DOCSLIB.ORG

International Computer Music Conference 2007: Live Electronics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
International Computer Music Conference 2007: Live Electronics Reviews [Editor’s note: Selected reviews are logical lecture from Richard Toop, 1974) for orchestra and mimes was posted on the Web. In some cases, interpreters classes in the afternoon conducted with a tape substituting they are either unpublished in the with the faculty, an analysis lecture for the orchestra. Perhaps most Journal itself or published in an ab- from Mr. Stockhausen himself, a interesting to the electronic music breviated form in the Journal. Visit bratwurst and beer in the local biker’s community, though, were the many www.mitpressjournals.org / loi / comj bistro, the evening concert itself, and solo tape works presented, with all and, under “Inside the Journal” at the post- concert drinks and ice cream in lights off but for a single spotlight Downloaded from http://direct.mit.edu/comj/article-pdf/32/1/91/1855103/comj.2008.32.1.91.pdf by guest on 27 September 2021 left, click on “CMJ’s Web site.” Then an Italian restaurant up a hill in the high up. As Mr. Stockhausen ex- click on “Reviews” at the top.] plaza next to Kürten’s town church. plained, he had received so many Mr. Stockhausen himself was at comments from people uncomfort- the time a sprightly 78- year- old (he able with total darkness that he turned 79 on 22 August, a month provided the moon, but he preferred Events or so after the end of the summer that listeners close their eyes and courses); his 80th birthday year would occasionally move their heads to have been 2008. He was undiminished track spatial movement and scene. by age in his energies for composi- He diffused (or sound- projected, as Karlheinz Stockhausen: Cosmic tion, rehearsal, and self- promotion; he termed it) over a rig of two layers Pulses his habits of hard work and an innate of loudspeakers, adaptable to the sense of purpose seem to have kept eight- speaker cube of Oktophonie German premiere: 13 July 2007, him eternally young and even fi ery (1990–1991, 69 min) or the eight- Stockhausen Courses 2007, Kürten, (or I hesitate to think how much of a track spatial projection of Choirs Germany. dynamo he was as a younger man; I of Monday (1987, 69 min) and prefer to imagine the magnetic Mittwochs- Abschied (1996, 44 min). Reviewed by Nick Collins accumulation of years of experience). These large- scale works, extracted Brighton, Sussex, UK The course participants seemed to from acts of the Licht opera cycle, bask in the glow of a living legend, presented listeners with an exhilarat- [Editor’s Note: Karlheinz Stock- occasionally a little too uncritically. ing and draining acousmatic listening hausen passed away on December 5th, Indeed, access to Mr. Stockhausen experience. The Choirs work is 2007. What this means for the future was controlled by careful scheduling founded on recorded massed voices, of the summer school itself is uncer- of the week’s events. spatialized in the auditorium, but the tain; but this review stands as a At the concerts, instrumental other two large- scale compositions testament to undiminished critical works were interleaved with tape use stock synthesized sounds. At interest in his work and life.] pieces (run from a Tascam DA-88 various points during the week, The 10th Stockhausen Courses took digital eight- track unit), which especially with the presentation of place in the gentle setting of the town seemed to hold equal status. Mr. works for tape and performer such as of Kürten, near Cologne, Germany, Stockhausen sat at the mixing con- Komet (1994–1999) for percussion, 7–15 July 2007. Approximately 130 sole in the center of the audience for the timbral presets—uncritically instrumentalists, musicologists, and every concert, regulating the micro- selected from commercial synthesiz- composers attended to pay homage to phones he uses as a standard to ers—underlying much of Mr. Stock- the living legend Karlheinz Stock- amplify all acoustic instrumentalists hausen’s output since the 1980s were hausen, to study with his clique of and make their every whisper audible apparent. A current of the primacy of approved interpreters, to get access to to the back row. There was a bias pitch and space often overrides tim- the archives of his work, and simply toward works from the 1970s on, bral adventure, intricate processing, to listen and bask. The ten- day festi- including multiple arrangements of and even time structures, in a way val was tightly organized, held on the works for solo performer, as most that can be disappointing to those grounds of a local school, whose readily provided by the expert inter- more familiar with the fresh and acoustically impressive gymnasium preters on hand, and naturally con- invigorating sound worlds of Mr. housed each night’s concerts. A tinued at the three student concerts Stockhausen’s great works of the typical day might involve early morn- deriving from the interpretation 1950s and 