DOCSLIB.ORG

2008 Performances Update

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. Düsseldorf, Partika-Saal der Robert Schumann Hochschule (Information: www.rsb-duesseldorf.de ) ZUNGENSPITZENTANZ (TIP-OF-THE-TONGUE-DANCE) for piccolo Friday, Febr. 15th, 9 p.m. Torino, Teatro Baretti (Information: http://www.cineteatrobaretti.it/teatro/alla- musa/harlekin.htm ) HARLEKIN (HARLEQUIN) for clarinet Sunday, February 24th, 11 a.m. Sterkfontain / Johannesburg, Nirox-Foundation (Information: [email protected] ) IN FREUNDSCHAFT (IN FRIENDSHIP) for violoncello 1 Monday, February 25th Montréal, Festival MNM (Information: www.mdjstuttgart.de ) MENSCHEN, HÖRT (MANKIND, HEAR) for vocal sextet Wednesd., Febr. 26th, 8 p.m. Stellenbosch , University of Stellenbosch, Endler Hall (Information: [email protected] ) IN FREUNDSCHAFT (IN FRIENDSHIP) for violoncello Friday, March 8th, 8:30 p.m. Triest, Auditorium Casa della Musica (Information: [email protected] ) MANTRA for 2 pianos Friday, March 13th, 7:30 p.m. Salzburg, Festspielhaus, Karl-Böhm-Saal (Information: Festival für neue Musik, www.salzburgbiennale.at ) KLAVIERSTÜCK X (PIANO PIECE X) Sat., March 16th, 11 am, Luxembourg, Salle de Concerts Grande-Duchesse Joséphine-Charlotte 3 pm. 5 pm. (Information: stump-linshalm <offi[email protected]> ) TIERKREIS (ZODIAC) for 2 clarinets, Accordion and actors Sunday, March 17th, 11 am, Luxembourg, Salle de Concerts Grande-Duchesse Joséphine-Charlotte 3 pm. 5 pm. (Information: stump-linshalm <offi[email protected]> ) TIERKREIS (ZODIAC) for 2 clarinets, Accordion and actors Wednesday, March 20th New York, Park Avenue Armory (Information: http://www.armoryonpark.org/programs_events/detail/oktophonie ) OKTOPHONIE (OCTOPHONY) Electronic Music Friday, March 22nd New York, Park Avenue Armory (Information: http://www.armoryonpark.org/programs_events/detail/oktophonie ) OKTOPHONIE (OCTOPHONY) Electronic Music Saturday, March 23rd New York, Park Avenue Armory (Information: http://www.armoryonpark.org/programs_events/detail/oktophonie ) (matinee and evening) OKTOPHONIE (OCTOPHONY) Electronic Music Sunday, March 24th New York, Park Avenue Armory (Information: http://www.armoryonpark.org/programs_events/detail/oktophonie) (matinee and evening) OKTOPHONIE (OCTOPHONY) Electronic Music Tuesday, March 26th New York, Park Avenue Armory (Information: http://www.armoryonpark.org/programs_events/detail/oktophonie ) OKTOPHONIE (OCTOPHONY) Electronic Music Friday, April 19th Dellbrück , Christuskirche Köln-Dellbrück (Information: http://www.kgdh.de) FÜNF STERNZEICHEN (FIVE STAR SIGNS) for orchestra Friday, April 26th, 7:30 p.m. London , Royal College of Music Concert Hall (Information: www.rcm.ac.uk/boxof - fice) FÜNF STERNZEICHEN (FIVE STAR SIGNS) for orchestra Saturday, April 27th, 7:30 p.m. Arizona , Arizona State University (Information: [email protected] www.simonemancuso.com) TIERKREIS (ZODIAC) for percussion ensemble Thursday, April 18th Den Haag , Theater Dakota (Information:http://www.theaterdakota.nl/agenda/homegrown-handmade/) BASSETSU for basset-horn Friday, April 26th, 8 p.m. Witten , Festsaal, Saalbua Witten (Information:http://www.kulturforum-witten.de) PLUS-MINUS for sensemble 2 Tuesday, April 30th, 8 p.m. Köln , Kölner Dom (Information: www.achtbruecken.de, www.koelnticket.de) GESANG DER JÜNGLINGE (SON GOFTHE YOUTHS) Electronic Music Wedn., May 1st, 8:15 p.m. Köln , Kölner Dom (Information: www.achtbruecken.de, www.koelnticket.de) GESANG DER JÜNGLINGE (SON GOFTHE YOUTHS) Electronic Music Monday, May 6th, 12:30 p.m. Köln , Kölner Dom (Information: www.achtbruecken.de, www.koelnticket.de) GESANG DER JÜNGLINGE (SON GOFTHE YOUTHS) Electronic Music Tuesday, May 7th, 3 p.m. Köln , Filmforum NRW (Information: