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Zur Au Ührungspraxis Von Karlheinz Stockhausens Instrumentalem
Kunstuniversität Graz Institut 1 für Komposition, Dirigieren und Musiktheorie Künstlerische Masterarbeit Zur Auührungspraxis von Karlheinz Stockhausens instrumentalem Musiktheater dargestellt am Beispiel von HALT aus DONNERSTAG aus LICHT von Margarethe Maierhofer-Lischka künstlerische Betreuung: Uli Fussenegger wissenschaftliche Betreuung: Prof. Dr. Christian Utz Matrikelnr.: 1073168 Graz 17. Dezember 2012 Zahlreiche zeitgenössische Instrumentalwerke überschreiten die Grenzen zwischen In- strumentalmusik und Musiktheater und stellen damit die Interpret/innen vor neue An- forderungen. Das Werk Karlheinz Stockhausens, insbesondere sein Musiktheaterzyklus LICHT, stellt dafür im Musikschaen des 20. Jahrhunderts ein herausragendes Beispiel dar. Diese Arbeit dokumentiert die auührungspraktische Auseinandersetzung mit die- sem Werkkomplex. Anhand der Szene HALT aus DONNERSTAG aus LICHT, die letz- tes Jahr im Rahmen eines künstlerischen Forschungsprojekts einstudiert und aufgeführt wurde, wird ein Einblick in Stockhausens ästhetische und musiktheatralische Konzepte vermittelt. Inhaltliche Kriterien für die Entwicklung einer werktreuen Neuinterpretati- on werden genauso vorgestellt wie performative Aufgaben, denen Musiker/innen für die Arbeit an musikalisch-szenischen Werken gewachsen sein müssen. Many contemporary instrumental works are crossing the borders between instrumental music and music theatre, thus imposing new challenges to their interpreters. One import- ant example for such an interdisciplinary body of works contained in the 20th -
Stockhausen Concerts and Classes for Clarinettists and Others. Clarinettists Have Reason to Be Very Happy with the Development
Stockhausen concerts and classes for clarinettists and others. Clarinettists have reason to be very happy with the development of their repertoire in de 20th century, as it had a previously unseen growth. One of the main figures of post war new music has been Karlheinz Stockhausen (1928-2007). This often controversial composer has enriched clarinet literature with an unprecedented number of works for clarinet, bassethorn and bass clarinet, especially after 1974. These sometimes demanding pieces, often with theatrical elements, require a specific approach and way of playing, easily underestimated. Stockhausen was well aware of this and started coaching a new generation of players in the 1980’s, in order to pass this tradition of interpretation on to others. In spite of Stockhausen’s compositions having the reputation of being difficult and intellectual (if not quasi-religious), to play, watch and listen to them is generally great fun, and very satisfying to work on - if done well. Because the music calls on many apects of performing (e.g. fysical and mental attitude on stage, memory, presentation, awareness of the structure of the music, disciplin) the leaning process has a beneficial influence on performing traditional music too. This series of concerts and courses offers the possibility to watch, listen, study and rehearse a number of Stockhausen’s works with Michel Marang, a clarinettist who worked with the composer since 1986 and performed his music hundreds of times worldwide. The course can have the character of an introductory lecture and concert, but eventually may result in seminars over a longer stretch of time, as much as needed to bring specific works on concert level. -
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 -
Suzanne Stephens Wurde in Waterloo/Iowa Geboren Und Wuchs in Den Vereinigten Staaten, Deutschland Und Fran- Kreich Auf
Stephens, Suzanne men Stephens und Pasveer die Stockhausen-Stiftung und verwalten damit bis heute das Anwesen mit Archiv und Forschungseinrichtung und den Stockhausen-Ver- lag. Darüber hinaus organisieren sie verschiedene Veran- staltungen in der Lehre, unter anderem die zweijährli- chen Stockhausen-Kurse und Konzerte. Orte und Länder Suzanne Stephens wurde in Waterloo/Iowa geboren und wuchs in den Vereinigten Staaten, Deutschland und Fran- kreich auf. Sie studierte in Fairfax/Virginia, Washing- ton/D.C., Paris, Illinois und in Hannover Klarinette und schloss ihr Studium mit einem Master of Music und an- schließendem Konzertexamen ab. 1972 wurde ihr der Kranicher Musikpreis in Darmstadt und die Silbermedail- le des „International Clarinet Competition“ in Genf verlie- hen. Sie arbeitete ab 1973 für