1960s. This contrast was ing gesture classes, an open rehearsal classes. Lacking any larger ensem- made evident by the performances of for that evening’s concert, a musico- bles, the performance of Inori (1973– Gesang der Jünglinge (1955–1956) at 88 Computer Music Journal Production in March 2007 akustische Kunste e.V., of Cosmic Pulses at the Freiburg, behind them “White House” of the Antonio Pérez Abellán, Stockhausen Foundation; and at the right Karlheinz from left to right: Joachim Stockhausen. Photo: Haas and Gregorio Kar- Kathinka Pasveer. man, collaborators of the Experimentalstudio für Downloaded from http://direct.mit.edu/comj/article-pdf/32/1/91/1855103/comj.2008.32.1.91.pdf by guest on 27 September 2021 the opening address, and Kontakte not made up his mind concerning it. from low to high frequency and (1958–1960, in the version for percus- The reaction at the world premiere in corresponding slow to fast rotation sion, piano, and tape) played by stu- Italy had seen him signing autographs on the spatial paths, entering one by dent performers on the last day. for one and a half hours after an one from the (s)lowest and leaving in Although some splendors were found enthusiastic response from a younger reverse. In the central portion of the in the long Licht pieces, they lacked crowd. The work had been commis- 32- min work, all layers are present, uniform quality; there were also sioned for the Dissonanze Electronic and the density of information pro- coarse edges in studio production, Music Festival, an event mainly vides the aforementioned challenge. from poor layering and fades to awk- focused on “electronica.” In psychological terms, it is challeng- ward transitions. Cosmic Pulses (2007) is arranged ing with anything more than four A great deal of excitement, how- for eight tracks, with “241 different layers at once, and the overall sum- ever, had grown around one particu- trajectories in space” (program notes). mation of layers can become the lar new work, Cosmic Pulses, which The work utilizes 24 layers of sound, aggregate impression, with attention received its German premiere at the each with its own associated central fl ickering between layers as they are Friday night concert on 13 July. pitch, tempo, and spatial motions, emphasized and perturbed following Originally unveiled in Rome not long each “enlivened by manual regula- complex charts of parameter enve- before, on 7 May 2007, Mr. Stock- tion of the accelerandi and ritardandi lopes. The source timbre for indi- hausen had warned the participants around the respective tempo, and by vidual lines is a rather cheap electric earlier in the week that this work quite narrow glissandi upwards and piano sound, which is quickly sub- would provide a challenge to the downwards around the original melo- sumed into the granular storm as the listener, and that he himself had still dies” (ibid). The layers are ordered layers gather and tempi increase. Reviews 89 As I listened to the work, I noted a throes? Bass keeps recurring, hear the spatialized version, and one tumult of impressions in real time, not loud enough! Fader riding, would hope that any future writing maniacally in the dark, a bigger gliss near end, modula- Stockhausen- Verlag release would be number of which I now list in the tion slowing, running cosmic in a multi- channel format; played 10 order of their original writing. They patches, Siriusly exhausting, a decibels louder, Cosmic Pulses could give, I hope, some idea of the speed few roars near the end, pitter even make a terrifi c entrant into the with which the complexity builds, patter of spatial space electron- spatial noise scene! Downloaded from http://direct.mit.edu/comj/article-pdf/32/1/91/1855103/comj.2008.32.1.91.pdf by guest on 27 September 2021 and the impressions of being caught ics, drove someone away [an Discussing the work in the semi- in a maelstrom: audience member leaves at this nar session on the following day, and point], one layer becomes domi- also bringing in general comments . violent spasms of space, nant then falls back, slowing to made during the week, Mr. Stock- serial recurrences, a Copernican fewer layers, more controlled hausen admitted that the work might asylum, over- literal crashes, gurglings, selective, relaxing be viewed as “not music, just sound,” rushing more and more beyond into less layers, closing down, and that it might be best to “just take sense, like being inside Stock- suddenly gentle, cathartic, re- it as a natural phenomena and not hausen’s mind as he composes, a turning to sanity, makes sense, think of composition.” It is hard to battle of enraged keyboardists in sudden awkward end . tell how disingenuous he is concern- a tempo war, granular roars, bass ing infl uences; rumor would have it pedals and clatters, gurgling After the work fi nished, the that he listens to little or no contem- granules accelerate, pushing the longest applause of the conference porary music (especially not electroa- boundary of information, tapes was heard; Mr.
