Course Brochure 2022 English

Total Page:16

File Type:pdf, Size:1020Kb

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 –. But their music stays behind with humanity as a ARGUMENT (of THURSDAY from LIGHT) Electronic music and trumpet, soprano, LICHT-BILDER, HARMONIEN, SCHÖNHEIT, ERWACHEN. lectures and workshops on the music of Stockhausen given legacy, and we must gratefully preserve this precious gem, for tenor, bass, by international Stockhausen experts. These events are bass clarinet, bass Benjamin Kobler (piano): KREUZSPIEL, and endeavour in the spirit of the composer to grow deeper synthesizer player, percussionist, KLAVIERSTÜCKE I–XI, SCHLAGTRIO *, REFRAIN *, KONTAKT E *, designed to be equally accessible to those already familiar and deeper into his works and let them worthily arise VISION (of THURSDAY from LIGHT) MANTRA, DER KINDERFÄNGER, STOP und START, DÜFTE – with Stockhausen’s music and to those who have had very again.” little or no exposure to his music but who are curious to for tenor, trumpeter, dancer, ZEICHEN, SONNTAGS-ABSCHIED, NATÜRLICHE DAUERN. th Sunday, July 10 th , 8 p.m., Sülztalhalle know more. K. Stockhausen, July 20 1948 synthesizer Nicholas Isherwood (bass): SIRIUS, CAPRICORN, SIRIUS (Summer Version ) TIERKREIS, AM HIMMEL WANDRE ICH, KINDHEIT, ARGUMENT, Rudolf Frisius (Germany) 4 lectures: * Electronic music and trumpet, soprano, LUZIFERs TRAUM, LUZIFERs ZOR N, ANTRA G, ZUSTIMMUNG, 1 SIRIUS: The path from the early serial music to the inte - grative electronic music with melodies, voices and instru - bass clarinet, bass UNSICHTBARE CHÖRE / INVISIBLE CHOIRS UD, HAVONA. For the 19 th time, the music of Karlheinz Stockhausen ments. (of THURSDAY from LIGHT) Hubert Mayer (tenor): TIERKREIS, KINDHEIT, MONDEVA, will be the focal point of nine days of concerts and 2 HYMNEN: The path from the abstract constructivism to EXAMEN, VISION, DIE 7 LIEDER DER TAGE, MICHAELION, interpretation courses. Composers, interpreters, musi - [8-track playback] the sonically and semantically integrative world music. th LICHTER – WASSER, ENGEL-PROZESSIONEN, ROSA MYSTICA, 3 KONTAKTE (in relation to KLAVIERSTÜCKE VIII and cologists, sound projectionists and music lovers are Monday, July 11 , 8 p.m., Sülztalhalle LICHT-BILDER, HIMMELFAHRT, JERUSEM. IX, ZYKLUS and REFRAIN): The path from the serial cordially invited to attend the Stockhausen Concerts Friday, July 15 th , 8 p.m., Sülztalhalle HYMNEN / ANTHEMS Michael Pattmann (percussion): SCHLAGTRIO *, ZYKLU S, instrumental music to the strictly synthetic, sonic integra - and Courses Kürten 2022 . nd Electronic and Concrete music and 2 participants’ concert REFRAIN *, KONTAKT E*, NASENFLÜGELTAN Z*, KOMET, tive tape music. VIBRA-ELUFA, MITTWOCH-FORMEL . 4 UNSICHTBARE CHÖRE (in relation to HALT ARGUMENT Stockhausen’s motto for the 2022 courses is and VISION): The path from work to work-cycle and to Saturday, July 16 th , 8 p.m., Sülztalhalle * These works will be taught joint ly by Michael Pattmann and entire œuvre. LEARNING CAN BE CONTAGIOUS . Tuesday, July 12 th , 8 p.m., Sülztalhalle Bejamin Kobler . 3rd participants’ concert Interpreters are requested to indicate on their application the Katharina Grohmann (Russia): WEDNESDAY from LIGHT PIANO PIECES VII, VIII, IX works prepared. The faculty is willing to assist participants Concerts Robin Hartwell (United Kingdom): The listener and LICHT th in preparing themselves for course attendance ahead of ZYKLUS / CYCLE Sunday, July 17 , 6 p.m. , Sülztalhalle time . Interpreters will receive the respective faculty address Monika Pasiecznik (Poland): Stockhausen’s dramaturgical Instrumental, vocal and electronic works by Karlheinz Stock - concepts and how he redefined the concert situation: Move - for a percussionist INORI for 2 dancer-mimes and orchestra [tape] after they have registered for participation. hausen will be