zwei Jahre als erste Klari- nettistin im Rundfunkorchester Stuttgart, bis dieses auf- gelöst wurde und lernte in dieser Zeit Karlheinz Stock- hausen über einen Gastauftritt in Oeldorf bei Kürten ken- nen. Bis heute ist Kürten der Sitz der Stockhausen Stif- tung und ihr Lebensmittelpunkt. Biografie Suzanne Stephens, undatierte Fotografie Vorbemerkung Suzanne Stephens Zahlreiche Angaben der folgenden Darstellung sind ei- nem Interview entnommen, das die Autorin am 29. Mai * 28. Juli 1946 in Waterloo/Iowa, USA 2015 in Kürten mit Suzanne Stephens führen konnte (Ste- phens 2015). Klarinettistin, Bassethornistin, Konzertmusikerin, Lehrerin, Orchestermitglied, Studiomusikerin, Nachlassverwalterin, Stiftungsleiterin Herkunft und Ausbildung „Wir hatten uns kaum kennengelernt und ich saß da und Suzanne Stephens wurde am 28. Juli 1946 in Water- er hat sich plötzlich zu mir rübergelehnt und fragte: ‚Kön- loo/Iowa in den USA geboren. Im Alter von neun Jahren nen Sie sich vorstellen, Tanzen und Spielen gleichzeitig?’ begann sie Klarinette zu lernen, da ihre Schule das Ange- Und ich sagte: ‚Warum nicht?’, weil ich mich nie im Le- bot für Unterricht an Blasinstrumenten bereitstellte. -
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. -
The Musical Legacy of Karlhein Stockhausen
06_907-140_BkRevs_pp246-287 11/8/17 11:10 AM Page 281 Book Reviews 281 to the composer’s conception of the piece, intended final chapter (“Conclusion: since it is a “diachronic narrative” of Nativity Between Surrealism and Scripture”), which events (ibid.). Conversely, Messiaen’s Vingt is unfortunate because it would have been regards centers on the birth of the eternal highly welcome, given this book’s fascinat- God in time. His “regards” are synchronic in ing viewpoints. nature—a jubilant, “‘timeless’ succession of In spite of the high quality of its insights, stills” (ibid.)—rather than a linear unfold- this book contains unfortunate content and ing of Nativity events. To grasp the compo- copy-editing errors. For example, in his dis- sitional aesthetics of Vingt regards more cussion of Harawi (p. 182), Burton reverses thoroughly, Burton turns to the Catholic the medieval color symbolism that writer Columba Marmion, whose view of Messiaen associated with violet in a 1967 the Nativity is truly more Catholic than that conversation with Claude Samuel (Conver - of Toesca. But Burton notes how much sa tions with Olivier Messiaen, trans. Felix Messiaen added to Marmion’s reading of Aprahamian [London: Stainer and Bell, the Nativity in the latter’s Le Christ dans ses 1976], 20) by stating that reddish violet mystères, while retaining his essential visual (purple) suggests the “Truth of Love” and “gazes” (p. 95). Respecting Trois petites litur- bluish violet (hyacinth) the “Love of gies, Burton probes the depths of the inven- Truth.” Although Burton repeats an error tive collage citation technique characteriz- in the source he cites (Audrey Ekdahl ing its texts, as Messiaen juxtaposes Davidson, Olivier Messiaen and the Tristan different images and phrases from the Myth [Westport, CR: Greenwood, 2001], Bible—interspersed with his own images— 25), this state of affairs reflects the Burton’s to generate a metaphorical rainbow of tendency to depend too much on secondary Scriptural associations (p. -
TEXTE Zur MUSIK 1998–2007
Karlheinz Stockhausen TEXTE zur MUSIK 1998–2007 Band 15 SONNTAG aus LICHT – Neue Einzelwerke – Stockhausen-Kurse Kürten Im Auftrag der Stockhausen-Stiftung für Musik herausgegeben von Imke Misch Stockhausen-Verlag Kürten 2014 First edition 2014 Published by Stockhausen-Verlag 51515 Kürten, Germany Alle Rechte vorbehalten / All rights reserved. Kopieren gesetzlich verboten / Copying prohibited by law. Das Vorwort der Herausgeberin zu den TEXTEN zur MUSIK 1991–1998 und 1998–2007 befindet sich in Band 11. Photo auf dem Umschlag vorne: Kompositionsseminar der Stockhausen-Kurse Kürten 2003 Photo auf dem Umschlag hinten: Karlheinz Stockhausen im Studio 2 des WDR Köln bei der Abmischung von HOCH-ZEITEN für Orchester, April 2004 © Copyright Stockhausen-Stiftung für Musik 2014 Satz: Kathinka Pasveer ISBN 978-3-9815317-5-6 Die TEXTE zur MUSIK 1991–1998 sind in vier Bände mit zehn Kapiteln gegliedert: Band 11 I Nachsätze: Zu KREUZSPIEL (1951) bis LIBRA (1977) II Werktreue III Ergänzendes zu LICHT Band 12 IV FREITAG aus LICHT V Neue Konzertpraxis Band 13 VI MITTWOCH aus LICHT VII Elektronische Musik Band 14 VIII Über Musik, Kunst, Gott und die Welt IX Blickwinkel X Komponistenalltag V Die TEXTE zur MUSIK 1998–2007 sind in drei Bände mit neun Kapiteln gegliedert: Band 15 I SONNTAG aus LICHT II Neue Einzelwerke III Stockhausen-Kurse Kürten Band 16 IV LICHT-Reflexe V Seitenzweige VI Klangproduktion / Klangprojektion Band 17 VII KLANG-Zyklus VIII Geist und Musik IX Ausblicke VI TEXTE zur MUSIK Band 15 Inhalt “Mal ganz persönlich” .......................................................................... XI I SONNTAG aus LICHT (1998–2003) Szenenübersicht ............................................................................. 