Load more

Recommended publications
  • 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 Stockhausen
    KARLHEINZ STOCKHAUSEN 1928-2007 Stockhausen German composer, widely acknowledged by critics as one of the most important, but also controversial composers of the 20th and early 21st centuries Another critic calls him "one of the great visionaries of 20th-century music" Stockhausen He is known for his groundbreaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. Stockhausen Hymnen (1966-67) https://www.youtube.com/watch?v=Hyx0I8_kTAQ One of the finest examples of formal tape music from the 1960’s 113 minutes long - four album sides when first released on record Gesang der Jünglinge (1955–56) Song of the Youths Routinely described as "the first masterpiece of electronic music” Seamlessly integrates electronic sounds with the human voice by means of matching voice resonances with pitch and creating sounds of phonemes electronically. The vocal parts were supplied by 12-year- old Josef Protschka. https://www.youtube.com/watch?v=UmGIiBfWI0E Scores Scores Scores Scores Aphex Twin Richard David James (born 18 August 1971), best known by his stage name Aphex Twin British electronic musician and composer. He has been described by The Guardian as "the most inventive and influential figure in contemporary electronic music" Aphex Twin's album Selected Ambient Works 85-92 was called the best album of the 1990s by FACT Magazine. https://www.youtube.com/watch?v=Xw5AiRVqfqk Plastikman https://www.youtube.com/watch?v=Nsct-e-HVE0 Richard "Richie" Hawtin (born June 4, 1970) is an English-born Canadian electronic musician and DJ who was an influential part of Detroit techno's second wave of artists in the early 1990s A leading exponent of minimal techno since the mid-1990s.
    [Show full text]
  • Karlheinz Stockhausen
    What to Expect: Welcome to KLANG! There is a lot happening Elizabeth Huston and Analog Arts Present today, so we recommend you take a quick look at this packet to orient yourself. Inside you will find the schedule and location Karlheinz Stockhausen of performances, the schedule and location of talks, interviews, and Q&As, and a guide to all amenities that will be available as you navigate this marathon. First, let’s start with the rules. The day is broken up into four sections. You may have purchased a ticket for just one section, KLANG or you may have purchased an all-day pass. Either way, please THE 24 HOURS OF THE DAY familiarize yourself with the rules for each section, as each is a distinctly different experience. PHILADELPHIA, PA • April 7–8, 2018 Welcome to KLANG: At 10am sharp you will be welcomed by a welcome to enter and exit the spaces during performances. At performance of all three versions of HARMONIEN performed in all other times, please be courteous and enter and exit between La Peg, the Theater, and the Studio simultaneously. Feel free to performances. wander between the spaces, eventually settling in the Studio for… KLANG Immersion (4pm–7pm): A mix between KLANG up Close and KLANG in Concert, this time period showcases some of the KLANG up Close (10am–1pm): This time period is an opportu- most well known parts of KLANG, while still allowing the audi- nity to have an intimate concert experience with KLANG. This ence to be up close with the music. Taking place entirely in the will take place entirely in the Studio.
    [Show full text]
  • TEXTE Zur MUSIK 199 8 –2007
    Karlheinz Stockhausen TEXTE zur MUSIK 199 8 –2007 Band 17 KLANG-Zyklus – Geist und Musik – Ausblicke Im Auftrag der Stockhausen-Stiftung für Musik herausgegeben von Imke Misch Stockhausen-Verlag Kürten 2014 First edition 2014 Published by Stockhausen-Verlag 51515 Kürten, Germany Alle Rechte vorbehalten / All rights reserved. Kopieren gesetzlich verboten / Copying prohibited by law. Das Vorwort der Herausgeberin zu den TEXT EN zu r MUSIK 1991–1998 und 1998 –2007 befindet sich in Band 11 . Photo auf de m Umschlag vorn e: Stockhausen im Juli 2007 während der Stockhausen-Kursen Kürten Abbildung auf dem Umschlag hinten : Formschema von COSMIC PULSES, 13. Stunde aus KLANG © Copyright Stockhausen-Stiftung für Musik 2014 Satz: Kathinka Pasveer ISBN 978-3-9815317-7-0 Die TEXTE zur MUSIK 1991 –1998 sind in vier Bände mit zehn Kapiteln gegliedert: Band 11 I Nachsätze: Zu KREUZSPIEL (1951) bis LIBRA (1977) II Werktreue III Ergänzendes zu LICHT Band 12 IV FREITAG aus LICHT V Neue Konzertpraxis Band 13 VI MITTWOCH aus LICHT VII Elektronische Musik Band 14 VIII Über Musik, Kunst, Gott und die Welt IX Blickwinkel X Komponistenalltag V Die TEXTE zur MUSIK 1998 –2007 sind in drei Bände mit neun Kapiteln gegliedert: Band 15 I SONNTAG aus LICHT II Neue Einzelwerke III Stockhausen-Kurse Kürten Band 16 IV LICHT-Reflexe V Seitenzweige VI Klangproduktion / Klangprojektion Band 17 VII KLANG-Zyklus VIII Geist und Musik IX Ausblicke VI TEXT E zur MUSI K Band 17 Inhalt VII KLANG-Zyklus HIMMELFAHRT – 1. Stunde (Partiturvorwort) ...................... 1 FREUDE – 2. Stunde (Partiturvorwort) ................................... 11 NATÜRLICHE DAUERN – 3. Stunde (Partiturvorwort) ........ 15 HIMMELS-TÜR – 4.
