Karlheinz Stockhausen Formel, Op. 1/6 Videos
Letzte Aktualisierung
2024-03-28
Aktualisieren
Alarm Will Sound Karlheinz Stockhausen Luciano Berio 1969 2001
Alarm Will Sound is the kind ensemble that eschews labels and defies definition. As their managing director Gavin Chuck puts it when asked what kind of music they play, he often says simply "we play good music". Whether you call the music that they play classical or new music or avant-garde, the members of this eclectic group devote most of their energy in trying to find projects they find exciting with the hope that in the process they engage their audience and put on a good show. Although the 20 members of the group are scattered around the country, most of them got their start in one spot: the Eastman School of Music. The group was formed there around 2001 after they had spent a few years working together on a student run orchestra and decided to take that experience with them beyond their time at Eastman. As they have continued on with successful music careers in cities from New York to Chicago to San Francisco, they have continued to keep this collective alive by gathering in a different city every month or so to put on concerts. Each time, the program is the same. Members fly into a city from all over the country, rehearse the material for a few days, play the show and then head their separate ways until the next gig. Despite this itinerant schedule, the formula seems to work. More than a decade after its founding, Alarm Will Sound is still as vibrant as ever. When the invitation was extended for them to return to Rochester to play a show at Eastman, they didn't hesitate to accept. What they brought was much more than just a concert, but an experience for audiences that included not only music from the popular to the obscure, but also a theatrically staged narrative, large video screens with vivid imagery and plenty of action. It's a show they call 1969, and it brings together the music and culture of that time in American history to tell a story with an approach that is decidedly original. From the life and music of John Lennon, to experimental composers Karlheinz Stockhausen and Luciano Berio to Richard Nixon and Jimi Hendrix's electrified version of the Star Spangled Banner, 1969 covers a vast array, and in a way that's anything but the typical concert going experience.
Karlheinz Stockhausen Ensemble Recherche 1928 1952 1974 2007 2015
Karlheinz Stockhausen +••.••(...)) was a German composer, widely acknowledged by critics as one of the most important, but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance (aleatory techniques or aleatoric musical techniques) into serial composition, and for musical spatialization. The Schlagtrio is a chamber work originally written in Paris in 1952 as a Schlagquartett (Percussive Quartet), for piano and three timpanists. In 1974 it was revised: the attacks and pitches remained unaltered, but the six timpani were redistributed, three each for just two players, and the note values were doubled in order to facilitate reading. The six timpani are tuned to a whole-tone scale, a quarter tone lower than the piano. Each drum corresponds to one octave in the piano. This oppositional scoring differentiates the piece from its immediate predecessors, Kreuzspiel, Spiel, and Formel. The former two use percussion as a noise element in contrast to pitch, while Formel integrates percussion timbres into the pitch structures of the other instruments. The course of the work describes a process in which the clear sounds of the piano and the more shadowy notes of the timpani gradually come together, make contact and overlap, and then withdraw once again. This is accomplished in a succession of twenty-three phases. The central, twelfth phase is the only one in which all twelve pitches in the piano and all six stroke types in the timpani are present. (Wikipedia) More info at the Stockhausenspace blog: (http•••) Performer: Ensemble Recherche Original audio: (http•••)
