Stockhausen Complete Edition on Compact Discs English
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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 -
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: 23-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. -
Stockhausen's Cosmic Pulses
Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 1 Stockhausen’s Cosmic Pulses ROBIN MACONIE Some people chase tornados; others go after black holes. From the late 1950s Stockhausen was fascinated by the idea of sounds in rotation and how to realise them in a technical sense, by means of an array of loudspeakers. Completed in 2007, Cosmic Pulses is Stockhausen’s final electronic composition.1 For a number of reasons I believe the composer knew it would be his last. The work was completed in a rush. In many ways, notably in terms of the sound material, which is very basic, it remains a sketch. The music can be described as a massive rotating sound mass, composed in 24 separately spinning frequency layers. The work thickens gradually to 24 layers, then reduces symmetrically upward in an ascending spiral that ends quite abruptly. An audience may experience the sensation of falling headlong into a black hole, or, if one is an optimist, of being carried aloft on the whirlwind like Dorothy in The Wizard of Oz. A tornado is an effect of a natural imbalance between temperature layers in the atmosphere, tipped into motion by the earth’s rotation, which moves progressively faster toward the equator. The rotating air mass that results spirals upwards and generates a powerful electrical charge. A black hole by comparison is an effect of gravitation creating an imbalance in spacetime. The rotational process that results spirals downward or inward and leads to the extinction of reality as we know it, or again, if one is an optimist, creates a wormhole leading either into another universe, or into our own universe at Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 2 another point in time. -
Karlheinz Stockhausen: Works for Ensemble English
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 ). -
Department of Musicology, Faculty of Music, University of Arts in Belgrade Editors Prof. Dr. Tijana Popović Mladjenović Prof
Department of Musicology, Faculty of Music, University of Arts in Belgrade MUSICOLOGICAL STUDIES: MONOGRPAHS CONTEXTUALITY OF MUSICOLOGY – What, How, WHY AND Because Editors Prof. Dr. Tijana Popović Mladjenović Prof. Dr. Ana Stefanović Dr. Radoš Mitrović Prof. Dr. Vesna Mikić Reviewers Prof. Dr. Leon Stefanija Prof. Dr. Ivana Perković Prof. Dr. Branka Radović Proofreader Matthew James Whiffen Publisher Faculty of Music in Belgrade For Publisher Prof. Ljiljana Nestorovska, M.Mus. Dean of the Faculty of Music in Belgrade Editor-in-Chief Prof. Dr. Gordana Karan Executive Editor Marija Tomić Cover Design Dr. Ivana Petković Lozo ISBN 978-86-81340-25-7 This publication was supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia. CONTEXTUALITY OF MUSICOLOGY What, How, Why and Because Editors Tijana Popović Mladjenović Ana Stefanović Radoš Mitrović Vesna Mikić UNIVERSITY OF ARTS IN BELGRADE FACULTY OF MUSIC Belgrade 2020 УНИВЕРЗИТЕТ УМЕТНОСТИ У БЕОГРАДУ ФАКУЛТЕТ МУЗИЧКЕ УМЕТНОСТИ UNIVERSITY OF ARTS IN BELGRADE FACULTY OF MUSIC Contents 7 Marija Maglov Musicology in the Context of Media – Media in the Context of Musicology ................................................... 279 Ivana Perković, Radmila Milinković, Ivana Petković Lozo Digital Music Collections in Serbian Libraries for New Music Research Initiatives .............................................. 293 IV What, How, Why and Because Nikola Komatović The Context(s) of Tonality/Tonalities ............................... 311 John Lam Chun-fai Stravinsky à Delage: (An)Hemitonic Pentatonicism as Japonisme ....... 319 Fabio Guilherme Poletto When Different Cultural Contexts Resize a Popular Song: A Study about The Girl from Ipanema .............................. 334 Ana Djordjević Music Between Layers – Music of Lepa sela lepo gore in The Context of Film Narrative ................................... -
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 -
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. -
2013-Pressrelease-OKTOPHONIE