    [Show full text]
  • Furchtlos Weiter: the Written Legacy of Stockhausen
    Music & Letters,Vol.97No.2, ß The Author (2016). Published by Oxford University Press. All rights reserved. doi:10.1093/ml/gcw045, available online at www.ml.oxfordjournals.org Review-Article ‘FURCHTLOS WEITER’ : STOCKHAUSEN’S WRITTEN LEGACY Ã BY PAUL V. M ILLER Stockhausen thought big. In outdoor parks, underneath the earth in caverns, in heli- Downloaded from copters buzzing overhead, at La Scala, within a football stadium, a spherical auditor- ium, or a former factory, he sought out places in which his music would make a lasting impression on listeners. This was true until the end of his life: for his colossal Licht project (1977^2003), he fantasized about building seven opera houses, one for each opera. These dreams were part of a career that spanned nearly sixty years. His http://ml.oxfordjournals.org/ official catalogue contains 376 works in all. The Stockhausen Foundation’s CD edition now numbers over 100 items, a number that increases if one counts the so-called ‘Text-CDs’, which include audio recordings of many key lectures. Surely, few com- posers of the modern era have documented their careers as thoroughly. Central elements of Stockhausen’s thinking appear in Texte zur Musik, a series of seventeen volumes containing essays, sketches, interviews, correspondence, and miscel- lanea, published in instalments since 1963. The seven new volumes cover the years 1991^2007.1 Continuing the seven-year cycle of grouping material, the latest set spans by guest on August 26, 2016 two periods. Volumes 11^14 centre on the compositions written during 1991^8, and volumes 15^17 deal primarily with the composer’s activity from 1999 until his death in 2007.
    [Show full text]
  • Karlheinz Stockhausen: BIOGRAPHY English
    SHORT BIOG RA PHY Karl heinz Stock hau sen 1928 Born Wednesday, August 22nd in Mödrath near Cologne. 1947 – 51 In Cologne, stud ied at the State Con ser va to ry of Music (piano, music edu ca tion) and at the University of Cologne (Ger man phi lol o gy, phi los o phy, musi col o gy). Since l950 First com po si tions and per for manc es of his own works. (In the fol low ing enumeration, only a few of the more than 370 works and world premières are men tioned.) 1951 Serial Music: KREUZ SPIEL (CROSS-PLAY), FOR MEL (FOR MU LA), etc. Married Doris Andreae; four chil dren with Doris: Suja (1953), Chris tel (1956), Mark us (1957), Majel la (1961). 1952 Point Music: SPIEL (PLAY), KLAVIERSTÜCKE (PIANO PIECES), SCHLAGTRIO (PER CUS SIVE TRIO), PUNK TE (POINTS), KON TRA-PUNK TE (COUN TER- POINTS) etc. Attend ed Olivi er Messiaen’s cours es in rhyth mics and aes thet ics in Paris. Experi ments in the “ musique concrète” group at the French radio in Paris, and real isa tion of an ETUDE ( musique concrète). First syn the sis of sound-spec tra with elec tron ical ly gen er at ed sine tones. Since 1953 Per ma nent col lab o ra tor at the Studio for Elec tron ic Music of the West Ger man Radio in Cologne (artis tic direc tor from 1963–1977, artis tic con sul tant until 1990). Lec tur er at the annu al International Summer Cours es for New Music in Darm stadt from 1953 until 1974, and in 1996.
