20Th-Century Repertory
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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 ). -
TEXTE Zur MUSIK Band 4 Werk-Einführungen Elektronische Musik Weltmusik Vorschläge Und Standpunkte Zum Werk Anderer
Inhalt TEXTE zur MUSIK Band 4 Werk-Einführungen Elektronische Musik Weltmusik Vorschläge und Standpunkte Zum Werk Anderer „Glauben Sie, daβ eine Gesellschaft ohne Wertvorstellungen leben kann?” „Was steht in TEXTE Band 4?” I Werk-Einführungen CHÖRE FÜR DORIS und CHORAl DREI LIEDER SONATINE KREUZSPIEL FORMEL SPIEL SCHLAGTRIO MOMENTE MIXTUR STOP HYMNEN mit Orchester Zur Uraufführung der Orchesterfassung Eine ‚amerikanische’ Aufführung im Freien PROZESSION AUS DEN SIEBEN TAGEN RICHTIGE DAUERN UNBEGRENZT VERBINDUNG TREFFPUNKT NACHTMUSIK ABWÄRTS OBEN UND UNTEN INTENSITÄT SETZ DIE SEGEL ZUR SONNE KOMMUNION ES Fragen und Antworten zur Intuitiven Musik GOLDSTAUB POLE und EXPO MANTRA FÜR KOMMENDE ZEITEN STERNKLANG 1 TRANS ALPHABET Am Himmel wandre ich... YLEM INORI Neues in INORI Vortrag über Hu Atmen gibt das Leben HERBSTMUSIK MUSIK IM BAUCH TIERKREIS Version für Kammerorchester HARLEKIN DER KLEINE HARLEKIN SIRIUS AMOUR JUBILÄUM IN FREUNDSCHAFT DER JAHRESLAUF II Elektronische Musik Vier Kriterien der Elektronischen Musik Fragen und Antworten zu den Vier Kriterien… Die Zukunft der elektroakustischen Apparaturen in der Musik III Weltmusik Erinnerungen an Japan Moderne Japanische Musik und Tradition Weltmusik IV Vorschläge und Standpunkte Interview I: Gespräch mit holländischem Kunstkreis Interview II: Zur Situation (Darmstädter Ferienkurse ΄74) Interview III: Denn alles ist Musik... Interview IV Die Musik und das Kind Du bist, was Du singst – Du wirst, was Du hörst – Vorschläge für die Zukunft des Orchesters Ein Briefwechsel ‚im Geiste der Zeit’ 2 Brief an den Deutschen Musikrat Briefwechsel über das Urheberrecht Silvester-Umfrage Fragen, die keine sind Finden Sie die Programmierung gut ? (Beethoven – Webern – Stockhausen) V Zum Werk Anderer Mahlers Biographie Niemand kann über seinen Schatten springen? Eine Buchbesprechung Über John Cage Zu Schönbergs 100. -
Karlheinz Stockhausen List of Works
Karlheinz Stockhausen List of Works All works which were composed until 1969 (work numbers ¿ to 29) are published by Universal Edition in Vienna, with the exception of ETUDE, Electronic STUDIES I and II, GESANG DER JÜNGLINGE, KONTAKTE, MOMENTE, and HYMNEN, which are published since 1993 by the Stockhausen-Verlag, and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Starting with work number 30, all compositions are published by the Stockhausen-Verlag, Kettenberg 15, 51515 Kürten, Germany, and may be ordered directly. 1 = numeration of the individually performable works. r1 = orchestra works with at least 19 players (or fewer when the instrumentation is unconventional), and works for orchestra with choir. o1 = chamber music works. Among these are several which have more than 18 players, but are usually not performed by orchestras, but rather by chamber ensembles such as the London Sinfonietta, the Ensemble Intercontemporain, the Asko Ensemble, or Ensemble Modern. J35 = Works, which may also be performed as “chamber music” (for example INORI with 2 dancer- mimes and tape [instead of orchestra] or works for choir in which the choir may be played back on tape. 1. ex 47 = 1st derivative of Work No. 47. [9’21”] = duration of 9 minutes and 21 seconds (durations with minutes and seconds: CD durations of the Complete Edition). U. E. = Universal Edition. St. = Stockhausen-Verlag. For most of the works, an electro-acoustic installation is indicated. Detailed information about the required equipment may be found in the scores. In very small halls (for less than 100 people), it is possible to omit amplification for some solo works and works for small ensembles. -
Bestellschein CD Englisch
