DOCSLIB.ORG

Stockhausen in 2001, I Colorado Is Proud to Host the Stockhausen Dreamed of Organizing a Festival of His Music in My Home Country

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stockhausen in 2001, I Colorado Is Proud to Host the Stockhausen Dreamed of Organizing a Festival of His Music in My Home Country stockha sen 2010 un i v e r s i t y o f c o l o r a d o @ b o u l d e r Wednesday, 29 September Concert, 7:30 p.m. grusin music hall, imig music building Thursday, 30 September with generous support from Colloquium, 4:00 p.m. black box theater, President’s Fund for the Humanities atlas building cmap, The Atlas Institute Friday, 1 October The James L. D. and Rebecca Roser Concert, 7:30 p.m. Visiting Artist Fund black box theater, atlas building Sunday, 3 October Sound Demonstration 2:00 p.m. black box theater, atlas building + Concert, 4:00 p.m. black box theater, atlas building Welcome from the Dean Message from the Artistic Director The College of Music at the University of For many years after my Wrst personal encounter with Stockhausen in 2001, I Colorado is proud to host the Stockhausen dreamed of organizing a festival of his music in my home country. Stockhausen’s 2010 Festival. The programs we have works – 375 in number at the time of his passing – constitute one of the largest, assembled showcase some of the Wnest most innovative, and arguably greatest repertoires of music from the recent past. aspects of our College, ranging from But what was immediately apparent to me nine years ago was the way that talented faculty and student performers, to Stockhausen’s creations – for they often go far beyond the notion of “music” highly skilled sound engineers, to advanced alone – often suggest fruitful ways for musicians, artists, scholars and technicians scholars and researchers. But most of all, to come together and collaborate in concert for a common goal. This festival is bringing Stockhausen’s music to our College not just about forging musical, artistic and social bonds; the sheer crazyiness, demonstrates our strong committment to daring, eclecticism and exquisite beauty of his music are perfectly matched to the exploring new, challenging and unfamiliar unique environment of Boulder, Colorado. This is music that belongs here. realms of musical creation. Stockhausen’s works require an immense amount of preparation, technical Our connection with Stockhausen dates equipment, rehearsal and committment from musicians. In today’s Wnancial back to 1958, when the composer gave a climate, it is next to impossible to organize a festival that would meet lecture here during his Wrst breakneck tour of Stockhausen’s high standards in the United States. Fortunately, the University of our country. We are delighted to be able to Colorado and many generous individuals have provided a great deal of support reconnect with the composer’s legacy by for this project. Just as important, the College of Music has had the foresight inviting four renowned experts on his music over the years to invest in many pieces of high-quality infrastructure that have to our College. For an entire week they will contributed to this undertaking. And, our extremely talented faculty and perform, coach, lecture and advise us in this students are a uniquely qualiWed resource, never backing down from a challenge unusual musical repertoire. Special thanks that may at Wrst seem impossible to achieve. are due to the Stockhausen Foundation for helping to sponsor the festival, and to the The festival beneWts our community far beyond the concerts and lectures you various funds at the University, without will hear. Our four invited guests, who are all deeply invested in Stockhausen’s which none of this would have been possible. music, come to us from Seattle, Atlanta, Pforzheim, and Berlin. They will be working alongside our students, staV, and faculty, sharing their knowledge and We are conWdent that our festival will spark expertise for an entire week. more of what the College is already known for throughout this country: excellence in Even if you do not enjoy all the performances you experience, I hope that you performance, scholarship, experimentation, will at least be able to marvel at the possibilities that Stockhausen’s music and innovation. Enjoy the show. suggest, and the committment we have made to try to bring this unusual and challenging artwork to you. As Karlheinz used to say: Have a good trip! Dean Daniel Sher Paul Miller Without the support of the following organizations and individuals, this festival would not have been successful. Therefore, our deepest thanks & gratitude go to: The President’s Fund for the Humanities, The James L. D. and Rebecca Roser Visiting Artist Fund, cmap, The Atlas Institute, and the Musicology & Music Theory Colloquium Fund. Glenn Arndt (engineering & logistics), Gayle Sher (Dean, College of Music), Boethling (scheduling & logistics), Dan Boord Stephen Slater (scheduling & (Film Studies), John Drumheller (engineering & logistics), Michael Theodore housing), Laima Haley (publicity), Eric Harbeson (engineering), and Alex Vittal & (library & research), Kevin Harbison (engineering), Friends (housing). Peggy Hinton (logistics), Regina Houck (accounting), Myra Jackson (scheduling & Special thanks is due to the over Wfty logistics), Professors Jennings, Nguyen, and Silver undergraduate and graduate students (performance), Mary Jungerman (housing), Ira Liss who are performing on the three (publicity), Kellie Masterson (design & concerts. Their names are listed either construction), Gary McCrumb (engineering), Paul in a program book insert, or at the Miller (artistic director), Ron Mueller (CU opera), end of the program notes for the John Peterson & Amanda Samuelson (exhibit), concert on which they are Tom Robbins (design & construction), Daniel performing. 