DOCSLIB.ORG

Invisible Drives #8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Invisible Drives #8 Mittwoch, 05. Mai 2021 19.30 Uhr, MUMUTH, György-Ligeti-Saal PROGRAMM Call of the void choreographer / composer Luan de Lima da Silva / Victor Morato Ribera dancer Luan de Lima da Silva omnia in uno sunt et in omnibus unum choreographer / composer Alberto Cissello & Martina De Dominicis / Dominik Puk dancers Alberto Cissello & Martina De Dominicis Perfect Sense choreographer / composer Ivan Strelkin & Kasija Vrbanac / Alyssa Aska dancers Ivan Strelkin & Kasija Vrbanac Inter-Corps choreographer / composer Angela Wörgartner / Louis Bona dancer Angela Wörgartner Esoptron choreographer / composer Daniela Hanelova & Ariathney Coyne / Joan Gomez Alemany dancers Daniela Hanelova & Ariathney Coyne musicians Filip Novakovic – Akk Yuki Murakami – Pf Tijana Silinger – Va Anna Grenzner Matheu – Vc video Philip Steiner, Daniel Bierdümpfl masks Aleks Kaplun Inner B (from the „Lebensformen“ cycle) choreographer / composer Felix Chang / Alisa Kobzar dancers / motion capture actors Felix Chang & Lisa McGuire musicians Alisa Kobzar (electronics) Illia Bondarenko (el.v-n samples) video Alisa Kobzar Folk Cycle No. 1 choreographer / composer Jacqueline Lopez / Brian Questa dancer Jacqueline Lopez Prius Somnium choreographer / composer Shao-Yang Hsieh / Jose Luis Martinez M. dancer & video Shao-Yang Hsieh ~ ~ ~ ~ ~ ~ ~ Andraz Frece, Filip Novakovic – Akkordeon Alexandra Skrilec, Jakobus Weichinger – Flöte Felix Martl – Klarinette Christian Molina – Bassklarinette Anastasiia Gerasina – Viola Gyu Hui Heo, Eduardo Antiao – Violoncello Ana Ostojic – Klavier (PPCM-Studierende des Klangforum Wien) Einstudierung: Annette Bik, Andreas Lindenbaum Dirigent*innen: Algirdas Biveinis, Shu Jun Zhao Gesamtleitung: Rose Breuss & Clemens Gadenstätter Video & Bildregie & Beschallung Saal: Thomas Bergner Kameras: Ulrich Gladisch, Laurenz Gräber Tonmischung & Livestream: Alexander Zwierzina Licht: Ralf Beyer & Philipp Farasin Ivan Strelkin was born in Russia in 1988, completed his BA degree at the St. Petersburg State Academy of Theatre Art in 2010. He worked as director in various theaters in Russia. In 2013 he went to Tallinn (Estonia) to stay at the Russian theater of Estonia for a full-time position as a director. 2016-2019 he studied at the Folkwang University (Essen, Germany), MA Choreography, and worked as choreographer and dancer. In 2019 Ivan Strelkin came to Linz and entered the MA program “Movement research” of the Anton Bruckner University, aiming to join in the future the artistic scientific PhD program. Ariathney Coyne began her dance education at the age of 5, with a focus on classical ballet. Once she finished her formal school education she went on to receive a Master’s degree in neuroscience from the University College London. Since then she has been teaching dance, working on film projects and has started her Master’s degree in Movement Research at the Anton Bruckner University in Linz, Austria. Alberto Cissello is a freelance dancer and performer currently based in Vienna. Since 2009 he has been working in Italy, Austria, Germany and Sweden for different dance companies such as Compagnia EgriBiancoDanza, Oper Graz Tanzkompanie, ConTrust Collective, CieLaroque/helene weinzierl, D.ID Liz King, Eva-Maria Schaller and Norrdans. In the meantime he has also been creating and performing his own works which have been invited by Solocoreografico (Turin, IT), Miniatures Festival (Perugia,IT), Oper Graz (AT), Essenziale Festival (Essen, DE), Tanz_house Festival (Salzburg,AT). His last piece “Yet to be born”, created together with Martina De Dominicis, premiered in December 2019 in Theater im Ballsaal, Bonn – with the support of the COCOON Dance Company. Angela Wörgartner(27) was born in the mountains of Tyrol in Austria and started dancing in the womb of her mother (also dancer) and physically by herself at the age of 3. After trying out various dance styles she developed her deep interest for contemporary dance (especially floor work, groundedness, physiological moving). After her bachelor’s degree and an internship at Norrdans for the season 2018/19, she is currently doing her master’s at the Anton Bruckner University (ABPU) in Linz. Furthermore she also got a scholarship for the One Small Step Festival in Corfu and worked on an outdoor performance with Helder Seabra (Ultima Vez). Martina De Dominicis is a freelance dancer and maker living in Vienna. She has been working as a dancer for several institutional dance companies in Italy, Austria and Germany such as Balletto di Milano, Oper Graz or Stadtheater Pforzheim. Since 2016 she is regularly collaborating with the Bonn based choreographer Rafaele Giovanola for COCOON dance, performing her works internationally and occasionally assisting for the Junior Company