Stimmung KARLHEINZ STOCKHAUSEN
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Stimmung: Tuning, Timbre, Form and Performance
Stimmung: Tuning, Timbre, Form and Performance Kevin Swenson October 2018 1 Stimmung Karlheinz Stockhausen is among the most influential and controversial composers of the 20th century. Most known for his highly serialized works of the 1950’s such as Gruppen and Kontra-punkte as well as his experimentation with some of the first electronic music compositions, it is easy to pigeonhole Stockhausen as a composer who avoids any semblance of traditional harmonic structures in his music. However, in the 1960’s Stockhausen made some notable explorations in music which used motivic structures as well as more consonant harmonies than in much of his earlier works. A true gem among his pieces of this era is Stimmung (1968) a piece for six vocalists which consists of only one chord. Though Stimmung may seem simple on the surface, there are many subtleties lurking underneath that add up to a powerfully evocative and spiritual composition. Background The late 1960’s are an infamous time, marked by the violence and protest of the Vietnam war and the neo-spiritualism of the psychedelic movement. Stockhausen’s Stimmung is all too fitting for the era; a synthesis of east and west via its construction based on the B-flat harmonic series, the use of the overtone singing technique and it’s calling of the “magic names” of deities drawn from a plethora of world religions both ancient and modern. In many ways the piece appears to be a product of its time, but is also foreshadowing the spiritual implications of Stockhausen’s latest and strangest works, most notably the Licht opera cycle. -
2018–2019 Annual Report
18|19 Annual Report Contents 2 62 From the Chairman of the Board Ensemble Connect 4 66 From the Executive and Artistic Director Digital Initiatives 6 68 Board of Trustees Donors 8 96 2018–2019 Concert Season Treasurer’s Review 36 97 Carnegie Hall Citywide Consolidated Balance Sheet 38 98 Map of Carnegie Hall Programs Administrative Staff Photos: Harding by Fadi Kheir, (front cover) 40 101 Weill Music Institute Music Ambassadors Live from Here 56 Front cover photo: Béla Fleck, Edgar Meyer, by Stephanie Berger. Stephanie by Chris “Critter” Eldridge, and Chris Thile National Youth Ensembles in Live from Here March 9 Daniel Harding and the Royal Concertgebouw Orchestra February 14 From the Chairman of the Board Dear Friends, In the 12 months since the last publication of this annual report, we have mourned the passing, but equally importantly, celebrated the lives of six beloved trustees who served Carnegie Hall over the years with the utmost grace, dedication, and It is my great pleasure to share with you Carnegie Hall’s 2018–2019 Annual Report. distinction. Last spring, we lost Charles M. Rosenthal, Senior Managing Director at First Manhattan and a longtime advocate of These pages detail the historic work that has been made possible by your support, Carnegie Hall. Charles was elected to the board in 2012, sharing his considerable financial expertise and bringing a deep love and further emphasize the extraordinary progress made by this institution to of music and an unstinting commitment to helping the aspiring young musicians of Ensemble Connect realize their potential. extend the reach of our artistic, education, and social impact programs far beyond In August 2019, Kenneth J. -
ZGMTH - the Order of Things
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Bangor University Research Portal The Order of Things. Analysis and Sketch Study in Two Works by Steve ANGOR UNIVERSITY Reich Bakker, Twila; ap Sion, Pwyll Zeitschrift der Gesellschaft für Musiktheorie DOI: 10.31751/1003 PRIFYSGOL BANGOR / B Published: 01/06/2019 Publisher's PDF, also known as Version of record Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Bakker, T., & ap Sion, P. (2019). The Order of Things. Analysis and Sketch Study in Two Works by Steve Reich. Zeitschrift der Gesellschaft für Musiktheorie, 16(1), 99-122. https://doi.org/10.31751/1003 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 09. Oct. 2020 ZGMTH - The Order of Things https://www.gmth.de/zeitschrift/artikel/1003.aspx Inhalt (/zeitschrift/ausgabe-16-1-2019/inhalt.aspx) Impressum (/zeitschrift/ausgabe-16-1-2019/impressum.aspx) Autorinnen und Autoren (/zeitschrift/ausgabe-16-1-2019/autoren.aspx) Home (/home.aspx) Bakker, Twila / ap Siôn, Pwyll (2019): The Order of Things. -