www.achtbruecken.de, www.koelnticket.de) GESANG DER JÜNGLINGE (SON GOFTHE YOUTHS) Electronic Music Wedn., May 8th, 12:30 p.m. Köln , Kölner Dom (Information: www.achtbruecken.de, www.koelnticket.de) GESANG DER JÜNGLINGE (SON GOFTHE YOUTHS) Electronic Music Thursday, May 9th . Canterbury , St. Gregory's Centre for music, (Information: +44 7874260298) FÜNF STERNZEICHEN (FIVE STAR SIGNS) for orchestra Friday., May 10th, 12:30 p.m. Köln , Kölner Dom (Information: www.achtbruecken.de, www.koelnticket.de) GESANG DER JÜNGLINGE (SON GOFTHE YOUTHS) Electronic Music Friday., May 10th, 12:30 p.m. Köln , Kölner Philharmonie (Information: www.achtbruecken.de, www.koelnticket.de) TELEMUSIK (TELEMUSIC) Electronic Music Saturday, May. 11th, 4 p.m. Kürten , Bürgerhaus (Information: [email protected]) SAMSTAG aus LICHT (SATURDAY from LIGHT ) Informationstreffen / Introduction in SATURDAY from LIGHT Sunday, May. 12th, 8 p.m. Köln , Kölner Philharmonie (Information: www.koelnticket.de) MIKROPHONIE I (MICROPHONY I) for 6 players GESANG DER JÜNGLINGE (SON GOFTHE YOUTHS) Electronic Music MIKROPHONIE II (MICROPHONY II) for choir, Hammond organ, 4 ring modulators MIXTUR (MIXTURE) for orchestra, 4 sine-wave generators and 4 ring modulators Thursday, May 17th Madison , Ouverture Center for the Arts in Madison, Wisconsin (Information: www.overturecenter.com) KONTAKTE (CONTACTS) Electronic Music GESANG DER JÜNGLINGE (SON GOFTHE YOUTHS) Electronic Music Friday, May 16th, 8:15 p.m. Amsterdam , Muziekgebouw aan’t Ij, Grote Zaal (Information: http://www.muziekgebouw.nl/agenda/Concerten/2056/musikFabrik/De_erfenis_van_ Karlheinz_Stockhausen/) MIXTUR (MIXTURE) for orchestra, 4 sine-wave generators and 4 ring modulators Saturday, May 18th Brighton , Brighton Jubilee Library (Information: MOOT – music of our time, c/o Community Base, 113 Queens Road, Brighton, East Sussex BN1 3XG) STIMMUNG (TUNING) for 6 vocalists Saturday, May 25th, 8 p.m. Altenberg , Dom zu Altenberg (Information: www.koelnticket.de or 02174-419930) FREUDE (JOY) for 2 harps, 2nd Hour of KLANG Saturday, May 25th, 11 a.m. Brasília-DF , Museu Vivo da Memória Candanga ADIEU for woodwind quintet Saturday, June 1st, 11 a.m. Brasília-DF , Catetinho ADIEU for woodwind quintet Saturday, June 8th, 11 a.m. Brasília-DF , Museu Nacional do Complexo Cultural da República, Auditório 2 ADIEU for woodwind quintet Saturday, June 8th, 11 a.m. Brasília-DF , Centro Cultural Três Poderes ADIEU for woodwind quintet 3 Friday, May 31st, 8:30 p.m. Copenhagen , Republique, Festival stage (Information: http://www.republique.dk/EntaPage.aspx?showid=328&venueid=A05) ZYKLUS (CYCLE) for a percussionist STUDIE I (STUDY I) electronic music PIANO PIECE IX STUDIE II (STUDY II) electronic music KONTAKTE (CONTACTS) Electronic Music with piano and percussion Saturday, June 15th, 11 am, Luxembourg, Salle de Concerts Grande-Duchesse Joséphine-Charlotte 3 pm. 5 pm. (Information: stump-linshalm <offi[email protected]> ) TIERKREIS (ZODIAC) for 2 clarinets, Accordion and actors Sunday, June 16th, 11 am, Luxembourg, Salle de Concerts Grande-Duchesse Joséphine-Charlotte 3 pm. 5 pm. (Information: stump-linshalm <offi[email protected]> ) TIERKREIS (ZODIAC) for 2 clarinets, Accordion and actors Friday, June 21st , Graz, Kunstuniversität Graz (Information: stump-linshalm <offi[email protected]> ) YPSILON for clarinet Monday, June 24th , 6 pm. Hallein, (Information: http://www.forum-hallein.at ) YPSILON for clarinet Friday, June 28th, 5 p.m. Paris, Centquatre (Information: +33 1 44 78 12 40 / http://manifeste.ircam.fr ) MANTRA for 2 pianists quasi concert performance of SATURDAY from LIGHT: Wednesday, June 26th, 8 p.m. Munich , Muffathalle (Information: www.br.de/musica-viva / www.br-klassikticket.de / Tel.: +49 (0)89 5900-10880 ) LUZIFER s TRAUM oder KLAVIERSTÜCK XIII (LUCIFER’S DREA M or PIAN O PIEC E XIII) (1st scene of SATURDAY from LIGH T) for bass and piano KATHINKA s GESAN G al s LUZIFER s REQUIEM (KATHINKA’S CHANT as LUCIFER’S REQUIEM) (2nd scene of SATURDAY from LIGH T) for flute and 6 percussionists