Stockhausen-Verlag , 51515 Kuerten, Germany (www.stockhausen.org / [email protected]) As of 2013 the following Stockhausen-CDs are available: (The differences in price result from the contents of the booklets: number of pages, colour photographs, black and white photographs, sketches.) All interpreters are named in the booklets, but in the following list, some soloists are specially mentioned in order to differentiate recordings. CDs Quantity o1 CHÖRE für DORIS / CHORUSES for DORIS for choir a cappella CHORAL for choir a cappella – DRE I LIEDER / THRE E SONGS for alto voice and chamber orchestra SONATINE for violin and piano KREUZSPIEL / CROSS-PLAY for oboe, bass clarinet, piano, 3 percussionists ....... ______________ 23 ¤ / $33 o2 FORMEL / FORMULA for orchestra SCHLAGTRIO / PERCUSSIV E TRIO for piano and 2 x 3 timpani SPIEL / PLAY for orchestra PUNKTE / POINTS for orchestra (conductor: K. Stockhausen) ........................ ______________ 23 ¤ / $33 o3 ETUDE Musique Concrète STUDIE I and II Electronic Music GESANG DER JÜNGLINGE / SONG OF THE YOUTHS Electronic Music KONTAKTE / CONTACTS ( lectronic Music ....................................... ______________ 25 ¤ / $36 o4 KONTRA-PUNKTE / COUNTER-POINTS for 10 instruments ZEITMASZE / TIME-MEASURES for 5 wood-winds STOP for orchestra ADIEU for wood-wind quintet .................................................... ______________ 23 ¤ / $33 o5 GRUPPEN / GROUPS for 3 orchestras CARRÉ for 4 orchestras and choirs ............................................... ______________ 23 ¤ / $33 o6 ZYKLU S / CYCLE fo rapercussionist REFRAI N fo r thre e players KONTAKTE / CONTACTS fo r electroni c sounds, piano and percussion ............. ___________ 25 ¤ / $36 o7 MOMENTE / MOMENTS for soprano, 4 choir groups and 13 instrumentalists Europe Version 1972 (CD 7 A-B) and Donaueschingen Version 1965 (CD 7 C) (conductor: K. -
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. -
C:\Documents and Settings\Hubert Howe\My Documents\Courses
Musical works of Karlheinz Stockhausen (b. 1928) [Information taken from www.stockhausen.org.] Nr. Chöre für Doris for choir a capella, 1950 Drei Lieder for chorus and chamber orchestra, 1950 Chorale for four-part choir a capella, 1950 Sonatine for violin and piano, 1951 Kreuzspiel (“Cross-play”) for oboe, bass clarinet, piano, percussion, 1951 Formel (“Formula”) for orchestra, 1951 Etüde, musique concrète, 1952 Spiel (“Play”) for orchestra, 1952 Schlagtrio (percussion trio), for piano and 3x2 timpani, 1952 Punkte (“Points”) for orchestra, 1952 (revised, 1962) 1 Kontra-Punkte (“Counter-points”) for 10 instruments, 1952-3 2 Klavierstücke I-IV (Piano pieces I-IV), 1952-3 (Klavierstück IV revised 1961) 3/I Studie I, electronic music, 1954 3/II Studie II, electronic music, 1954 4 Klavierstücke V-X, (Piano pieces V-X), 1954-5 (Klavierstück X revised 1961) 5 Zeitmasze (“Tempi”) for woodwind quintet, 1955-6 6 Gruppen (“Groups”) for three orchestras, 1955-57 7 Klavierstück XI (Piano piece XI), 1956 8 Gesang der Jünglinge (“Song of the Youths”), electronic music, 1955-6 9 Zyklus (“Cycle”) for one percussionist, 1959 10 Carré for four orchestras and choruses, 1959-60 11 Refrain for three players, 1959 12 Kontakte (“Contacts”) for electronic sounds, 1959-60 Kontakte for electronic sounds, piano and percussion, 1959-60 Originale (“Originals”), musical theater with Kontakte, 1961 13 Momente (“Moments”) for soprano, four choral groups and 13 instruments, 1962-4 (Revised 1965, 1998) 14 Plus/Minus 2 x 7 pages for elaboration, 1963 15 Mikrophonie I (“Microphony -
Stockhausen in 1976: Prediction in Retrospect
Stockhausen in 1976: Prediction in retrospect R O B I N M A C O N I E Taking risks: Robin Maconie on the genesis of his new book about Stockhausen. The Times Educational Supplement 28 May 1976, 22. Stockhausen’s Foreword to The Works of Karlheinz Stockhausen. London: Oxford University Press, 1976, v–vi. Preface, Introduction, and Epilogue, The Works of Karlheinz Stockhausen, vii–viii, 1–4, 321–25. ______________________________________________________________ Taking risks: Robin Maconie on the genesis of his new book about Stockhausen. The Times Educational Supplement 28 May 1976, 22. I did not ask to write my book; my publisher asked me. Had I been given the opportunity to choose a composer to write about, though, my choice would have been the same. In 1972 Boulez’s position in public esteem was secure. Berio, too, had earned himself an immense popular