performed in nine concerts. The concerts are ment in Stockhausen INORI-gestures (Instructor: Alain Louafi ) performed by the faculty of the master classes, many of whom REFRAIN Due to the special significance given to the synthesis of Gabriel Jones ( United Kingdom ): Recording history and per - for 3 players worked with Stockhausen for many years. Also internationally music and gesture in Stockhausen’s works, the gestures formance practice of the early Klavierstücke renowned guest musicians will perform. In three concerts * Admission to the concerts is free. from the composition INORI (1973–74) are rehearsed in Peter Britton (United Kingdom ) and Natascha Nikeprelevic selected participants will perform compositions which were One hour before each concert this course. The course takes place each morning before (Germany): open rehearsals and seminars on the perfor - prepared during the master classes. All dress rehearsals are KONTAKTE / CONTACTS there will be an introduction (in German) the master classes and other events of the courses and is mance practice and vocal technique of STERNKLANG. open to the participants of the courses. open to all interested participants. für electronic sounds, piano and percussion to the program which is performed that evening. The language spoken in the courses is English . Prizes Registration Tuition Fee Reg is tra tion Form (Dead line: June 9 th 2022 ) Please enrol me (gender): Ì female Ì male For the best inter pre ta tions of Stock hau sen works To reg is ter for the concerts and courses, please com - A fee of 360 ¤ cov ers admis sion to all events and in - Stockhausen Concerts Name: ......................... Sur name: ............................ performed in the participants’ concerts, three prizes plete the reg is tra tion form and send it to: cludes lodging reserva tion . Trav el, lodg ing and meals (4000 ¤, 2500 ¤, and 1500 ¤) will be award ed fol - are not includ ed. Date and country of birth: .......................................... and Courses Kürten Stockhausen-Stiftung für Musik lowing the final con cert. A prize may be divided Present address: Pay ment of the tui tion fee is due upon registration and among several musicians. Kettenberg 15, D-51515 Kürten Street: ........................................................................ may be paid by bank transfer or PayPal. from July 9 th to 17 th City .............................. zip code: ............................. Fax: 0049-[0 ] 2268-1813 Account number of the Stock hau sen-Stif tung für Musik : State + Country: ......................................................... Location E-mail: [email protected] 2022 IBAN: DE 41 3701 0050 0121 6785 09; Tel.: ............................. Fax: .................................... Kürten is Stockhausen’s hometown, where he lived Anyone interested may participate in the courses, BI C/SWIFT: PBNKDEFFXXX. e-mail: ......................................................................... from 1965 to 2007. The “Stockhausen-Community” space per mitting. The applications will be accepted and as par tic i pant in the Stock hau sen Cours es Kürten 2022 . Kürten is situated about 30 kilometers (19 miles) east lodging assigned in the order in which the applications Payment by PayPal (plus PayPal fees = 377 ¤ ) can be Ì Com pos er Ì Musi col ogist Ì Sound Projectionist of Cologne in the part of Germany called the Bergisches are received. made to [email protected] Ì Ì * Land . For the 19 th time, the community of Kürten is Auditor Inter pret er Instrument ............................ allowing the Stockhausen Foundation for Music to Online registration and fur ther infor ma tion * I have pre pared the fol low ing work(s): use its school complex and community centre for the about the cours es in the internet: continuation of its annual Stockhausen Concerts and Date: ....................