Labs. These labs have been a great source of inspiration for the project “Giovani Talenti” that she co directs since 2019 in the region of Abruzzo (IT). In Vienna, she collaborated with Veza Maria Fernandez for the Tanzquartier Wien production “Amadora llama” and is one of the founder of the TEACHBACK project. Since 2018 she has been collaborating with Alberto Cissello and founded a movement research project called DEBOCS, that in December 2019 presented its firsts full length piece “Yet to be born” in the Theater im Ballsaal, Bonn. Daniela Hanelová(CZ) studied at State Dance Conservatory of Prague and danced with Bohemia Balet Company. In 2015, she joined ballet company of Moravian Theatre Olomouc and started to study in the atelier of Dance and Physical Theatre at Janáček Academy of Performing Arts in Brno. Now, MA student of Movement Research at ABPU. Kasija Vrbanac was born in Karlovac on February 16, 1993. She started dancing in early childhood at Studio 23 in Karlovac, where she participated in numerous dance competitions as well as full evening performances. After completing formal education in 2011, she enrolls at the Dance Academy Ljubljana and in June 2014 completes a university undergraduate study as Bachelor Dancer and Choreographer in contemporary and jazz dance. The final graduate thesis the Academy entitled “Ideology of the Dance Body” resulted in her first professional dance performance “HERmIna” in 2014. During and after graduation she is further educated at numerous workshops in Croatia and abroad, and also continues to create her own pieces: physical theater performance “The Dark Side of The Moon”, dance movie “Labirint”, physical theater performance “LIMUN čokolada LUK”. From 2016 till 2018 she is a member of the Zagreb Dance Company, in the season 2018/2019 she joins Tanz Linz dance company and in 2019 she entered the MA program “Movement research” of the Anton Bruckner University. Jacqueline Lopez originates from Vancouver, Canada where she began her career in dance with Vancouver based companies: Kinesis Dance Somatheatro, Move: The Company, Plastic Orchid Factory and as a guest artist with Ballet British Columbia and Les Grands Ballets Canadiens. During this time, she instructed ballet, contemporary and modern dance at various dance institutes as well as provided company training for Move: The company. In spring 2012 she joined Les Grands Ballets Canadiens, as a full-time artist and was promoted to demi soloist in 2014. Since 2017 she has been living in Austria and works for the Landestheater Linz and the Oper Graz. In 2018 she created “All Together Alone” for the Oper Graz which was later re-made into a site-specific dance film entitled “Together All Alone”. Her recent trio work, “In Our Nature”, was presented at Craft Choreography in Vienna in winter 2020 and she has recently created a new multi- part duet entitled “In Between Now and Then”. Jacqueline is currently studying Dance Pedagogy at the Anton Bruckner Universität in Linz while continuing to develop her choreographic language. Shao-Yang Hsieh (Taiwan) choreographer, performer graduated from National Taiwan University of Arts. Currently studying at Anton Bruckner Universität, he was awarded 2nd prize for his solo “j(us”) at the competition “The Best German Dance Solo” in 2019. In the same year he participated at the Tanzhafen Festival as a performer, 2018 he was invited to serve as a cyr wheel performer to malaysia psycusix 2017 and joined cloud gate theater as an intern dancer. Felix Chang majored in Chinese Classical Dance at Hong Kong Academy for Performing Arts (full scholarship). Afterwards he moved to Germany to study Modern dance at Folkwang Universität der Künste. Currently studying movement research at Bruckneruniversität. As part of his studies, he also performed his own choreography and works with different festivals & choreographers as well. Important stations included 2017 Triplet, Choreographer outlet festivals in HK, second place at the National dance competition, 2020 “If you can see me” Pfefferberg Theater, Berlin: competition second place as soloist & choreographer or engagements for Oxymoron Dance Company, Jessica Gaynor Dance, Ada Studio & Uferstudios festival. Lisa McGuire – dancer, performer, gyrokinesis trainer. Got certification ifrom IGTanz Steiermark (Austria, 2015, 2016), GYROKINESIS(R)(2016, 2017, 2018), GYROTONIC (2019). She studied in the summer-school of Martha Graham (New York, USA, 2015), attended private ballet classes along with Afro Modern Cuban dance class, as well as contemporary performance classes of Valentina Moar, Bostjan Ivanjsic, Tomas Danielis and others. Took part in the choreographic project by Liz King (Graz, Austria, 2015), Refugium Graz (IGTanz), interactive dance-performance by Bühnenwerkstatt
Recommended publications
  • Stockhausen's Cosmic Pulses

