Karlheinz Stockhausen Stop, Op. 18 Videos
Last update
2024-03-28
Refresh
Francis Dhomont Olivier Messiaen Pierre Schaeffer Bayle Berio Chion Dufour Malec Reibel Risset Stockhausen Varèse Xenakis Musica Nova 1950 1998 1999
AvatArsSon — 2nd of the 4 works in the Cycle du son — was realized in 1998 in the Syter studio of Ina-GRM and in the composer's studio, and it premiered on May 11th, 1998 as part of Ina-GRM's Cycle acousmatique at the Salle Olivier Messiaen of the Maison de Radio France in Paris(France). AvatArsSon was a special commission of the Ministère de la Culture (France) and of Ina-GRM for the 50th anniversary of musique concrète. AvatArsSon was awarded the first prize at the 2nd Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer (Pescara, Italy, 1999) and, in a shorter version (14:20), the second prize in the Musica Nova 1998 International Competition of Electroacoustic Music (Prague, Czech Republic). AvatArsSon was recorded on the disc 2°/3° Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer. To "the inventors of the treasure" (Bayle, Berio, Chion, Dufour, Ferrari, Henry, Malec, Parmegiani, Reibel, Risset, Schaeffer,Stockhausen, Teruggi, Varèse, Xenakis, Zanési, and others too numerous to name) This presents an original aspect of the "new music" (as Schaeffer called it in 1950) one that, thanks to the concept of the sound object, brought about its accession to a multidimensional musical world. But it is above all a metaphor for, and a short cut across, some of the stages of the sound odyssey — heard for itself and for its unveiled "images" (Bayle) — and its performance. It also recalls the fertile guiding drift that allows the attentive ear to discover the furtive traces of homage. Quotations used in this piece: At the beginning and sometimes : some short quotations (with treatments or not) of Étude aux objets by Schaeffer and of Francis Dhomont own work "Novars". - 00:18 "Pseudo" P. Henry (my own door) - 01:53 Parmegiani : De natura sonorum - 03:13 Reibel : Variations en étoile - 03:47 Zanesi : Stop l'horizon - 06:19 Bayle : Espaces inhabitables (Jardins de rien) - 09:12 Stockhausen : Gesang - 09:35 Berio : Omaggio a Joyce - 09:43 Malec : Nuda - 09:55 Chion : Requiem - 10:05 Ferrari : Hétérozygote - 10:28 Chion : La ronde - 11:33 Dufour : Bocalises - 11:57 Teruggi : Instants d'hiver - 12:13 Dufour : Bocalises - 12:49 Risset : Suite for little Boy - 13:17 Varèse : Ionisation - 15:11 Ferrari : Hétérozygote - 15:15 Xenaxis : Diamorphoses 29
Karlheinz Stockhausen Basset Mock
Donnerstag aus Licht - Michaels Reise um die Erde Act 2 from the opera THURSDAY from LIGHT. In the second act, Michael undertakes a journey around the world in what is essentially a trumpet concerto with orchestra, performed in a huge rotating globe set against a starry firmament. There are seven "stations" along the way, at each of which the music takes on colour from the locale: Germany, New York, Japan, Bali, India, Central Africa, and Jerusalem. Michael's formula gradually evolves from a simple beginning form to increasingly florid extravagance, finally shattering into incoherent fragments in stations 5 and 6. When he reaches Central Africa, Michael hears a distant basset horn, and orders the globe to stop turning. Michael commands the earth to rotate in reverse as the seventh station, Jerusalem, is reached, and he begins a new process of rehabilitation in a therapeutic conversation with a double-bass player. Mondeva appears, and they perform a duet in which their melodic formulas merge and intertwine until each plays the other's formula. Two clownish clarinet players, costumed as a pair of swallows, mock and—together with the orchestral low brass, an emblem of Lucifer—"crucify" him, after which the act ends with a musical "ascension" in which the sounds of the trumpet and basset horn circle around until they are united in a trill
Kendall Mozart Beethoven Cipriani Cipriani Potter Bach Smetana Bruckner Berlioz Mahler Schoenberg Rachmaninov Benjamin Britten Messiaen Stockhausen 1824 1906 1964