2 LICHTER – WASSER (Partiturvorwort) ..................................... 3 Technische Planung von LICHTER – WASSER ................... -
2008 Performances Update
Stock hau sen Aufführungen / Per for manc es 2013 Saturday, Jan. 5th, 7:30 p.m. Paris , Palais Garnier (Information: www.preljocaj.org ) Choreography of HELICOPTER STRING QUARTET and SONNTAGS-ABSCHIED (ELDORADO) Sunday, Jan. 6th, 2:30 p.m. Paris , Palais Garnier (Information: www.preljocaj.org ) Choreography of HELICOPTER STRING QUARTET and SONNTAGS-ABSCHIED (ELDORADO) Monday, Jan. 7th, 7:30 p.m. Paris , Palais Garnier (Information: www.preljocaj.org ) Choreography of HELICOPTER STRING QUARTET and SONNTAGS-ABSCHIED (ELDORADO) Tuesday, Jan. 8th, 7:30 p.m. Paris , Palais Garnier (Information: www.preljocaj.org ) Choreography of HELICOPTER STRING QUARTET and SONNTAGS-ABSCHIED (ELDORADO) Wednesday, Jan. 9th, 7:30 p.m. Paris , Palais Garnier (Information: www.preljocaj.org ) Choreography of HELICOPTER STRING QUARTET and SONNTAGS-ABSCHIED (ELDORADO) Thursday, Jan. 10th, 7:30 p.m. Paris , Palais Garnier (Information: www.preljocaj.org ) Choreography of HELICOPTER STRING QUARTET and SONNTAGS-ABSCHIED (ELDORADO) Monday, January 21st Berlin, Volksbühne Berlin (Information: www.mdjstuttgart.de ) MENSCHEN, HÖRT (MANKIND, HEAR) for vocal sextet Tuesday, January 2nd Stuttgart, Theaterhaus (Information: www.mdjstuttgart.de ) MENSCHEN, HÖRT (MANKIND, HEAR) for vocal sextet Friday, Jan. 25th, 8 p.m. Berlin , Sophienkirche (Information: Ultraschall Festival Berlin) KLANG – 3rd Hour : NATÜRLICHE DAUERN (NATURAL DURATIONS) for piano Wedn., Febr. 13th, 9 p.m. Vancouver, Roy Barnett Hall, University of British Columbia School of Music (Information: Liam Hockley <[email protected]> ) TANZE LUZEFA! for bass clarinet Thursday, Febr. 14th, 9 p.m. Torino, Teatro Baretti (Information: http://www.cineteatrobaretti.it/teatro/alla- musa/harlekin.htm ) HARLEKIN (HARLEQUIN) for clarinet Thursd., Febr. 14th, 8:30 p.m. -
Course Brochure 2022 English
Nine Concerts: July 9 th to 17 th 2022 Wednesday, July 13 th , 8 p.m., Sülztalhalle Courses Stock hau sen Concerts Faculty and works which will be taught in master Sound projection (Instructors: Kathinka Pasveer, sound th Saturday, July 9 , 5 p.m. KLANG 4th Hour: HEAVEN’S DOOR classes projectionist; Reinhard Klose, sound engineer) for a percussionist and a child In the context of the daily rehearsals and concerts with and Courses Kürten 202 2 opening Suzanne Stephens (clarinet, basset-horn, bass clarinet) Festive of the courses at the and Stockhausen’s closest technical collaborators, anyone who and Kathinka Pasveer (flute, alto flute, piccolo) Karlheinz-Stockhausen-Platz . MICHAEL’S CALL st is interested in learning more about the sound projection from July 9 th to 17 th 1 participants’ concert will be teach ing all Stock hau sen works com posed for their in performances of Stockhausens electronic, vocal and for 4 trumpets will open and close the ceremony respec tive instru ments. Thursday, July 14 th , 8 p.m., Sülztalhalle instrumental works can experience, first-hand, which “Sometimes music vibrates beyond the clouds, and we can Marco Blaauw (trumpet, piccolo trumpet, flugelhorn): aspects must be addressed and how they are can be solved no longer hear its echo. Very rarely is it truly infinite; then ARIES, TIERKREIS, IN FREUNDSCHAFT, DONNERSTAGS- from the sound engineering point of view. it makes us forget the Earth. The great masters sense that Saturday, July 9 th , 8 p.m. , Sülztalhalle HALT (of THURSDAY from LIGHT) GRUSS, MICHAELS-RUF, MICHAELs REISE UM DIE ERDE, HALT, In addition to the daily concerts, open rehearsals, master they have one last thing to say, and that life is coming to an for trumpet and double bass MISSION und HIMMELFAHRT, VISION, OBERLIPPENTANZ, SIRIUS (Summer Version ) PIETÀ, TRUMPETENT, MICHAELION, BASSETSU-TRIO, QUITT, classes, and concert introductions, there will be seminars, end –. -