Oceanic Migrations
San Francisco Contemporary Music Players on STAGE series Oceanic Migrations MICHAEL GORDON ROOMFUL OF TEETH SPLINTER REEDS September 14, 2019 Cowell Theater Fort Mason Cultural Center San Francisco, CA SFCMP SAN FRANCISCO CONTEMPORARY MUSIC PLAYERS San Francisco Contemporary Music Brown, Olly Wilson, Michael Gordon, Players is the West Coast’s most Du Yun, Myra Melford, and Julia Wolfe. long-standing and largest new music The Contemporary Players have ensemble, comprised of twenty-two been presented by leading cultural highly skilled musicians. For 49 years, festivals and concert series including the San Francisco Contemporary Music San Francisco Performances, Los Players have created innovative and Angeles Monday Evening Concerts, Cal artistically excellent music and are one Performances, the Stern Grove Festival, Tod Brody, flute Kate Campbell, piano of the most active ensembles in the the Festival of New American Music at Kyle Bruckmann, oboe David Tanenbaum, guitar United States dedicated to contemporary CSU Sacramento, the Ojai Festival, and Sarah Rathke, oboe Hrabba Atladottir, violin music. Holding an important role in the France’s prestigious MANCA Festival. regional and national cultural landscape, The Contemporary Music Players Jeff Anderle, clarinet Susan Freier, violin the Contemporary Music Players are a nourish the creation and dissemination Peter Josheff, clarinet Roy Malan, violin 2018 awardee of the esteemed Fromm of new works through world-class Foundation Ensemble Prize, and a performances, commissions, and Adam Luftman, -
Hölderlins Geschichtsphilosophische Hymnen
Jochen Schmidt Hölderlins geschichtsphilosophische Hymnen >Friedensfeier< — >Der Einzige< — >Patmos< Jochen Schmidt Hölderlins geschichtsphilosophische Hymnen >Friedensfeier< — >Der Einzige< >Patmos< Wissenschaftliche Buchgesellschaft Darmstadt Einbandgestaltung: Neil McBeath, Stuttgart. Einbandbild: Friedrich Hölderlin. Getuschter Schattenriß, wohl 1797. CIP-Titelaufnahme der Deutschen Bibliothek Schmidt, Jochen: Hölderlins geschichtsphilosophische Hymnen: „Friedensfeier" - „Der Einzige" - „Patmos" / Jochen Schmidt. - Darmstadt: Wiss. Buchges., 1990 ISBN 3-534-10869-8 Bestellnummer 10869-8 Das 'Werk ist in allen seinen Teilen urheberrechtlich geschützt. Jede Verwertung ist ohne Zustimmung des Verlages unzulässig. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung in und Verarbeitung durch elektronische Systeme. 0 1990 by Wissenschaftliche Buchgesellschaft, Darmstadt Gedruckt auf säurefreiem und alterungsbeständigem Werkdruckpapier Satz: Setzerei Gutowski, Weiterstadt Druck und Einband: Wissenschaftliche Buchgesellschaft, Darmstadt Printed in Germany Schrift: Linotype Times, 9.5/11 ISBN 3-534-10869-8 INHALT Vorwort IX Einleitung. Vom zyklischen zum eschatologischen Geschichts- denken 1 >Friedensfeien. Einführung in das wörtliche Verständnis und in die Struktur der Hymne 9 I. Die erste Strophentrias 10 II. Der Gesamtaufbau der Hymne 25 III. Die zweite Strophentrias 27 IV. Die dritte Strophentrias 41 V. Die vierte Strophentrias 65 Friedensidee und chiliastisches Geschichtsdenken in der -
October 21 and 24, 2015