Park Avenue Armory Adds Two Performances for Karlheinz Stockhausen’s electronic masterpiece OKTOPHONIE, presented in a lunar environment created by Rirkrit Tiravanija Due to Overwhelming Demand Additional Performances Added, March 23 & 25 New York, NY—February 28, 2013—Due to overwhelming initial demand stemming from the 2013 artistic season announcement, Park Avenue Armory announced today the addition of two performances of the New York premiere of Karlheinz Stockhausen’s OKTOPHONIE. Part of Stockhausen’s magnum opus “Licht” (or “Light”) OKTOPHONIE is a trailblazing electronic music experience where the audience is surrounded by eight groups of loudspeakers, enveloping them in a sonic environment. OKTOPHONIE, which will be performed by one of his original collaborators Kathinka Pasveer, exemplifies Stockhausen’s work as a compositional pioneer who grappled with spatial music as he bent the rules and redefined the listening experience. Staging the work as the composer originally intended—in outer space—Rirkrit Tiravanija has been commissioned by the Armory to create a ritualized lunar experience, a floating seating installation within the Armory’s soaring drill hall that heightens the listeners’ octophonic experience and transports them to another realm. The audience will don white cloaks for the journey, carried along by the all- encompassing score, itself a meditation on the transformation from plunging darkness into blinding light. The Armory’s 2013 season will also include WS, a monumental installation by Paul McCarthy; The Machine, a play by one of Britain’s fastest rising young playwrights, Matt Charman, that chronicles Garry Kasparov’s 1997 chess game against IBM’s Deep Blue super-computer, a contest that set man against machine; Massive Attack V Adam Curtis, a new kind of imaginative experience conceived by Adam Curtis and Robert Del Naja mixing music, film, politics, and moments of illusion, performed by Massive Attack and special guests; and Robert Wilson’s powerful new staging of The Life and Death of Marina Abramović. -
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 -
Michael Pelzel Gravity’S Rainbow 2
Michael Pelzel Gravity’s Rainbow 2 Michael Pelzel 3 Michael Pelzel: Gravity’s Rainbow 4 1. Mysterious Anjuna Bell (2016) 18:47 für Ensemble und Kammerorchester Ensemble ascolta und Stuttgarter Kammerorchester, Peter Rundel (Leitung) 2. Carnaticaphobia (2017) 16:18 für Perkussion, Klavier und Violoncello ensemble recherche 3. Gravity’s Rainbow (2016) 21:00 für CLEX (Kontrabassklarinette extended) und Orchester Ernesto Molinari (CLEX), Basel Sinfonietta, Peter Rundel (Leitung) 4. „Alf“-Sonata (2014) 08:25 5 für Violine und Horn Jetpack Bellerive: Noëlle-Anne Darbellay (Violine) und Samuel Stoll (Horn) Danse diabolique (2016) für Bläser, Harfe, Orgel, Klavier und Schlagzeug WDR Sinfonieorchester, Bas Wiegers (Leitung) 5. I. Introduction 03:28 6. II. Danse diabolique 08:25 Gesamtspieldauer 76:26 Im Sog des Klangstroms 6 Ein Klang, so überwältigend reich und vielfältig, dass er das Ensemble, das ihn hervorbringt, geradezu transzendiert. Eine Fülle an Farben, die ans Maß- lose grenzt. Ein Gewimmel von Gestalten, das die Ohren überfordert. Ein Ganzes, das weit mehr ist als seine Teile, doch ohne diese zu verschlucken. Solcherart mögen die ersten Eindrücke sein, die man von der Musik Michael Pelzels empfängt. Viel (und vieles zugleich) geschieht in ihr, und wer sie unbefangen hört, wird sich von ihr geradezu aufgesogen fühlen, hinein- gestoßen ins Klanggeschehen und zunächst einmal aller refl exiven Distanz beraubt. Tatsächlich hat diese Musik in der Üppigkeit ihrer Mittel etwas Dionysisches, Anarchisch-Ungebundenes – was freilich keineswegs einen Verzicht auf planvolle Strukturierung und kompositorisches Kalkül bedeutet. Ganz im Gegenteil: Die erste Lektion allen Kunstmachens, dass der ästhe- tische Schein von Freiheit gerade nicht aus einer völligen Freiheit des Ge- staltens resultiert, ist selbstverständlich auch Michael Pelzel geläufi g. -
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 -
A Symphonic Poem on Dante's Inferno and a Study on Karlheinz Stockhausen and His Effect on the Trumpet
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet Michael Joseph Berthelot Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Berthelot, Michael Joseph, "A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet" (2008). LSU Doctoral Dissertations. 3187. https://digitalcommons.lsu.edu/gradschool_dissertations/3187 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SYMPHONIC POEM ON DANTE’S INFERNO AND A STUDY ON KARLHEINZ STOCKHAUSEN AND HIS EFFECT ON THE TRUMPET A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agriculture and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Michael J Berthelot B.M., Louisiana State University, 2000 M.M., Louisiana State University, 2006 December 2008 Jackie ii ACKNOWLEDGEMENTS I would like to thank Dinos Constantinides most of all, because it was his constant support that made this dissertation possible. His patience in guiding me through this entire process was remarkable. It was Dr. Constantinides that taught great things to me about composition, music, and life.