Karlheinz Stockhausen Basset Suzanne Stephens Stephens Kathinka Pasveer 1436 1511 1551 1604 1616 1652 1704 1715 1727 1739 1751 1803 1827 1833 1851 1857 1909 1915 1921 1927 1939 1986 2003 2009
Karlheinz Stockhausen - Montags-Gruss / Eva-Gruss (Mondays Greeting / Eva's Greeting), Nr. 55, from Montag aus Licht (1986/88) First Section of the opera Montag aus Licht (Monday from Light) Scored for multiple basset horns and electronic keyboard instruments (performed either with live basset horn and tape, or only tape) Basset Horn parts recorded by Suzanne Stephens The Monday Greeting is a tape composition played in the foyer as the audience arrives. The visual impression is of being underwater. The music is multilayered, made of stretched-out basset-horn sounds, occasionally mixed with the sounds of splashing and rushing water. Twelve photographs of the basset-horn player in different poses corresponding to the twelve pitches of the mirrored Eve formula surround the space. Montags Gruss had its birth in the solo instrumental work Xi (from the Greek letter, meaning "unknown quantity"). Designed for instruments with the ability to play "bent" notes microtonally (ruling out the traditional acoustic piano, vibraphone, accordion, etc...), one of the challenges of Xi is to develop techniques for keyed wind and brass instruments to play "in between" adjacent notes of the chromatic scale, with not one, but several steps (up to 12!) from note to note. This is typically done with non-traditional key fingerings as well as embouchure techniques. The basset-horn and flute-specific scores for Xi include the techniques and fingerings developed by Suzanne Stephens and Kathinka Pasveer to play the micro-intervals necessary for those 2 instruments. From a purely melodic standpoint, Montags Gruss is the basset-horn version of Xi slowed down from 8.5 minutes to 34 minutes, with 3 additional tempo-reduced layers of the same melody transposed down in pitch 3 times. Because the tempos are reduced, the number of micro-steps is increased in some places from 7 to 12 (which of course meant that new fingerings had to be discovered for the additional micro-tones). In a way, the 3 additional layers create a 4-part harmonized Xi chord melody, but there are 3 important factors which make the work more interesting on a smaller time-scale as well. NOTE: The 'measures' mentioned in the video chapters correspond to the numbers in circles underneath the top basset horn stave. Intro – 0:00 Measure 1 – 0:07 Measure 2 – 0:17 Measure 3 – 0:26 Measure 4 – 0:35 Measure 5 – 0:45 Measure 6 - 1:04 Measure 7 – 1:14 Measure 8 – 1:43 Measure 9 – 2:06 Measure 10 – 3:18 Measure 11 – 3:33 Measure 12 – 4:05 Measure 13 – 4:19 Measure 14 – 4:53 Measure 15 – 5:40 Measure 16 – 6:28 Measure 17 – 7:53 Measure 18 – 8:10 Measure 19 – 9:39 Measure 20 – 12:49 Measure 21 – 13:13 Measure 22 – 14:24 Measure 23 – 14:36 Measure 24 – 15:11 Measure 25 – 15:51 Measure 26 – 16:04 Measure 27 – 16:16 Measure 28 – 16:52 Measure 29 – 17:04 Measure 30 – 17:15 Measure 31 – 17:27 Measure 32 – 17:39 Measure 33 – 17:51 Measure 34 – 18:03 Measure 35 – 18:27 Measure 36 – 18:33 Measure 37 – 18:51 Measure 38 – 18:57 Measure 39 – 19:09 Measure 40 – 19:15 Measure 41 – 19:21 Measure 42 – 19:27 Measure 43 – 19:39 Measure 44 – 20:03 Measure 45 – 20:09 Measure 46 – 20:44 Measure 47 – 20:50 Measure 48 – 20:56 Measure 49 – 21:02 Measure 50 – 21:14 Measure 51 – 21:38 Measure 52 – 21:44 Measure 53 – 22:01 Measure 54 – 22:08 Measure 55 – 22:13 Measure 56 – 22:25 Measure 57 – 22:37 Measure 58 – 22:43 Measure 59 – 22:49 Measure 60 – 23:07 Measure 61 – 22:13 Measure 62 – 23:28 Measure 63 – 24:00 Measure 64 – 24:16 Measure 65 - 24:31 Measure 66 – 25:20 Measure 67 – 25:35 Measure 68 – 25:51 Measure 69 – 26:07 Measure 70 – 26:31 Measure 71 – 27:11 Measure 72 – 27:43 Measure 73 – 27:52 Measure 74 – 28:14 Measure 75 – 28:26 Measure 76 – 28:46 Measure 77 – 22:02 Measure 78 – 22:26 Measure 79 – 22:49 Measure 80 – 30:21 Measure 81 – 31:17 Measure 82 – 32:21 Measure 83 – 32:44 Measure 84 – 32:54 Closing Silence – 33:43 [thats a LOT of timestamps...] Join the Score Video Creator Discord Server: (http•••) PATREON - Pay a small monthly fee and gain access to my online score library, full of rare scores that I have used in videos - (http•••) PAYPAL - Donations of any amount welcome! - (http•••)