XcapeSeason_SongscapeProgram.pdf 1 9/30/15 2:41 PM C M Y CM MY CY CMY K Message from the Artistic Director Welcome to the 2015-16 Season of the San Francisco Contemporary Music Players! And, welcome to our first concert, Songscape, in which we’ll examine the nature of utterance and memory through song. The beginning of every concert season is a fresh opportunity for exploration: new ideas to be illuminated and new options to be considered. But with Songscape we’ll start by thinking about the end of things, by examining the language of loss. In Death Speaks, David Lang culls photo by Bill Dean through the songs of Franz Schubert for instances in which death speaks to the living. Lang uses excerpts from thirty-two songs, cutting and assembling them to form a melancholy collage of music and a terrifying image of the voice of death. Whether as “Der Erlkönig,” in which death is as fleet as a racing horse or Die Schöne Müllerin, in which it is a seductress, beckoning the miller to cross the veil, the voice of death is rendered audible, personal and powerful. Lee Hyla’s We Speak Etruscan imagines the sound of ancient Etruscan as it might be spoken by modern reed instruments. It also forces us to contend with the death of a language. How did Etruscan (from this word we get the modern name, Tuscany), the forerunner of Latin, and the language of a major indigenous culture of significant artistic refinement, simply vanish? That is not far from a more tantalizing question: what happens to the past when we can no longer hear its sounds? By this I don’t mean when we can no longer hear the music of the past. -
125 Commissions Project and Premieres
18|19 COMMISSIONS PROJECT Carnegie Hall’s commitment to the music of tomorrow continues with the fourth year of its five-year project during which at least 125 new works will be commissioned from today’s leading composers. Through the 125 Commissions Project, Carnegie Hall expands upon its history as the preeminent venue where music history is made. Launched during the Hall’s 125th anniversary season in 2015, the project features new solo, chamber, and orchestral music from both established and emerging composers, including John Adams, Thomas Adès, Timo Andres, Donnacha Dennehy, Bryce Dessner, Philip Glass, Sofia Gubaidulina, Brad Mehldau, Nico Muhly, Steve Reich, Frederic Rzewski, Caroline Shaw, Tyshawn Sorey, Chris Thile, and Jörg Widmann. As part of the project, Carnegie Hall has sought to partner with co-commissioners as much as possible in order to maximize the number of performances for new each work. As part of the 125 Commissions Project, Kronos Quartet and Kronos Performing Arts Organization continue Fifty for the Future: The Kronos Learning Repertoire. Collaborating with many diverse partners over five seasons, Kronos is co-commissioning 50 new works by 25 men and 25 women devoted to contemporary approaches to the string quartet, designed expressly for the training of students and emerging professionals. Composers commissioned to write works for previous seasons included Fodé Lassana Diabaté, Rhiannon Giddens, Garth Knox, Aleksandra Vrebalov, Wu Man, and Karin Rehnqvist. Commissions for the 2018–2019 season include works written by Bryce Dessner, Susie Ibarra, Jlin, Vladimir Martynov, Missy Mazzoli, Misato Mochizuki, Terry Riley, Henry Threadgill, Mario Galeano Toro, and Lu Yun. -
The History of Wake Forest University (1983–2005)
The History of Wake Forest University (1983–2005) Volume 6 | The Hearn Years The History of Wake Forest University (1983–2005) Volume 6 | The Hearn Years Samuel Templeman Gladding wake forest university winston-salem, north carolina Publisher’s Cataloging-in-Publication data Names: Gladding, Samuel T., author. Title: History of Wake Forest University Volume 6 / Samuel Templeman Gladding. Description: First hardcover original edition. | Winston-Salem [North Carolina]: Library Partners Press, 2016. | Includes index. Identifiers: ISBN 978-1-61846-013-4. | LCCN 201591616. Subjects: LCSH: Wake Forest University–History–United States. | Hearn, Thomas K. | Wake Forest University–Presidents–Biography. | Education, Higher–North Carolina–Winston-Salem. |. Classification: LCCLD5721.W523. | First Edition Copyright © 2016 by Samuel Templeman Gladding Book jacket photography courtesy of Ken Bennett, Wake Forest University Photographer ISBN 978-1-61846-013-4 | LCCN 201591616 All rights reserved, including the right of reproduction, in whole or in part, in any form. Produced and Distributed By: Library Partners Press ZSR Library Wake Forest University 1834 Wake Forest Road Winston-Salem, North Carolina 27106 www.librarypartnerspress.org Manufactured in the United States of America To the thousands of Wake Foresters who, through being “constant and true” to the University’s motto, Pro Humanitate, have made the world better, To Claire, my wife, whose patience, support, kindness, humor, and goodwill encouraged me to persevere and bring this book into being, and To Tom Hearn, whose spirit and impact still lives at Wake Forest in ways that influence the University every day and whose invitation to me to come back to my alma mater positively changed the course of my life. -