Load more

Recommended publications
  • 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
    [Show full text]
  • Shiraz for Piano Solo by Claude Vivier: an Analysis for the Performer
    SHIRAZ FOR PIANO SOLO BY CLAUDE VIVIER: AN ANALYSIS FOR THE PERFORMER by DAVID BERGERON Bmus, McGill University, 1999 Mmus, McGill University, 2001 A THESIS SUBMITTED IN PARTIAL FULLFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE STUDIES (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2010 © David Bergeron, 2010 Abstract Claude Vivier wrote Shiraz in 1977, after returning from a trip to Bali and Iran. Linked to the compositional style of his mentors Gilles Tremblay and Karlheinz Stockhausen, Shiraz is the embryo of what would become Vivier’s own mature compositional and expressive language. Its scope and its importance in Vivier’s catalogue make it an essential subject for an exploration of Vivier’s compositional techniques. This thesis aims not only to give a broad sense of Vivier’s musical language, but also to communicate specific insights relevant to pianists who wish to understand better the subtleties of this particular composition. An investigation of selected works written by Vivier in 1975, a comparison with Schumann’s Toccata opus 7, and a consideration of influences from Stockhausen and Messiaen form the background for a thorough analysis of the piece (including its form, pitch structure, and rhythmic techniques). Problems of memorization and fingering are also discussed. The thesis can help the performer who wishes to add Shiraz to his or her repertoire, to understand and successfully prepare the work for performance and interpretation. ii Table of Contents Abstract…………………………………………………………………………… ii Table of Contents………………………………………………………………… iii List of Tables……………………………………………………………………...iv List of Examples…………………………………………………………………...v Acknowledgments………………………………………………………………. vii Dedication……………………………………………………………………….
    [Show full text]
  • Classic Albums: the Berlin/Germany Edition
    Course Title Classic Albums: The Berlin/Germany Edition Course Number REMU-UT 9817 D01 Spring 2019 Syllabus last updated on: 2​3-Dec-2018 Lecturer Contact Information Course Details Wednesdays, 6:15pm to 7:30pm (14 weeks) Location NYU Berlin Academic Center, Room BLAC 101 Prerequisites No pre-requisites Units earned 2 credits Course Description A classic album is one that has been deemed by many —or even just a select influential few — as a standard bearer within or without its genre. In this class—a companion to the Classic Albums class offered in New York—we will look and listen at a selection of classic albums recorded in Berlin, or recorded in Germany more broadly, and how the city/country shaped them – from David Bowie's famous Berlin trilogy from 1977 – 79 to Ricardo Villalobos' minimal house masterpiece Alcachofa. We will deconstruct the music and production of these albums, ​ ​ putting them in full social and political context and exploring the range of reasons why they have garnered classic status. Artists, producers and engineers involved in the making of these albums will be invited to discuss their seminal works with the students. Along the way we will also consider the history of German electronic music. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s as well as the arrival of Techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall in 1989, up to the present.