2 Introduction to the Festival Perhaps no other composer active after the Second World notated score using Stockhausen’s “blueprint.” Later process War has been as inXuential as Karlheinz Stockhausen. Artists compositions, such as Prozession (1967), Kurzwellen (1968), and and composers as diverse as Helmut Lachenmann, Harrison Spiral (1968) employ simpler notation, and eventually led Birtwistle, Charles Mingus, The Beatles, Frank Zappa, and Stockhausen to explore “intuitive music.” The earliest example the Grateful Dead have all acknowledged Stockhausen’s of Stockhausen’s intuitive music, Aus den Sieben Tagen (1968), inXuence on their own music. Miles Davis commented that “I employs a collection of texts that describes abstract processes had always written in a circular way, and through Stockhausen without the use of any signs at all. I could see that I didn’t want to ever play again from eight bars to eight bars,” while Björk asserted that “when Karlheinz By the end of the 1960s, Stockhausen’s reputation had grown harnessed electricity into sound and showed the rest of us, he outside avant-garde circles, and he returned to more sparked oV a sun that is still burning, and will glow for a conventionally notated scores. In many works of the next long time.” decade, such as Mantra (1970), a singable melodic complex governs the work. This complex, or “formula,” may be While many critics acknowledge the importance of comprised of a single-, double-, or triple-line melody that also Stockhausen’s music before 1970, few have recognized the speciWes other musical parameters such as pitch, dynamics, numerous later works that are also worthy of attention. In duration, timbre, and tempo. Licht (1977 – 2003), Stockhausen’s making program decisions for our festival, we have sought to monumental operatic cycle comprised of seven individual remedy this bias. Alongside some early classics, we also present operas each based on a day of the week, is an example of the some representative later works that we consider to be among extreme to which Stockhausen took formula composition; a his more important achievements. one-minute “superformula” is expanded to over twenty-nine hours of music. The Xexibility of this technique is perhaps best Karlheinz Stockhausen was born on 22 August 1928, in demonstrated in the Helicopter String Quartet (1993) from the Mödrath near Cologne, Germany. From 1947 – 1951, Wednesday opera, in which each member of the string quartet Stockhausen attended Cologne’s Musikhochschule, where he performs in a helicopter that completes an individual Xight studied music education, piano, and composition. Subsequently, plan near the theater. Live audio and video are transmitted to he studied with Olivier Messiaen in Paris. While almost all of the audience in the concert hall. Stockhausen’s compositions employ serial techniques, his early works were often described as “point” or “constellation” music, Following the completion of Licht, Stockhausen began another an aesthetic which was probably inspired by Messiaen and the ambitious project in 2003. Klang was to be a cycle of twenty- Belgian composer Karel Goeyvaerts. Serialism is a four compositions, one for each hour in the day. Stockhausen compositional technique in which some continuous perceptual noted that Klang represented a return to “moment form,” a continuum is quantized, and the individual quantized elements technique that he pioneered in the 1960s with compositions are ordered according to a pre-determined row or series. In such as Momente (1961-64), Mixtur (1964), and Telemusik Kreuzspiel (1951), both pitch and rhythm are determined in this (1966). Perhaps as a way of responding to the teleological way, demonstrating Stockhausen’s interest in going beyond the aspect of most earlier music, moment form involves earlier technique of twelve-tone music, where only pitch is composing episodes that are not necessarily temporally related ordered. Around this time, Stockhausen also wrote Gesang der to one another, and may even sometimes be reordered in a Jünglinge (1955-56), a work that many scholars believe performance. In practice, however, one particular ordering is established the viability of electronic music. In Kontakte (1959- usually chosen. After completing twenty-one of the pieces of 60), Stockhausen added spatialization to the perceptual his Klang cycle, Stockhausen died suddenly at his home in domains he tried to serialize. Spatialization, an integral part of December 2007. Stockhausen’s craft, denotes the composer’s attempt to compose the movement of sound through and around the Brian Ferneyhough, an important twentieth-century English performance space.