    Stockhausen's Cosmic Pulses

    Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 1 Stockhausen’s Cosmic Pulses ROBIN MACONIE Some people chase tornados; others go after black holes. From the late 1950s Stockhausen was fascinated by the idea of sounds in rotation and how to realise them in a technical sense, by means of an array of loudspeakers. Completed in 2007, Cosmic Pulses is Stockhausen’s final electronic composition.1 For a number of reasons I believe the composer knew it would be his last. The work was completed in a rush. In many ways, notably in terms of the sound material, which is very basic, it remains a sketch. The music can be described as a massive rotating sound mass, composed in 24 separately spinning frequency layers. The work thickens gradually to 24 layers, then reduces symmetrically upward in an ascending spiral that ends quite abruptly. An audience may experience the sensation of falling headlong into a black hole, or, if one is an optimist, of being carried aloft on the whirlwind like Dorothy in The Wizard of Oz. A tornado is an effect of a natural imbalance between temperature layers in the atmosphere, tipped into motion by the earth’s rotation, which moves progressively faster toward the equator. The rotating air mass that results spirals upwards and generates a powerful electrical charge. A black hole by comparison is an effect of gravitation creating an imbalance in spacetime. The rotational process that results spirals downward or inward and leads to the extinction of reality as we know it, or again, if one is an optimist, creates a wormhole leading either into another universe, or into our own universe at Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 2 another point in time.
  • Karlheinz Stockhausen: Works for Ensemble English