    [Show full text]
  • PROGRAMMA DI 20.6 PROGRAMME TUE 20.6 Karlheinz Stockhausen (1928-2007) Aanvang Starting Time NEBADON (2007) 20:30 8.30 Pm (17
    HOLLAND FESTIVAL 2017 orchester- finalisten CHRISTINE CHAPMAN, STUDENTEN für Musik der Stockhausen-Stiftung © Archiv KONINKLIJK CONSER VATORIUM INFO PROGRAMMA DI 20.6 PROGRAMME TUE 20.6 Karlheinz Stockhausen (1928-2007) aanvang starting time NEBADON (2007) 20:30 8.30 pm (17. Stunde uit from: KLANG) locatie venue pauze interval Muziekgebouw aan ’t IJ ORCHESTER-FINALISTEN (1996) duur running time uit from: MITTWOCH uit from: LICHT 1 uur 35 minuten, inclusief een pauze 1 hour 35 minutes, including one interval inleiding introduction door by Eric Verbugt TOELICHTING 19:45 7.45 pm ORCHESTER-FINALISTEN context Ruim negenentwintig uur akoestische en elektronische mu- wo 21.6, 17:00 Wed 21.6, 5 pm ziek, onderverdeeld in zeven delen die elk zijn gewijd aan Muziekgebouw aan ’t IJ een dag van de week. De operacyclus LICHT (1977-2003) van Why Save the French Horn? Karlheinz Stockhausen is wat je noemt muziektheater van het megalomane soort, zo gigantisch van opzet en alomvattend qua thematiek, dat zelfs Wagners Ring-cyclus er bleekjes bij afsteekt. Rond de aartsengel Michael, zijn duivelse verwekker en tegenstrever Lucifer en oermoeder Eva schept Stockhau- CREDITS sen een universum, waarin hallucinante klanken, esoterie, muziek music religieuze symboliek, sciencefiction en Japans Noh-theater Karlheinz Stockhausen versmelten tot een muziektheatrale mythe. In 2019 produ- ceert het Holland Festival in samenwerking met De Nationa- klankregie sound direction le Opera en het Koninklijk Conservatorium Aus LICHT, een Kathinka Pasveer (NEBADON) driedaags project waarbij voor het eerst substantiële delen uit alle zeven opera’s zullen worden uitgevoerd. Bij wijze van klankregie, geluidsprojectie voorproefje klinkt tijdens deze editie ORCHESTER-FINALISTEN sound engineering, sound projection uit MITTWOCH.
    [Show full text]
  • Von Carl Michael Von Hausswolff Zum Karl Sczuka-Preis 2014
    1 Margarete Zander: Laudatio für „Circulating over Square Waters“ von Carl Michael von Hausswolff zum Karl Sczuka-Preis 2014 Grundlage des Hörstückes „Circulating over Square Waters (ZKM Kubus)“ von Carl Michael von Hausswolff ist ein Konzert, das am 10. März 2013 im Kubus des Zentrums für Kunst und Medientechnologie Karlsruhe stattgefunden hat. In der Ankündigung des Hörstückes beim SWR hieß es: „Circulating over Square Waters (ZKM Kubus) Hörstück von CM von Hausswolff (SWR/ZKM 2013) | Mit einem aus 12 Sinus-Oszillatoren bestehenden elektronischen Instrument lotet CM von Hausswolff mit seiner sehr physischen, mit tiefen Frequenzen durchsetzten Drone-Musik die Resonanzen des Konzertsaals ZKM Kubus aus und spielt mit dessen Eigenschwingungen.“ Auf den ersten Eindruck wirkt das Stück des schwedischen Komponisten wie ein monochromes Bild. Im Zentrum des von Carl Michael von Hausswolff selbst gebauten Instrumentes stehen 12 Sinus-Oszillatoren. Diese Töne sind für Carl Michael von Hausswolff das Material, mit dem er die Eigenschwingungen eines Raumes anregt und der darin befindlichen Gegenstände hörbar macht. Der an sich obertonarme elektronisch erzeugte Sinuston wird zum Datenträger für den Klang. Carl Michael von Hausswolff, der seit den 70er Jahren elektronische Musik komponiert, hat in seinen früheren Arbeiten die Konzert- und Ausstellungsräume mit seinen Tonbandkompositionen akustisch grell und dicht ausgeleuchtet. Er galt als ein Soundgestalter, dessen üppige Klangwolken durch Intensität und Eleganz beeindruckten. In den letzen Jahren hat er seine Mittel konsequent reduziert und ist über die Klangforschung zu einer anderen Form von Schönheit gelangt. Ursprünglich kommt der schwedische Klang- und Konzeptkünstler, der 1956 in der Nähe von Linköping geboren ist und auch im Bereich der Lichtinstallationen und Fotografie arbeitet, aus der Rockmusik.