Karlheinz Stockhausen Pasveer Nicholas Isherwood Zorn 1610 1987
Karlheinz Stockhausen - Evas Erstgeburt (Eve's first birthgiving), Nr. 56 (1987) Act 1 of the opera Montag aus Licht (Monday from Light) Scored for 3 sopranos, 3 tenors, bass, actor, choir (8-track tape or live), and on stage: 21 actresses, children’s choir, modern orchestra (3 synthesizer players, 1 perc., tape) Choir of the West German Radio, Cologne Children's Choir of Radio Budapest (Janos Remenyi, choir master) Zaans Kantatekoor (Jan Pasveer, choir master) Eve (three sopranos) - Annette Meriweather, Donna Sarley, Jana Mrazova Lucifer (bass) - Nicholas Isherwood Luzipolyp (actor) - Alain Louafi Three Sailors (three tenors) - Helmut Clemens, Julian Pike, Alastair Thompson Scene 1: In Hoffnung - 0:00 The first scene, 'Expecting', opens on a multistory house with an inner courtyard lit by small green lamps. A terrace at the front ends at a huge Venetian blind. As night falls, the blind opens disclosing a sandy beach, with an indistinct, high tower at the left. High up in this tower, illuminated by a dim green light, stand three naked women. Groups of women with pails, cloths, sponges, baskets, and ladders approach, singing as they go. The moon rises, and the tower is seen to be a huge statue of a female figure, seated on the sand with her back to the terrace. The women begin to wash and anoint the statue, preparing Eve for a ceremony of celebration of birth. The music presents nine periodic cycles in which a musical formula gradually emerges. Scene 2: Die Heinzelmännchen - 16:10 Heinzelmännchen are dwarf-like figures from an old Cologne folk tale, though this scene adopts only the humorous aspect from the legend. In this scene, Eve gives birth to a boys' choir. The three sopranos sing joyfully and very rapidly as the statue gives birth to a boy with a lion’s head, twins with swallows’ heads and wings, and so on. Scene 3a: Erste Geburts-Arie - 26:46 Scene 3b: Zweite Geburts-Arie - 34:24 The three sopranos sing two Birth Arias as the Eve statue continues to produce children. During the first aria, a dark figure appears on the beach: it is Lucifer. As he approaches the newborn bodies, he hoots "Repulsive!" Everyone shrinks back, and Lucifer hurries out, As the seven newborn boys and seven newborn Heinzelmännchen (with beards and pointed hats, two of which are conjoined twins) struggle to rise from the sand, the three Eve sopranos sing a second aria. Scene 4: Knaben-Geschrei - 43:04 In 'Boys' Hullaballoo' the boys are supposed to sing, but cannot. Instead, they just make strange noises and scream like babies. Scene 5: Luzifers Zorn - 1:04:09 In the fifth scene, 'Lucifer's Fury' is directed at the deficient creatures who have been born, and he orders them all back into the womb. The whole process must be gone through again, because the first result was so ugly. Scene 6: Das große Geweine - 1:22:39 'The Great Weeping' is a general lament over Lucifer's decision to reject Eve's first-born, and is realised by a series of glissandos in the synthesizers and choir, which imitate sobbing and weeping. (http•••) Join the Score Video Creator Discord Server: (http•••) PATREON - Pay a small monthly fee and gain access to my online score library, full of rare scores that I have used in videos - (http•••) PAYPAL - Donations of any amount welcome! - (http•••)
oder
- Die größten Werke für Orchester
- Wesentliche Arbeiten: moderne & zeitgenössische Ära
- Indizes (in alphabetischer Reihenfolge): F...