following. Stockhausen, to my mind a greater figure, was also the more vulnerable. One has only to remember Schoenberg’s life of embattled isolation, consider how Bartók’s fortunes declined, so that like Mozart he died in poverty, reflect on the life of Webern, to whom recognition never came, or Varèse, to whom it came too late, to know that a composer’s genius counts for little in present-day society. Until, that is, the composer is safely out of the way. What better service could one hope to do then, than to make the sort of effort to win a popular following for the contemporary composer that poor Bartók, Webern, and Schoenberg were largely denied? When I began work on my study of Stockhausen in 1972, all my major sources of reference were German publications. -
Deutsch Stockhausen Werverz
KURZBIOGRAPHIE Karlheinz Stockhausen 1928 Geboren am Mittwoch, den 22. August in Mödrath bei Köln. 1947 – 51 Studium in Köln an der Staatlichen Hochschule für Musik (Klavier, Schulmusik) und Universität (Germanistik, Philosophie, Musikwissenschaft). Seit 1950 Erste Kompositionen und Aufführungen eigener Werke. (In folgender Aufzählung werden nur einige der 376 Werke und Uraufführungen genannt.) 1951 Serielle Musik: KREUZSPIEL, FORMEL usw. Vermählung mit Doris Andreae; aus der Ehe gingen 4 Kinder hervor: Suja (1953), Christel (1956), Markus (1957), Majella (1961). 1952 Punktuelle Musik: SPIEL, KLAVIERSTÜCKE, SCHLAGTRIO, PUNKTE, KONTRA-PUNKTE usw. Kurse für Rhythmik und Ästhetik bei Olivier Messiaen in Paris; Experimente in der Gruppe ‘musique concrète’ des französischen Rundfunks, Paris, und Realisation einer ETUDE (Konkrete Musik). Erste Synthese von Klangspektren mit elektronischen Sinus-Tönen. Seit 1953 ständiger Mitarbeiter im Studio für Elektronische Musik des WDR Köln (1963 – 1977 künstlerischer Leiter, bis 1990 künstlerischer Berater); Dozent der jährlichen Internationalen Ferienkurse für Neue Musik in Darmstadt von 1953 bis 1974 und 1996. Erste Kompositionen Elektronischer Musik: Elektronische STUDIEN I und II, GESANG DER JÜNG- LINGE (Beginn der Raum-Musik und der Aleatorischen Musik). 1954 – 56 Parallel zur Forschung und Komposition im WDR Studio für Elektronische Musik Studium der Phonetik und Kommunikationsforschung bei Werner Meyer-Eppler an der Universität Bonn. 1954 – 59 Mitherausgeber der Schriften über serielle Musik » die Reihe«, Universal Edition (Wien). 1956 Uraufführungen von ZEITMASZE in Paris und GESANG DER JÜNGLINGE in Köln. 1957 Uraufführung KLAVIERSTÜCK XI (Variable Musik) in New York. 1958 Experimente neuer elektronischer Klangsynthesen und Raumprojektionen für KONTAKTE. 32 ‘concert-lectures’ an amerikanischen Universitäten; seitdem re gelmäßig längere Tourneen als Dirigent und Interpret eigener Werke (seit 1959 mit kleineren Solisten-Gruppen). -
Kursen-Broschure English
Nine Concerts: July 11 th to 19 th 2015 Courses Stock hau sen Concerts Thursday, July 16 th , 8 p.m., Sülztalhalle Faculty and works which will be taught in master INORI-gestures (Instructor: Alain Louafi ) Saturday, July 11 th , 5 p.m. classes Due to the special significance given to the synthesis of and Courses Kürten 2015 Festive opening of the courses at the ROSA MYSTICA (from SCENTS – SIGNS) music and gesture in Stockhausen’s works, the gestures for tenor und synthesizer Suzanne Stephens (clarinet, basset-horn, bass clarinet) from the composition INORI (1973–74) are rehearsed in Karlheinz-Stockhausen-Platz . MICHAEL’S CALL th th and Kathinka Pasveer (flute, alto flute, piccolo) this course. The course takes place each morning before from July 11 to July 19 for 4 trumpets will open and close the ceremony and will be teach ing all Stock hau sen works com posed for their the master classes and other events of the courses and is nd 2 participants’ concert respec tive instru ments. open to all interested participants. “Sometimes music vibrates beyond the clouds, and we can Saturday, July 11 th , 8 p.m., Sülztalhalle no longer hear its echo. Very rarely is it truly infinite; then Sound projection (Instructors: Kathinka Pasveer, sound Marco Blaauw (trumpet, piccolo trumpet, flugelhorn): it makes us forget the Earth. The great masters sense that TELEMUSIK (TELEMUSIC) electronic music projectionist; Igor Kavulek, sound engineer) th ARIES, TIERKREIS, IN FREUNDSCHAFT, DONNERSTAGS- they have one last thing to say, and that life is coming to an Friday, July 17 , 8 p.m., Sülztalhalle In the context of the daily rehearsals and concerts with MICHAELs REISE (MICHAEL’S JOURNEY) GRUSS, MICHAELS-RUF, MICHAELs REISE UM DIE ERDE, HALT, end –. -