    Karlheinz Stockhausen: Works for Ensemble English

    composed 137 works for ensemble (2 players or more) from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0 ] 2268-1813; e-mail [email protected]) www.stockhausen.org Karlheinz Stockhausen Works for ensemble (2 players or more) (Among these works for more than 18 players which are usu al ly not per formed by orches tras, but rath er by cham ber ensem bles such as the Lon don Sin fo niet ta , the Ensem ble Inter con tem po rain , the Asko Ensem ble , or Ensem ble Mod ern .) All works which were composed until 1969 (work numbers ¿ to 29) are pub lished by Uni ver sal Edi tion in Vien na, with the excep tion of ETUDE, Elec tron ic STUD IES I and II, GESANG DER JÜNGLINGE , KON TAKTE, MOMENTE, and HYM NEN , which are pub lished since 1993 by the Stock hau sen -Ver lag , and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Start ing with work num ber 30, all com po si tions are pub lished by the Stock hau sen -Ver lag , Ket ten berg 15, 51515 Kürten, Ger ma ny, and may be ordered di rect ly. [9 ’21”] = dura tion of 9 min utes and 21 sec onds (dura tions with min utes and sec onds: CD dura tions of the Com plete Edi tion ).
  • Stockhausen Works for Orchestra

    Stockhausen Works for Orchestra

    composed 37 works for orchestra from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0]2268-1813; e-mail [email protected]) www.stockhausen.org Duration Publisher CD of the Stockhausen Complete Edition 1950 DREI LIEDER (THRE E SONGS [19 ’26”] U.E. e1 for alto voice and chamber orchestra ( cond. )(Universal Edition ) (fl. / 2 cl. / bsn. / tp. / trb. / 2 perc. / piano / elec. harpsichord / strings) 1951 FORMEL (FORMULA) [12 ’57”] U. E e2 for orchestra [28 players] ( cond. ) 1952 SPIEL (PLAY) [16 ’01”] U. E. e2 for orchestra ( cond. ) 195 2/ PUNKTE (POINTS) [ca. 27 ’] U. E. e2 E81‰ 1962 / 1993 for orchestra ( cond. ) 195 2 KONTRA-PUNKTE (COUNTER-POINTS) [14 ’13”] U. E. e4 to 53 for 10 instruments ( cond. ) (fl. / cl. / bass cl. / bsn. / tp. / trb. / piano / harp / vl. / vc.) 195 5 GRUPPEN (GROUPS) [24 ’25”] U. E. e5 to 57 for 3 orchestras ( 3 cond. ) 195 9 CARRÉ [ca. 36’] U. E. e5 to 60 for 4 orchestras and 4 choirs ( 4 cond. ) 196 2 MOMENTE (MOMENTS) [113’] St. e7 E80‰ to 64 for solo soprano, 4 choir groups (Stockhausen-Verlag ) (finished in ’69) and 13 instrumentalists ( cond. ) 1964 MIXTUR (MIXTURE) [ca. 2 x 27’] U. E for orchestra, 4 sine-wave generators and 4 ring modulators ( cond. ) 1964 / MIXTUR (MIXTURE) [2 x 27’] U. E. e8 1967 for small orchestra (cond.
  • Karlheinz Stockhausen: Hudba a Prostor

    Karlheinz Stockhausen: Hudba a Prostor

    Ústav hudební vědy Filosofická fakulta Masarykovy univerzity v Brně Martin Flašar Bakalářská práce Karlheinz Stockhausen: hudba a prostor 'i. .,-Í.JLV , J v V/L •- » -i_ *"- Vedoucí práce: Prof. PhDr. Miloš Štědroň, Csc. V Brně 8. května 2003 Potvrzuji, že tuto práci, kterou podávám jako bakalářskou práci na Ústavu hudební védy FF MU v Brně, jsem napsal v souladu se svým nejlepším svědomím s využitím vlastních skrovných duševních schopností, nezralého rozhledu v celé problematice a bez nároku na postižení celé šíře dané problematiky. Martin Flašar Obsah Obsah 1 Předmluva 2 Úvod 2 1. Hudba a prostor - teoretický kontext 3 1.1 Prostor - pokus o definici 3 1.2 Walter Gieseler - kategorie zvaná prostor 5 1.3 Gisela Nauck - zkoumání prostoru..... 7 2. Případ Stockhausen 12 2.1 Hudba a prostor 12 2.2 Nutnost prostorové hudby 15 2.3 Pět hudebních revolucí od r. 1950 17 2.4 Stručná chronologie zvukově-prostorových kompozic 18 2.5 Hudba v prostoru - dvě cesty 22 2.6 Prostor pro hudbu 24 2.7 Pole für 2 (1969-70) a Expo für 3 (1969-70) 26 2.7.1 Notace prostorového pohybu zvuku 28 2.8 Dienstag z cyklu licht - Oktophonie (1990-91) 29 2.8.1 Postup práce - prostorová distribuce zvuku 35 2.8.2 Vrstvy a jejich pohyb v prostoru 38 Závěr ." 44 Resumé 45 Seznam pramenů 46 Použitá literatura: 47 Předmluva Za vedení práce bych rád poděkoval prof. PhDr. Miloši Štědroňovi, CSc. Dále nemohu opominout inspirační zdroj pro moji práci, kterým byla velmi podnetná série přednášek Dr. Marcuse Bandura na Albert-Ludwigs-Universität Freiburg.
  • New 2014–2017