    [Show full text]
  • Klsp2018iema Broschuere.Indd
    KLANGSPUREN SCHWAZ INTERNATIONAL ENSEMBLE MODERN ACADEMY IN TIROL. REBECCA SAUNDERS COMPOSER IN RESIDENCE. 15TH EDITION 29.08. – 09.09.2018 KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY 2018 KLANGSPUREN SCHWAZ is celebrating its 25th anniversary in 2018. The annual Tyrolean festival of contemporary music provides a stage for performances, encounters, and for the exploration and exchange of new musical ideas. With a different thematic focus each year, KLANGSPUREN aims to present a survey of the fascinating, diverse panorama that the music of our time boasts. KLANGSPUREN values open discourse, participation, and partnership and actively seeks encounters with locals as well as visitors from abroad. The entire beautiful region of Tyrol unfolds as the festival’s playground, where the most cutting-edge and modern forms of music as well as many young composers and musicians are presented. On the occasion of its own milestone anniversary – among other anniversaries that KLANGSPUREN SCHWAZ 2018 will be celebrating this year – the 25th edition of the festival has chosen the motto „Festivities. Places.“ (in German: „Feste. Orte.“). The program emphasizes projects and works that focus on aspects of celebrations, festivities, rituals, and events and have a specific reference to place and situation. KLANGSPUREN INTERNATIONAL ENSEMBLE MODERN ACADEMY is celebrating its 15th anniversary. The Academy is an offshoot of the renowned International Ensemble Modern Academy (IEMA) in Frankfurt and was founded in the same year as IEMA, in 2003. The Academy is central to KLANGSPUREN and has developed into one of the most successful projects of the Tyrolean festival for new music. The high standards of the Academy are vouched for by prominent figures who have acted as Composers in Residence: György Kurtág, Helmut Lachenmann, Steve Reich, Benedict Mason, Michael Gielen, Wolfgang Rihm, Martin Matalon, Johannes Maria Staud, Heinz Holliger, George Benjamin, Unsuk Chin, Hans Zender, Hans Abrahamsen, Wolfgang Mitterer, Beat Furrer, Enno Poppe, and most recently in 2017, Sofia Gubaidulina.
    [Show full text]
  • 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.
    [Show full text]
  • 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 ).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 2019 Performances.Qxp 2009 Performance Update
    Stock hau sen Aufführungen / Per for manc es 2019 Tuesday, Febr. 5th, 7:30pm Stuttgart | Theater Atelier (Information: http://mixedsoundpersonnel.com) NASENFLÜGELTANZ (TIP-OF-THE-NOSE-DANCE) for a percussionist Tuesday, Febr. 14th, 7:30pm Stuttgart | Theater Atelier (Information: http://mixedsoundpersonnel.com) NASENFLÜGELTANZ (TIP-OF-THE-NOSE-DANCE) for a percussionist Saturday, Febr. 9th, 8 pm Orange , Chapman University, Salmon Recital Hall (https://events.chapman.edu/61798) HAVONA – 14th Hour of KLANG for bass and electronic music Saturday, Febr. 16th, 7 pm Brooklyn, NY (http://www.spectrumnyc.com/site/calendar.php) CAPRICORN for bass and electronic music Saturday, Febr. 23rd, 7pm Köln | Funkhaus (Information: Kölnticket, Tel +49 2212801, koelnticket.de) KONTAKTE (CONTACTS) for electronic sounds, piano and percussion Tuesday, Febr. 26th Boston | MA at Brown Hall, New England Conservatory (Information: http://www.callithumpian.org/feb-26-klang/) EDENTIA – 20th Hour of KLANG for saxophone and electronic music NATÜRLICHE DAUERN (NATURAL DURATIONS) – 3rd Hour of KLANG for piano HARMONIEN (HARMONIES) – 5th Hour of KLANG for trumpet HIMMELS-TÜR (HEAVEN’S DOOR) – 4rd Hour of KLANG for a percussionist and little girl Saturday, March 2nd, 6:30pm Montréal, Montréal en Lumière 2019. (Information: http://www.smcq.qc.ca/mnm/en/2019/prog/concert/41235/) FREITAGS-GRUSS (FRIDAY GREETING) Sunday, March 3rd,3:30 am FREITAGS-ABSCHIED (FRIDAY FAREWELL) Electronic Music Monday, March 4th Montréal, Théâtre Rouge of the Conservatoire de Musique de Montréal
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Ulrich Buch Engl. Ulrich Buch Englisch
    Stockhausen-Stiftung für Musik First edition 2012 Published by Stockhausen-Stiftung für Musik 51515 Kürten, Germany (Fax +49-[0] 2268-1813) www.stockhausen-verlag.com All rights reserved. Copying prohibited by law. O c Copyright Stockhausen-Stiftung für Musik 2012 Translation: Jayne Obst Layout: Kathinka Pasveer ISBN: 978-3-9815317-0-1 STOCKHAUSEN A THEOLOGICAL INTERPRETATION BY THOMAS ULRICH Stockhausen-Stiftung für Musik 2012 TABLE OF CONTENTS Preliminary Remark .................................................................................................. VII Preface: Music and Religion ................................................................................. VII I. Metaphysical Theology of Order ................................................................. 3 1. Historical Situation ....................................................................................... 3 2. What is Music? ............................................................................................. 5 3. The Order of Tones and its Theological Roots ............................................ 7 4. The Artistic Application of Stockhausen’s Metaphysical Theology in Early Serialism .................................................. 14 5. Effects of Metaphysical Theology on the Young Stockhausen ................... 22 a. A Non-Historical Concept of Time ........................................................... 22 b. Domination Thinking ................................................................................ 23 c. Progressive Thinking
    [Show full text]