also die 70 years later. He studied composition at the local conservatoire and took lessons in music analysis with Olivier Messiaen in Paris. Inspired by his enlightening analyses Goeyvaerts decided to use the different musical parameters as the starting point for his compositions. He not only serialized pitch, but also duration, intensity, tone colour and articulation. Thus he was one of the founders of the so-called integral serialism.

The first outcome was his Sonata for two piano’s, which he performed in Darmstadt in 1951 together with Karlheinz Stockhausen. Searching for even more possibilities he discovered electronics. In 1953 he wrote Composition nr.5, the first work ever being built purely from sinus tones. But while Stockhausen and his colleagues Pierre Boulez, Luciano Berio and Luigi Nono continued to further develop serial and electronic music, Goeyvaerts more and more missed the human aspect.

Aquarius

Goeyvaerts stared composing religious pieces incorporating stylistic elements from the baroque era, as in his Passion for orchestra (1963). Moreover he experimented with vocal nonsense sounds in compositions such as Goathemala voor mezzosopraan and fluit (1966). In the 70ies he was inspired by American minimalism. He composed repetitive pieces, with the five numbered Litanies for varying line-ups as a first highpoint.

From 1983 until shortly before his demise, he worked on Aquarius. In this opera he expressed his longing for a better society for everyone. Comparable to Stockhausen, who for years made almost every new composition part of his opera cycle Licht: die Sieben Tage der Woche, Goeyvaerts henceforth considered each new work as a sketch or preliminary study for his own magnum opus.

The tile Aquarius refers to the astrological idea of a new era that would commence towards the end of the 20th century. Then the world would enter the age of Aquarius. This would initiate a utopian society with completely equal interpersonal relations.

Zum Wassermann

In 1984 Goeyvaerts composed Zum Wassermann for string quintet, woodwinds, brass, piano and percussion. This was performed by Spectra Ensemble, and can be seen as the chamber music blueprint of the first act of Aquarius. The four movements correspond with its first four scenes, in which man seems to make a false start on his way to the future. The ideal situation is not (yet) being achieved.

In ‘Vorspiel’ (Prelude) man is curtailed in his individual endeavours. Short, eruptive motifs that not really take off, evoke the struggle of a caged creature. The following ‘Erwachen’ (Awakening) starts with an exuberant dance, but ends in shrill dissonance. Pounding percussion forces the prisoner back into his cell. A nice parallell with the furious beats on a wooden coffin in Ustvolskaya’s Composition nr. 2, ‘Dies Irae’.

In movement 3, ‘Wassermann-Gesang’ (Aquarius-Song), lyrical lines spiral around and through each other in supreme harmony. This represents the intuitive, ‘feminine’ view of the new world. The fourth and last movement of l ‘Zum Wassermann’ symbolizes the rational, ‘masculine’ approach.

It opens with frolicking, hocket-like motifs that become more and more asynchronous and cacophonic. The laborious attempts to escape from the straitjacket of rationality get bogged down in languid descending melodies and twisted harmonies. With a few firm blows of the percussion the last remnant of hope for a new utopia is definetly destroyed.

Late premiere

It lasted until 2009 before Aquarius was finally premiered, in a co-production of Opera Ballet Vlaanderen and Holland Festival*. Nor is Zum Wassermann often performed. A pity for Goeyvaerts’ music is distinctly expressive and has a great emotional eloquence. — Just like the work of Ustvolskaya. No matter how different in temperament, Goeyvaerts pounds his message into our souls at least as compellingly as ‘the woman with the hammer’.

I interviewed conductor Filip Rathé in a pre concert talk on 26 October 2017 in Muziekgebouw aan ‘t IJ.

*In 2009 I made a reportage for Cultura.

#Aquarius #FilipRathé #GalinaOestvolskaja #KarelGoeyvaerts #KarlheinzStockhausen #SpectraEnsemble