    New 2014–2017

    Stockhausen-Verlag, 51515 Kürten, Germany www.karlheinzstockhausen.org / [email protected] NEW 2014–2017 New scores (can be ordered directly online at www.stockhausen-verlag.com): TELEMUSIK (TELE MUSIC) Electronic Music (English translation) ................................ __________ 96 ¤ (54 bound pages, 9 black-and-white photographs) ORIGINALE (ORIGINALS) Musical Theatre (Textbook) ..................................................... __________ 88 ¤ (48 bound pages, 11 black-and-white photographs) TAURUS-QUINTET for tuba, trumpet, bassoon, horn, trombone .................................... __________ 60 ¤ (folder with score in C, 10 bound pages, cover in colour with Stockhausen’s original drawing, plus performance material: 5 loose-leaf parts for tuba, trumpet, bassoon, horn in F and trombone) CAPRICORN for bass and electronic music ................................................................................ __________ 65 ¤ (60 bound pages, cover in colour) KAMEL-TANZ (CAMEL-DANCE) .............................................................................................. __________ 30 ¤ (of WEDNESDAY from LIGHT) for bass, trombone, synthesizer or tape and 2 dancers (20 bound pages, cover in colour) MENSCHEN, HÖRT (MANKIND, HEAR) .................................................................................. __________ 30 ¤ (of WEDNESDAY from LIGHT) for vocal sextet (2 S, A, T, 2 B) (24 bound pages, cover in colour with Stockhausen’s original drawing) HYMNEN (ANTHEMS) Electronic and Concrete Music – study
  • PDF Download Stockhausen on Music Ebook, Epub

    PDF Download Stockhausen on Music Ebook, Epub

    STOCKHAUSEN ON MUSIC PDF, EPUB, EBOOK Karlheinz Stockhausen,Robin Maconie | 220 pages | 01 Sep 2000 | Marion Boyars Publishers Ltd | 9780714529189 | English | London, United Kingdom Stockhausen on Music PDF Book English translation of "Symbolik als kompositorische Methode in den Werken von Karlheinz Stockhausen". Die Zeit 9 December. After completing Licht , Stockhausen embarked on a new cycle of compositions based on the hours of the day, Klang "Sound". There's more gnarly theory to get stuck into with Karlheinz than with almost anyone else in music history, thanks to his own writings and the mini-industry of Stockhausen arcana and analysis out there. Custodis, Michael. Ars Electronica. Cross, Jonathan. Iddon, Martin. Selected Correspondence , vol. The sounds they play are mixed together with the sounds of the helicopters and played through speakers to the audience in the hall. Grant, M[orag] J[osephine], and Imke Misch eds. Hartwell, Robin. Mixtur was a live work for orchestra, sine wave generators, and ring modulators, with the latter resurfacing again in in Mikrophonie II, also scored for chorus and Hammond organ. English translation by Donato Totaro under the same title here. Otto Luening. Winter : — The lectures which are the heart of this book clarified some of Stockhausen's ideas and methods for me, although some points remain obscure. Michele Marelli. Very good insights into Stockhausen's process and thinking. What does it mean, my music? No trivia or quizzes yet. Westport, Conn. Kaletha, Holger. Electronic Folk International. Rathert, Wolfgang. Kraftwerk: I Was a Robot. The Musical Quarterly 61, no. Le Souffle du temps: Quodlibet pour Karlheinz Stockhausen.
  • MIXTUR - Karlheinz Stockhausen Prima Esecuzione Incontro Tra Elettronica E Orchestra Svizzera Domenica 10 Febbraio 2013 | 17.30 Auditorio RSI | Lugano