    [Show full text]
  • 2018 Performances.Qxp 2009 Performance Update
    Stock hau sen Aufführungen / Per for manc es 2018 Saturday, Jan. 13th, 7:30 pm Salzburg, Universität Mozarteum (Information: http://www.oenm.at/konzerte/zyklus17_18/zyklus_2/) MIKROPHONIE I (MICROPHONY I) for 6 players Friday, Febr. 9th, 6:15 pm London, RCM Recital Hall (Information: https://secure.rcm.ac.uk/events/listings/details/?id=1401292) ZEITMASZE (TIME-MEASURES) for 5 wood-winds ADIEU for woodwind quintet IN FREUNDSCHAFT (IN FRIENDSHIP) KONTRA-PUNKTE (COUNTER-POINTS) for 10 instruments Friday, Febr. 9th, 8 pm London, KINGS PLACE Hall One (Information: https://www.kingsplace.co.uk/whats-on/contemporary/tuning-in-stimmung/) STIMMUNG (TUNING) for 6 vocalists Sunday, Febr. 11th, 5 pm Pistoia, Aula Magna del Seminario Vescovile NATÜRLICHE DAUERN 1–24 (NATURAL DURATIONS 1–24) for piano Friday, Febr. 16th, 6 pm St Cloud, Performing Arts Center Recital Hall (Information:https://stcloudstate.campuslabs.com/engage/event/1711656) POLE (POLES) for 2 Saturday, Febr. 17th, 7:30 pm St Paul, Studio Z (Information: http://www.studiozstpaul.com/poles-021718.html) POLE (POLES) for 2 Tuesday, Febr. 20th, 8 pm Illinois, Music Building, Recital Hall, Norther Illinois University (Information: https://calendar.niu.edu/event/camilla_hoitenga#.WoXiyYIiHYp) POLE (POLES) for 2 Saturday, March 3rd, 6 pm Dublin, Kevin Barry Room 2 (Information: https://newmusicdublin.ie) NATÜRLICHE DAUERN 1–24 (NATURAL DURATIONS 1–24) for piano Thursday, March. 8th, 8:15pm Amsterdam | Muziekgebouw Grote Zaal (Information: https://www.muziekge- bouw.nl/agenda/Concerten/6751/Silbersee/Stimmung/)
    [Show full text]
  • Stockhausen STIMMUNG & COSMIC PULSES
    Stockhausen STIMMUNG & COSMIC PULSES Monday 20 November 2017 7.30pm, Hall Stockhausen STIMMUNG interval 30 minutes Stockhausen COSMIC PULSES Singcircle Gregory Rose bass/director Jacqueline Barron soprano Zoë Freedman soprano Heather Cairncross mezzo-soprano Guy Elliott tenor Angus Smith tenor Rolando Paolo Guerzoni Paolo Rolando Robert Henke laser artist Kathinka Pasveer sound projection Stephen Montague assistant sound projection Reinhard Klose sound engineer Part of Barbican Presents 2017–18 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel. 020 3603 7930) Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers. Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Karlheinz Stockhausen was a towering figure the 10th anniversary of Stockhausen’s in the history of 20th- and 21st-century music, death (which falls next month), but also one who literally changed the sound of the 40th anniversary of Singcircle’s first music and the way we listen to it. Tonight’s performance of the work in the Round concert presents two seminal works from House. It is also the last-ever performance opposite ends of his career. It is intended of STIMMUNG by Singcircle.