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]
  • 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]
  • 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]
  • Fall 2009 Feature: Celebrate the Reader|
    F A L L 2 0 0 9 Feature: Ontario Public Library Week October 17-25 Me & My Library Dave Carley www.londonpubliclibrary.ca |feature: OPLW Ontario Public I am a reader. Library Week I am always on the hunt for my next October 13-24 read: a new book, an undiscovered Celebrate your reading book, an old writer new to me, the book Chose from your Library’s wide that will suit my particular mood... selection of books, magazines, movies In my work as a librarian, I meet people or music - be the lucky person to check every day that are also looking for ‘a out a chosen item and you could win a ballot to enter for a draw good book’ and part of my job is to help prize. Hint: both staff and customer them find it. I start by asking questions: recommendations may be eligible for a what do you like to read, who are your chance to win. For all ages. favourite authors, why did you like that particular book? Do you like a cozy October 17-25 British mystery, medical suspense, Celebrity check out literary award winners? I am always Local “celebrities” take on the role of meeting people who don’t know they honourary employees at most locations can ask library staff for help finding one day this week. Drop in for a chat at books to read, although they regularly the check out! ask a lot of other questions! The next October 17 time you are stuck, ask a staff member 2-4 pm - all locations for help.
    [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]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [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]
  • Serial Music and Other New Trends in Western Art Music of the 20Th Century
    Serial Music and other new trends in Western Art Music of the 20th century In the 20th Century composers of Western Art Music experimented in the same way that artists did. The result was that things like melody, pitch, rhythm and time were used very differently to make up music. Whole tone music, atonal music, bitonal music, microtonal music, serial music and minimalist music were some of the different types of new music that were a result of this experimentation. Minimalist music is discussed on a separate page. Atonal music and Bitonal music Atonal music is music where the composer has experimented with pitch and melody to the point where there is no home note in the music. Bitonal music is when the composer uses 2 different key signatures (ie 2 different home notes), in two different parts, at the same time. Whole tone music Whole tone music is based on the whole tone scale. This is a scale made up of whole tones only, eg. C D E F# G# A# C. Melodies built on the whole tone scale sound hazy or misty. The chords (harmonies) built on the whole tone scale are also unconventional and colourful (different) sounding. A composer who used the whole tone scale quite a lot was Debussy. He is also known for being influenced by Indonesian Gamelan music (see the page on Minimalism for an explanation of Gamelan). Debussy’s use of pedal points (like a drone – the same note is held or continually repeated while other parts change) and ostinato give his music the ‘cyclical’ feeling created by repetition in Gamelan music.
    [Show full text]
  • 21-Asis Aktualios Muzikos Festivalis GAIDA 21Th Contemporary Music Festival
    GAIDA 21-asis aktualios muzikos festivalis GAIDA 21th Contemporary Music festival 2011 m. spalio 21–29 d., Vilnius 21–29 October, 2011, Vilnius Festivalio viešbutis Globėjai: 21-asis tarptautinis šiuolaikinės muzikos festivalis GAIDA 21th International Contemporary Music Festival Pagrindiniai informaciniai rėmėjai: MINIMAL | MAXIMAL • Festivalio tema – minimalizmas ir maksimalizmas muzikoje: bandymas Informaciniai rėmėjai: pažvelgti į skirtingus muzikos polius • Vienos didžiausių šiuolaikinės muzikos asmenybių platesnis kūrybos pristatymas – portretas: kompozitorius vizionierius Iannis Xenakis • Pirmą kartą Lietuvoje – iškiliausio XX a. pabaigos lenkų simfoninio kūrinio, Henryko Mikołajaus Góreckio III simfonijos, atlikimas • Dėmesys tikriems šiuolaikinės muzikos atlikimo lyderiams iš Prancūzijos, Vokietijos ir Italijos Partneriai ir rėmėjai: • Intriguojantys audiovizualiniai projektai – originalios skirtingų menų sąveikos ir netikėti sprendimai • Keletas potėpių M. K. Čiurlioniui, pažymint kompozitoriaus 100-ąsias mirties metines • Naujų kūrinių užsakymai ir geriausi Lietuvos bei užsienio atlikėjai: simfoniniai orkestrai, ansambliai, solistai Festivalis GAIDA yra europinio naujosios muzikos kūrybos ir sklaidos tinklo Réseau Varése, remiamo Europos Komisijos programos Kultūra, narys. The GAIDA Festival is a member of the Réseau Varése, European network Rengėjai: for the creation and promotion of new music, subsidized by the Culture Programme of the European Commission. TURINYS / CONTENT Programa / Programme.......................................................................................2
    [Show full text]