    MIXTUR - Karlheinz Stockhausen Prima Esecuzione Incontro Tra Elettronica E Orchestra Svizzera Domenica 10 Febbraio 2013 | 17.30 Auditorio RSI | Lugano

    Luganomodern MIXTUR - Karlheinz Stockhausen prima esecuzione incontro tra elettronica e orchestra svizzera domenica 10 febbraio 2013 | 17.30 Auditorio RSI | Lugano concerto con opere di Karlheinz Stockhausen Ensemble 900 del CSI Direttore Arturo Tamayo Regia Regiadel suono del suono Pietro FabrizioLuca Congedo Rosso Ingegnere del suono Paolo Brandi conservatorio.ch +41(0)91 960 30 40 Biglietto 15 CHF LuganoCard, Amici del Conservatorio e Club di Rete Due 10 CHF Fino a 18 anni e studenti entrata gratuita mixtur – karlheinz stockhausen domenica 10 febbraio 2013 | 17.30 auditorio RSI | lugano K. Stockhausen Gesang der Jünglinge (1955 – 56) 14’ 1928 – 2007 per elettronica 30’ Mixtur Nr. 16 ½ (1967) per piccola orchestra, oscillatori e modulatori ad anello arturo tamayo _direzione francesco bossaglia _assistente direzione musicale pietro luca congedo _regia del suono paolo brandi _ingegnere del suono roberto mucchiut _progetto software Con il concerto di oggi vogliamo ricordare, nel quinto anniversario dalla sua scomparsa (3 dicembre 2007), la figura di Karlheinz Stockhausen, una delle principali personalità dell'avanguardia storica. La prima composizione del programma odierno è “Gesang der Jünglinge”; in essa, già nel lontano 1955-1956, Stockhausen mescola procedimenti e tecniche della musica elettronica (prodotto prevalentemente tedesco) con elementi della musica concreta "francese”. Fino ad allora i due ambiti erano sempre stati accuratamente separati in maniera quasi "religiosa”, mentre qui si fondono in un'opera di profonda spiritualità. La prima idea era stata quella di comporre una "Messa" - infatti il testo di cui il compositore si è servito è un testo biblico: la storia dal Libro di Daniele che ci racconta come i giovani Neduchadnezzar, Shadrach, Meshach e Abendnego, buttati in un forno ardente, miracolosamente protetti dal fuoco, cominciano a cantare le lodi a Dio.
  • Holmes Electronic and Experimental Music