    [Show full text]
  • 2020 Performances .Qxp 2009 Performance Update
    Stock hau sen Aufführungen / Per for manc es 2020 / 2021 Friday, Jan. 31st, 8pm Cologne | KOMED SAAL (Information: musikfabrik{at}musikfabrik.eu) REFRAIN for 3 players KONTAKTE (CONTACTS) for electronic sounds, piano and percussion Saturday, Febr. 1st, 7pm Cologne | KOMED FOYER (Information: musikfabrik{at}musikfabrik.eu) MIKROPHONIE I (MICROPHONY I) for 6 players with tam-tam, 2 microphones, 2 filters with poteniometers Wedn., Febr. 5th, 8 pm Erlangen | Palais Stutterheim, Innenhof (Information: https://www.gve.de/konzert- details/solovoices.html) STIMMUNG (TUNING) for 6 vocalists Sunday, March 29th, 5pm Essen | Pact Zollverein (Information: musikfabrik{at}musikfabrik.eu) REFRAIN for 3 players KONTAKTE (CONTACTS) for electronic sounds, piano and percussion Monday, April. 20th Lebanon | Jeita Grottes (Information: www.sfeir-semler.com) TELEMUSIK (TELEMUSIC) electronic music STIMMUNG (TUNING) for 6 vocalists Tuesday, April. 21st Lebanon | Jeita Grottes (Information: www.sfeir-semler.com) HYMNEN (ANTHEMS) electronic and concrete music Thursday, April 30th, 7:30pm Cologne | rheinEnergieSTADION (Information: www.achtbruecken.de) STERNKLANG (STAR SOUND) Park Music for 5 groups Friday, May 1st, 10 pm Cologne | Theater am Tanzbrunnen (Information: www.achtbruecken.de) FREITAGS-ABSCHIED (FRIDAY FAREWELL) electronic music Friday, May 1st, 11:30 pm Cologne | Theater am Tanzbrunnen (Information: www.achtbruecken.de) COSMIC PULSES – 13th Hour of KLANG – electronic music Sunday, May 10th, 3 pm Cologne | Lagerstätte für die mobilen Hochwasserschutzelemente
    [Show full text]
  • 2014 Performances 2009 Performance Update
    Stock hau sen Aufführungen / Per for manc es 2014 Saturday, Jan. 11th, 9 pm St Louis, The Lemp Neighborhood Arts Center (Information: http://www.lemp-arts.org) KONTAKTE (CONTACTS) electronic music GESANG DER JÜNGLINGE (SONG OF THE YOUTHS) Electronic Music Wednesday, Jan. 22nd, 8 pm Santa Monica, Villa Aurora (Information: http://www.jacarandamusic.org) KONTAKTE (CONTACTS) electronic music CAPRICORN for bass and electronic music Sat., January 25th, 8 pm Santa Monica, First Presbytarian church (Information: http://www.jacarandamusic.org) STIMMUNG (TUNING) for 6 vocalists Saturday, Feb. 1st, 7 pm Piran (Slovenia), Sala delle vedute, Casa Tartini (Information: Museo casa di Giu- seppe Tartini http://www.portoroz.si/it/avventure/attrazioni-culturali/tartini) TIERKREIS (ZODIAC) Version for clarinet and piano Friday, Febr. 7th, 6 pm Trier, Tufa Kultur- & Kommunikationszentrum, großer Saal (Information: http://www.tufa-trier.de) STIMMUNG (TUNING) for 6 vocalists Sat., February 15th, 8 pm Graz, Museum für Musikinstrumente (Information: http://www.deutsche-klarinetten- gesellschaft.de/aktuelles/aktuelles.html) 5th Hour of KLANG: HARMONIEN (HARMONIES) for bass clarinet Friday, February 28th, 7:30 pm Salzburg, Felsenreithschule (Information: www.camerata.at) FÜNF WEITERE STERNZEICHEN (FIVE MORE STAR SIGNS) for orchestra Friday, February 28th, 7:30 pm Oldenburg, Landesmuseum für Natur und Mensch (Information: http://www.klangpol.de / www.ohton.de) KLANG 13. Stunde / 13h Hour –COSMIC PULSES Electronic Music HALT for trumpet and double-bass Xi for flute VIBRA-ELUFA for vibraphone KONTRABASS (DOUBLE-BASS) for double-bass and electronic music ZYKLUS (CYCLES) for a percussionist MISSION UND HIMMELFAHRT (MISSION AND ASCENSION) for trumpet and basset-horn KLANG 13. Stunde / 13h Hour –COSMIC PULSES Electronic Music Saturday, March 1st Bremen, Generatorenhalle beim BLG-Forum, AM Speicher XI 11 (Information: http://www.klangpol.de / www.ohton.de) KLANG 13.
    [Show full text]