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]
  • 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]
  • Presseinformation Donaueschinger Musiktage 2016
    Donaueschinger Musiktage 14. – 16. Oktober 2016 Veranstalter: Gesellschaft der Musikfreunde Donaueschingen in Zusammenarbeit mit der Stadt Donaueschingen, dem Südwestrundfunk und dem Experimentalstudio des SWR. Gefördert durch das Land Baden-Württemberg und die Kulturstiftung des Bundes. Plakat © 2016 Monica Bonvicini. PRESSEINFORMATION DONAUESCHINGER MUSIKTAGE 2016 Donaueschinger Musiktage 14.-16.10.2016 Inhalt Presseinformation „Donaueschinger Musiktage 2016“ 2 Donaueschinger Musiktage – Häufig gestellte Fragen 5 Donaueschinger Anglophonie 6 „Donaueschingen Lectures“ – Roger Scruton 8 Kommodengespräche im Festivalcafé 9 Alte Hofbibliothek Verleihung des Karl-Sczuka-Preises 2016 10 Donaueschinger Musiktage auf SWRClassic.de 14 und in SWR2 SWR Classic – Klangvielfalt erleben 16 CD-Edition „Donaueschinger Musiktage 2015“ 18 Ausblick: Donaueschinger Musiktage 2017 20 Konzertausschnitte für Radio- und TV-Journalisten 21 Presseservice 22 Donaueschinger Musiktage 14.-16.10.2016 Avantgarde auf Tuchfühlung mit den Sphären der Unterhaltungsmusik 17 Uraufführungen und vier Klanginstallationen / SWR Symphonieorchester mit sechs Uraufführungen / Erstmals „Donaueschingen Lectures“ / Fünf Konzerte live in SWR2 Die Donaueschinger Musiktage 2016 nähern sich vom 14. bis 16. Oktober der populären Musik. Dabei finden deutsche Schlager ebenso einen avantgardistischen Widerhall wie der mythische Gesang der Sirenen. Auch der Rausch als solcher wird zum Thema. Zahlreiche Werke von Komponisten aus dem englischsprachigen Raum erlauben zudem eine besondere Perspektive auf die Neue Musik. Auf dem Festivalprogramm stehen 17 Uraufführungen und vier Klanginstallationen. Das neue SWR Symphonieorchester wird mit sechs Uraufführungen zu erleben sein. Die „Donaueschingen Lectures“ erweitern in diesem Jahr erstmals das Programm um einen musikphilosophischen Vortrag. Festivalleiter Björn Gottstein: „Zwischen den Werken haben sich in diesem Jahr viele spannende Themenfelder ergeben. Der Rausch und die Verführung durch Musik ist ein Sujet, das in vielen Werken verhandelt wird.
    [Show full text]
  • Concert Programdownload Pdf(349
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Stockhausen's Mantra For Two Pianos Eric Huebner and Steven Beck, pianos Sound and electronic interface design: Ryan MacEvoy McCullough Sound projection: Chris Jacobs and Ryan MacEvoy McCullough Saturday, October 14, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Mantra (1970) Karlheinz Stockhausen (1928 – 2007) Program Note by Katherine Chi To say it as simply as possible, Mantra, as it stands, is a miniature of the way a galaxy is composed. When I was composing the work, I had no accessory feelings or thoughts; I knew only that I had to fulfill the mantra. And it demanded itself, it just started blossoming. As it was being constructed through me, I somehow felt that it must be a very true picture of the way the cosmos is constructed, I’ve never worked on a piece before in which I was so sure that every note I was putting down was right. And this was due to the integral systemization - the combination of the scalar idea with the idea of deriving everything from the One. It shines very strongly. - Karlheinz Stockhausen Mantra is a seminal piece of the twentieth century, a pivotal work both in the context of Stockhausen’s compositional development and a tour de force contribution to the canon of music for two pianos. It was written in 1970 in two stages: the formal skeleton was conceived in Osaka, Japan (May 1 – June 20, 1970) and the remaining work was completed in Kürten, Germany (July 10 – August 18, 1970).
    [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]
  • Programmheft Und Die Konzerteinführung Gehören Zu Den Ergebnissen Dieser Arbeit
    © Stockhausen-Archiv Ensemble Earquake Oboe..................................Margarita Souka Violoncello.........................Claudia Cecchinato Klarinette...........................Man-Chi Chan Fagott................................Berenike Mosler Violine.................................Anna Teigelack Tuba...................................Sandro Hartung Flöte...................................Samantha Arbogast Posaune.............................Daniil Gorokhov (a.G.) Viola...................................Tom Congdon Trompete...........................Jonas Heinzelmann Kontrabass.........................Marian Kushniryk Horn...................................Lukas Kuhn Schlagzeug........................Nadine Baert Klangregie.........................Selim M’rad Caspar Ernst Ernst-Lukas Kuhlmann Tutor...................................Orlando Boeck Musikalische Leitung.........Kathinka Pasveer Gesamtleitung...................Merve Kazokoğlu Was bedeutete „Neue Musik“ für Karlheinz Stockhausen? Ganz und gar optimistisch, neugierig und kosmopolitisch scheint Stockhausens Musik – und nicht mehr in den engen Grenzen europä- ischer Musikästhetik verstehbar. Zwar war Stockhausen selbst ein Teil der westdeutschen musikalischen Avantgarde nach 1945 und prägte daher zahlreiche Neuerungen der hiesigen damaligen Musikgeschich- te, – hier sind serielle Techniken ebenso wie die künstliche Tonerzeu- gung mit Studiotechnik erwähnenswert, – endgültig verpflichtet bliebt er jedoch keinem der dort erprobten Ansätze und verband die gewon- nenen Anregungen
    [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]