    Holmes Electronic and Experimental Music

    C H A P T E R 2 Early Electronic Music in Europe I noticed without surprise by recording the noise of things that one could perceive beyond sounds, the daily metaphors that they suggest to us. —Pierre Schaeffer Before the Tape Recorder Musique Concrète in France L’Objet Sonore—The Sound Object Origins of Musique Concrète Listen: Early Electronic Music in Europe Elektronische Musik in Germany Stockhausen’s Early Work Other Early European Studios Innovation: Electronic Music Equipment of the Studio di Fonologia Musicale (Milan, c.1960) Summary Milestones: Early Electronic Music of Europe Plate 2.1 Pierre Schaeffer operating the Pupitre d’espace (1951), the four rings of which could be used during a live performance to control the spatial distribution of electronically produced sounds using two front channels: one channel in the rear, and one overhead. (1951 © Ina/Maurice Lecardent, Ina GRM Archives) 42 EARLY HISTORY – PREDECESSORS AND PIONEERS A convergence of new technologies and a general cultural backlash against Old World arts and values made conditions favorable for the rise of electronic music in the years following World War II. Musical ideas that met with punishing repression and indiffer- ence prior to the war became less odious to a new generation of listeners who embraced futuristic advances of the atomic age. Prior to World War II, electronic music was anchored down by a reliance on live performance. Only a few composers—Varèse and Cage among them—anticipated the importance of the recording medium to the growth of electronic music. This chapter traces a technological transition from the turntable to the magnetic tape recorder as well as the transformation of electronic music from a medium of live performance to that of recorded media.
  • Karlheinz Stockhausen List of Works

    Karlheinz Stockhausen List of Works

    Karlheinz Stockhausen List of Works All works which were composed until 1969 (work numbers ¿ to 29) are published by Universal Edition in Vienna, with the exception of ETUDE, Electronic STUDIES I and II, GESANG DER JÜNGLINGE, KONTAKTE, MOMENTE, and HYMNEN, which are published since 1993 by the Stockhausen-Verlag, and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Starting with work number 30, all compositions are published by the Stockhausen-Verlag, Kettenberg 15, 51515 Kürten, Germany, and may be ordered directly. 1 = numeration of the individually performable works. r1 = orchestra works with at least 19 players (or fewer when the instrumentation is unconventional), and works for orchestra with choir. o1 = chamber music works. Among these are several which have more than 18 players, but are usually not performed by orchestras, but rather by chamber ensembles such as the London Sinfonietta, the Ensemble Intercontemporain, the Asko Ensemble, or Ensemble Modern. J35 = Works, which may also be performed as “chamber music” (for example INORI with 2 dancer- mimes and tape [instead of orchestra] or works for choir in which the choir may be played back on tape. 1. ex 47 = 1st derivative of Work No. 47. [9’21”] = duration of 9 minutes and 21 seconds (durations with minutes and seconds: CD durations of the Complete Edition). U. E. = Universal Edition. St. = Stockhausen-Verlag. For most of the works, an electro-acoustic installation is indicated. Detailed information about the required equipment may be found in the scores. In very small halls (for less than 100 people), it is possible to omit amplification for some solo works and works for small ensembles.
  • Karlheinz Stockhausen Left to Inspire

    Karlheinz Stockhausen Left to Inspire

    tms_6-2_p10_stockhausen.qxd 3/21/08 11:39 AM Page 10 KARLHEINZ STOCKHAUSEN LEFT TO INSPIRE Michael Vincent n December 5th, 2007, the world of twentieth-century classical music œuvre. Through his patron Eimert, Stockhausen was given access to the Cologne was hit with the news that one of its brightest stars had passed away Radio studio, which led to the creation of his first masterpiece, famous for its mix- O at the age of 79. Reaction was swift, with blogs popping up in droves ture of electronic music and the human voice: Gesang der Jünglinge (1954). voicing tributes, odes and eloquent memories. One need only read one or two of Stockhausen works can best be described as genre defying and groundbreak- the hundreds of tributes to understand the legacy that this 20th-century master ing. He was one of the first composers to create both electronic and instrumental has left behind. works. His early electronic works included his Electronic Studies 1 & 2 (1953 & 1954) Karlheinz Stockhausen composed more than 300 individual works during his and his Hymnen (1966-67), the latter of which uses electronically manipulated lifetime and was best known for his pioneering work with electronic music in national anthems. He also composed his famous Tele-musik (1968), in many ways the 1960s and 70s. His bold approach to composition helped earn him reverence perfecting his grander epic vision affecting many works yet to come. Stockhausen among some of the most significant 20th-century composers such as John Cage, described the process used to compose this work as the “…intermodulation Wolfgang Rihm, Miles Davis, Herbie Hancock and Frank Zappa.
  • Composers and Works List