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 –. -
Neue Musik Im Konzert Mittwoch, 23.5.2012 – 22.30 – 24.00 DRS
Schweizer Radio und Fernsehen, Postfach, CH-4002 Basel Neue Musik im Konzert Mittwoch, 23.5.2012 – 22.30 – 24.00 DRS 50 Jahre wergo. Ein Mix von Cécile Olshausen Kaum ein bedeutender Komponist ist nicht irgendwann mal bei wergo gelandet – so stellt das Label ein bedeutendes Archiv der Musik des 20. und 21. Jahrhunderts dar – in jüngeren Jahren auch mit Weltmusik und digitaler Musik. Die Hommage von Cécile Olshausen an wergo ist als Mix gestaltet – als grosser Fächer neuer Töne. Conlon Nancarrow: Studies for player piano. Vol I & II CD WER 286 168-2 Conlon Nancarrow: Studies for Player Piano. Heft 1 Satz: No. 3a Automaten-Klavier Morton Feldman: For Franz Kline, For Frank O'Hara, De Kooning, Piano Piece to Philip Guston. CD WER 6273-2;286 273-2 Morton Feldman: Four Instruments, für Klavier, Röhrenglocken, Violine und Violoncello Ensemble Avantgarde Georg Katzer: Offene Landschaft mit obligatem Ton e, kommen und gehen, Dialog imaginär 4, Streichquartett Nr. 3, De musica CD WER 6274-2 Georg Katzer: Offene Landschaft mit obligatem Ton e, für Kammerorchester Chamber Orchestra of Europe; Ltg: Peter Eötvös Morton Feldman: For Franz Kline, For Frank O'Hara, De Kooning, Piano Piece to Philip Guston. CD WER 6273-2;286 273-2 Morton Feldman: Four Instruments, für Klavier, Röhrenglocken, Violine und Violoncello Ensemble Avantgarde Kurt Schwitters: What a beauty, die Ursonate und andere Lautgedichte. CD WER 6313 2 Kurt Schwitters: Ribble bobble pimlico. Lautgedicht Die Schwindlinge Michael Riessler: Fever, Ji-virus CD WER 6309 2 Michael Riessler: Fever. Shakespeare Sonnette für Sprechstimme und Instrumentalensemble Michael Riessler; Cello und Ensemble Erik Ona: andere stimmen, tiger und patriarch, fünf lieder, alles nahe werde fern, jodeln, euler sonate CD WER 6563 2 Erik Ona: Jodeln für Klavier zu 4 Händen Bugallo-Williams Piano Duo Pierre Henry: La Ville. -
The Aesthetics of a Tabula Rasa: Western Art Music's Avant-Garde from 1949-1953
The Aesthetics of a tabula rasa: Western Art Music's Avant-garde from 1949-1953 Richard Toop In art, the notion of a tabula rasa is, self-evidently, problematic. Ifthe tablet is erased, ifthe slate is wiped clean, ifeverything is swept from the artistic table, then so too, by inference, is aesthetics itself. And the assumption that the previous contents are swept away to make room for other contents, rather than the contemplation of a bare surface bare, that is, apart from the residual scars ofthe preceding overthrow does not necessarily permit one to assume that the new artefacts are intended as replacements in the sense of a perceived radical 'improvement'. One could argue the merits, or rather, the consequences, of the various metaphors: the obliterated tablet script, the table swept bare, the slate wiped clean-in particular, in terms of what happens to the objects which once sat on the second, the signs inscribed on the last. For in most cases, it's not that the signs didn't serve a purpose, or that they didn't mean anything. Rather, someone, somewhere, has decided that the purpose is longer required, or that the meaning is no longer desirable. Perhaps there's not so much an abolition as a prohibition. After all, what else is to stop the scattered objects being picked up off the floor, or the erased signs from being restored? What will be considered here is a particular instance: that of the young composers in Europe (and to a lesser extent, the U.S.A.) who, after the end ofWorld War II, rapidly instaHed an avant-garde which, as far as their historical situation permitted it, momentarily effected a radical break with virtually all preceding Western art music.