VOXNOVA ITALIA KARLHEINZ STOCKHAUSEN Stimmung H 19:30 | Music Insid(I)E Introduzione a Stimmung Con Francesco Antonioni a Cura Di Nuova Consonanza
VOXNOVA ITALIA KARLHEINZ STOCKHAUSEN Stimmung h 19:30 | Music Insid(i)e Introduzione a Stimmung con Francesco Antonioni a cura di Nuova Consonanza Ebbene, in “Stimmung” sei voci soliste per oltre un’ora girano Questa partitura così complessa porta il segno dello spostamento di attorno a un solo accordo: Si bemolle settima-nona. Che ci siano Stockhausen verso una dimensione avventurosa, dove l’esperienza anche la settima e la nona arricchisce l’accordo, ma è poca cosa, di compositore d’avanguardia è messa al servizio d’una musica eppure Karlheinz Stockhausen, partendo da elementi così semplici disinvolta e disinibita. Il tutto appare funzionale a creare un crea una grande architettura sonora, divisa in 51 sezioni (definiti universo sonoro dove l’ascoltatore possa entrare con meno “Momenten”) e, soprattutto, apre la porta in direzione di un preoccupazione, rispetto agli affascinanti furori più radicali degli universo particolare, incerto lontano. Sta all’ascoltatore decidere anni ‘50 e inizio ‘60 del secolo scorso e, a sua scelta, perfino lasciarsi se entrarci. Il titolo “Stimmung” è intraducibile: in tedesco indica andare. l’intonazione di uno strumento o di una voce, ma è riferibile anche a uno stato emotivo, intonato con il prossimo o il mondo. In italiano Luca Del Fra è la parola ‘armonia’ che più si avvicina a “stimmung”, perché indica non solo qualcosa di musicale, ma anche di psicologico, fisico, d’accordo tra diverse persone, perfino l’equilibrio di un paesaggio, Mary Bauermeister, la seconda moglie di Stockhausen, ha avuto d’un edificio e così via. Partendo dall’idea di armonia, si può con questo compositore un rapporto di forte scambio intellettuale cominciare a osservare l’architettura concepita da Stockhausen, e artistico e i testi erotici scritti da Stockhausen stesso per vedi bene, interamente costruita sugli armonici fondamentali del “Stimmung” sono a lei dedicati. -
Zukunft Der Zeit ISBN: 3-9805595-6-4
IAK Angewandte Kulturwissenschaft Universität Karlsruhe (TH) Problemkreise der Angewandten Kulturwissenschaft Karlsruher Gespräche 2000 Viola Altrichter Dieter Kramer Gerhard Börner Caroline Y. Robertson Ernst Ludwig Ehrlich Brigitte Russ-Scherer Hermann Glaser Olaf Schwencke Götz Großklaus Christoph Staude Klaus Heid Helmut Stermann Heft 1/2000 Jahrgang 4 Zukunft der Zeit ISBN: 3-9805595-6-4 Problemkreise der Angewandten Kulturwissenschaft Heft 1/2000 Jahrgang 4 Zukunft der Zeit Herausgeberin der Reihe: Caroline Y. Robertson Herausgeber Heft 1/2000, Jahrgang 4: Olaf Schwencke, Caroline Y. Robertson Redaktion: Christine Mielke ISBN: 3-9805595-6-4 © Interfakultatives Institut für Angewandte Kulturwissenschaft Universität Karlsruhe (TH) 76128 Karlsruhe Bezug: über obige Adresse Für Redigierungsarbeiten danken wir auch Ralf Keller Inhalt Es ist Zeit! Eröffnungsrede der 4. Karlsruher Gespräche 7 Caroline Y. Robertson Le Temps, vite! Einführung in das Symposium „Zukunft der Zeit“ 13 Olaf Schwencke Vom Mythos zur Weltzeit – Anfang und Ende der Zeiten 19 Ernst Ludwig Ehrlich Zeit und Kosmos – Anfang und Ende der Welt 27 Gerhard Börner Geschwindigkeit als Schicksal 37 Viola Altrichter Zeit ist Geld 47 Helmut Stermann Unser Zeitbudget – Lebenszeit zwischen Arbeits- und Freizeit 57 Hermann Glaser Zeit und Kalendarien. Lineare, zirkulare und andere Zeiten 71 Dieter Kramer Zeit – Medium – Bewußtsein 87 Götz Großklaus Vergleichzeitigung 107 Christoph Staude Die Kunst in der Zeit 115 Klaus Heid Wo bleibt die Zeit in unseren Städten? 121 Brigitte Russ-Scherer Die Autorinnen und Autoren 123 Caroline Y. Robertson Es ist Zeit! Eröffnungsrede der 4. Karlsruher Gespräche Caroline Y. Robertson 1. Begrüßung Es ist Zeit! Meine sehr verehrten Damen und Herren, liebe Besucherinnen und Besucher der 4. Karlsru- her Gespräche zum Thema Zukunft der Zeit, es ist 9 Uhr 30 und wir fangen an. -