    Composers and Works List

    Composers and Works List Adams, John Coolidge (American, 1947-) Common Tones in Simple Time Grand Pianola Music Harmonielehre Shaker Loops The Chairman Dances Two Fanfares for Orchestra Adams, John Luther (American, 1953-) Dark Waves The Farthest Place The Light that Fills the World Addinsell, Richard Stewart (British, 1904-1977) A Christmas Carol Suite Warsaw Concerto Agapkin, Vasily Ivanovich (Russian, 1884-1964) Farewell to Slavianka Albéniz y Pascual, Isaac Manuel Francisco (Spanish, 1860-1909) Suite española, Op 47 Alexandrov, Alexander Vasilyevich (Russian, 1883-1946) Sacred War Soviet National Anthem Alfvén, Hugo Emil (Swedish, 1872-1960) Symphony 1, Op 7 Symphony 2, Op 11 Swedish Rhapsody 1, Op 19 'Midsummer Vigil' Symphony 3, Op 23 The Mountain King, Op 37 Symphony 4, Op 39 'From the Outermost Skerries' Andriessen, Hendrik Franciscus (Dutch, 1892-1981) Ricercare Symphony 2 Symphony 3 Andriessen, Jurriaan Hendrik (Dutch, 1925-1996) Rococo Concerto Antheil, George (American, 1900-1959) A Jazz Symphony Capital of the World Hot-Time Dance Jazz Sonata 4 Specter of the Rose Symphony 3 ‘American’ Symphony 4 ‘1942’ Symphony 5 Symphony 6 Arnič, Blaž (Slovenian, 1901-1970) Overture to a Comic Opera, Op 11 Symphony 5, Op 22 'Particularistic' Artyomov, Vyacheslav Petrovich (Russian, 1940-) Guria Hymn Requiem Atterberg, Kurt Magnus (Swedish, 1887-1974) Symphony 1, Op 3 Symphony 2, Op 6 Auerbach, Lera (Russian-American, 1974-) Icarus, symphonic poem Symphony 1 ‘Chimera’ Bach, Johann Sebastian
  • Karlheinz Stockhausen: BIOGRAPHY English

    Karlheinz Stockhausen: BIOGRAPHY English

    SHORT BIOG RA PHY Karl heinz Stock hau sen 1928 Born Wednesday, August 22nd in Mödrath near Cologne. 1947 – 51 In Cologne, stud ied at the State Con ser va to ry of Music (piano, music edu ca tion) and at the University of Cologne (Ger man phi lol o gy, phi los o phy, musi col o gy). Since l950 First com po si tions and per for manc es of his own works. (In the fol low ing enumeration, only a few of the more than 370 works and world premières are men tioned.) 1951 Serial Music: KREUZ SPIEL (CROSS-PLAY), FOR MEL (FOR MU LA), etc. Married Doris Andreae; four chil dren with Doris: Suja (1953), Chris tel (1956), Mark us (1957), Majel la (1961). 1952 Point Music: SPIEL (PLAY), KLAVIERSTÜCKE (PIANO PIECES), SCHLAGTRIO (PER CUS SIVE TRIO), PUNK TE (POINTS), KON TRA-PUNK TE (COUN TER- POINTS) etc. Attend ed Olivi er Messiaen’s cours es in rhyth mics and aes thet ics in Paris. Experi ments in the “ musique concrète” group at the French radio in Paris, and real isa tion of an ETUDE ( musique concrète). First syn the sis of sound-spec tra with elec tron ical ly gen er at ed sine tones. Since 1953 Per ma nent col lab o ra tor at the Studio for Elec tron ic Music of the West Ger man Radio in Cologne (artis tic direc tor from 1963–1977, artis tic con sul tant until 1990). Lec tur er at the annu al International Summer Cours es for New Music in Darm stadt from 1953 until 1974, and in 1996.