Library Orders - Music Composition/Electronic Music
LIBRARY ORDERS - MUSIC COMPOSITION/ELECTRONIC MUSIC COMPOSER PRIORITY TITLE FORMAT PUBLISHER PRICE In Collection? Babbitt, Milton A Three Compositions for Piano score Boelke-Bomart 9.50 Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 1, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 2, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 3, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 4, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 5, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Mikrokosmos; progressive piano pieces. Vol. 6, NEW DEFINITIVE ED score Boosey & Hawkes Inc. 0.00 YES Bartok, Bela A Music for strings, percussion, and celesta score Boosey & Hawkes Inc. 0.00 YES Berbarian, Cathy A Stripsody : for solo voice score C.F. Peters Corp. 18.70 Berg, Alban A Violin Concerto score Warner Brothers Music Pub. 0.00 YES Berio, Luciano A Sequenza V, for trombone score Warner Brothers Music Pub. 19.95 Berio, Luciano A Sequenza VII; per oboe solo score Warner Brothers Music Pub. 15.95 Berio, Luciano A Sequenza XII : per bassoon solo score Warner Brothers Music Pub. 35.00 Berio, Luciano A Sinfonia, for eight voices and orchestra score Warner Brothers Music Pub. 125.00 Boulez, Pierre A Marteau sans maître : pour voix d'alto et 6 instruments score Warner Brothers Music Pub. -
A Catalog of Compositions for Unaccompanied Clarinet Published Between 1978 and 1982, with an Annotated Bibliography of Selected Works David H
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Catalog of Compositions for Unaccompanied Clarinet Published Between 1978 and 1982, with an Annotated Bibliography of Selected Works David H. Odom Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A CATALOG OF COMPOSITIONS FOR UNACCOMPANIED CLARINET PUBLISHED BETWEEN 1978 AND 1982, WITH AN ANNOTATED BIBLIOGRAPHY OF SELECTED WORKS By DAVID H. ODOM A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2005 Copyright © 2005 David H. Odom All Rights Reserved The members of the Committee approve the treatise of David H. Odom defended on November 3, 2005. ________________________________ Frank Kowalsky Professor Directing Treatise ________________________________ Jane Piper Clendinning Outside Committee Member ________________________________ Eric Ohlsson Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ...........................................................................................iv Abstract ....................................................................................................v 1. INTRODUCTION ................................................................................1 Format of Bibliography .......................................................................4 -
Jane O'leary and Her Approach to Contemporary Music for Clarinet
Technological University Dublin ARROW@TU Dublin Research Theses Conservatory of Music and Drama 2016-9 Jane O’Leary and Her Approach to Contemporary Music for Clarinet and Bass Clarinet Pablo Manjón-Cabezas Guzmán Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmusthe Part of the Music Commons Recommended Citation Manjón-Cabezas, P. (2016). Jane O’Leary and her approach to contemporary music for clarinet and bass clarinet. Masters Dissertation. Technological University Dublin, 2016. This Theses, Masters is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Research Theses by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Jane O’Leary and Her Approach to Contemporary Music for Clarinet and Bass Clarinet Submitted in partial fulfilment of the requirements for the Master of Music degree Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr Philip Graydon September 2016 Pablo Manjón-Cabezas Guzmán DECLARATION I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Master’s Degree (MMus) is entirely my own work and has not been submitted for assessment for any academic purpose other than in partial fulfilment for that stated above. Signed: Pablo Manjón-Cabezas Guzmán (Candidate) Date: 15 September 2016 ii TABLE OF CONTENTS List of Figures _______________________________________________________ v List of Music Examples ________________________________________________ vi Acknowledgements _________________________________________________ vii Abstract __________________________________________________________ viii CHAPTER ONE - HISTORICAL AND BIOGRAPHICAL CONTEXT __________________ 1 1.1.