Paul Hillier.18.19.Dt
BIOGRAFIE PAUL HILLIER | DIRIGENT Paul Hillier, Gründer des Hilliard Ensembles und des dänischen Vokalensembles Theatre of Voices, zählt zu den vielseitigsten Künstlern. Seine Karriere umfasst Gesang, Dirigieren, Komposition und die Publikation über Musik. Von 2001 bis 2007 war er Chefdirigent des Estnischen Philharmonischen Kammerchors und ist seit 2003 Chefdirigent von Ars Nova Kopenhagen. 2008 wurde er zum Chefdirigenten des Chamber Choir Ireland und zum Künstlerischer Leiter des Coro Casa da Musica Porto ernannt. Im gleichen Jahr gründete er seinen eigenen Verlag Theatre of Voices Edition ( www.tov-edition.com ). In 2009 war er Künstler in Residence am Institute for Sacred Music der Yale University. 2010 erhielt er seinen zweiten Grammy für David Langs The Little March Girl Passion. Seine über 150 Einspielungen, darunter sieben Solo-CDs, für harmonia mundi, Dacapo Records u.a. fanden weltweit große Beachtung und sind mit zahlreichen Preisen ausgezeichnet worden. Hillier arbeitet regelmäßig mit den führenden Kammerchören weltweit wie dem Danish National Radio Choir, NDR Rundfunkchor, Rundfunkchor Berlin, Houston Chamber Choir, Estnischer Philharmonischer Kammerchor zusammen und ist Gastdirigent von Orchestern wie London Sinfonietta, St. Paul Chamber Orchestra, Concerto Copenhagen, Athelas Sinfonietta, Tallinn Chamber Orchestra, Irish Baroque Orchestra, Ensemble Remix, Concerto Palatino, Estonian State Symphony Orchestra, Copenhagen Philharmonic, South Denmark Philharmonic, Taiwan Symphony Orchestra, Tokyo Philharmonic Orchestra, Orquestra Sinfónica do Porto und dem Utah Symphony Orchestra. Auftritte führten ihn zu Festivals wie Bergen International Festival, RheinVokal Festival, Musikfest Berlin, BBC Proms, Edinburgh Festival, Hong Kong Arts Festival und an die Royal Danish Opera. 2018 leitete Paul Hillier die Uraufführung von Arvo Pärts „And I heard a voice“ mit Ars Nova Copenhagen anlässlich des 800jährigen Jubiläums der Salamanca Universität. -
04-12Adams.Pdf
London Symphony Orchestra Living Music Sunday 4 December 2016 7pm Barbican Hall JOHN ADAMS AT 70 John Adams El Niño Interval after Part One London’s Symphony Orchestra John Adams conductor Joélle Harvey soprano Jennifer Johnson Cano mezzo-soprano Davóne Tines bass-baritone Daniel Bubeck, Brian Cummings, Nathan Medley counter-tenors London Symphony Chorus London Youth Choir Simon Halsey chorus director Concert finishes approx 9.30pm 2 Welcome 4 December 2016 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert where we are CHRISTMAS OFFERS FROM LSO LIVE delighted to be joined by one of America’s most influential musicians, John Adams, in the first of our Throughout December LSO Live will be running concerts celebrating his 70th birthday. This evening exclusive Christmas offers, including discounted he conducts El Niño, his own oratorio based on the box sets, special bundles and free UK shipping on nativity story, written for the new millennium. It is orders over £30. New offers will be announced on always a pleasure to work with John Adams on his 9 December, so keep checking the LSO Live website own music, and we are excited to be performing to take advantage of the latest discounts. this work for the first time here at the Barbican, before taking it on tour to Paris. lsolive.lso.co.uk On stage John Adams is joined by vocal soloists Joélle Harvey, Jennifer Johnson Cano, Davóne Tines, SOUND UNBOUND 2017: Daniel Bubeck, Brian Cummings and Nathan Medley, THE BARBICAN CLASSICAL WEEKENDER all of whom are making their LSO debuts this evening.