CHRONICLE OF CLASSICAL MUSIC: ALAN KENDALL Book Number: 82570 Published price: £16.95 Bibliophile price: £8.50 At the centre of this comprehensive and beautifully illustrated guide is a year-by-year chronology of the world of classical music from1600 to the present, accompanied by biographical entries for all major composers, together with eyewitness quotations from diaries, letters and newspapers. We learn that Mozart would stop playing during a concert if there was a disturbing noise in the audience, and we read an assessment of Beethoven by the British composer and musicologist Cipriani Potter, who had met the great Romantic genius. The larger context is apparent when we realise that in the momentous year 1824, exactly 100 years after Bach premiered his St John Passion in Leipzig, Beethoven completed his majestic 9th symphony, Smetana and Bruckner were born and Berlioz made the decision to become a composer. Moving into the 20th century, 1906 saw the premières of symphonies by both Mahler and Schoenberg in a collision of two very different musical worlds. Mahler belongs with Rachmaninov and Strauss as proponents of a lush late Romanticism, while Schoenberg was about to pioneer the shock of 12-note serialism. In 1964 Benjamin Britten was the composer of the moment with Curlew River, but the older hell-raisers Messiaen and Stockhausen were still writing new work. With a biographical index of composers, 388 illustrations, most in colour, and a range of fascinating feature articles, this book is an invaluable companion for the classical music lover. 288pp, softback, glossary, recordings, 388 illustrations, 160 in colour.
Karlheinz Stockhausen Jonathan Harvey Peter Moore Moore Paik 1961 1964
NOTES ON STOCKHAUSEN'S ORIGINALE ORIGINALE The Piece In 1961, at age 33, Karlheinz Stockhausen was already among the most well-known of living composers, though not yet the guru figure of Beatles tributes and electronica lore. He had just finished composing Kontakte, a piece for electronic four-channel tape and piano/percussion duo, in which he attempted a high degree of interaction between live performers and taped sounds, as well a new degree of theatricality in the onstage movements of the musicians. He received a commission for a "theatrical" work from a theater producer in Cologne, and Originale (Originals) was scripted rapidly during a visit to Finland in July of 1961. The composer Jonathan Harvey, in his book The Music of Stockhausen, describes the form of Originale: "It consists of eighteen scenes in the form of instructions for the dramatis personae carefully placed in timeboxes. Each character's actions, in other words, must take a specified number of seconds or minutes [hence the frequent appearances of the clock in Peter Moore's film]. These scenes are grouped into seven 'structures' which may be performed successively as 'normal', or simultaneously (up to three at once), or both." The idea was to organize spoken language and stage actions in much the same way as musical materials had been organized in Stockhausen's previous pieces. The stage actions consisted largely of normal activities undertaken by actors who were basically playing themselves: a poet played himself as "the poet," reading poetry on stage; a "painter" paints; a "film man" and "lighting man" and ""models" go about their normal business, all within their allotted times (hence the title of the piece: "originals" playing themselves). A visual and aural complexity was created by the juxtaposition of these simultaneously occurring activities, creating an aura of absurdity which contrasted with the normality of the events themselves. In addition, some of the performers, such as the explosive performance artist Nam June Paik, went the opposite direction, performing bizarre actions within their roles. And certain elements of the set, such as goldfish swimming in a bowl hanging from the ceiling, contributed to this contrast between the mundane and the absurd. Stockhausen added another layer of irony to the title by basing Originale on his previous work, Kontakte, rather than composing new music for the piece. So, at the beginning of Originale, we see a pianist and a percussionist (playing themselves, of course) performing Kontakte. However, there is a film camera and a tape recorder present, as well as a stage manager shouting instructions over the music. After a few minutes, the players stop and the tape of their performance is heard, along with the recorded shouts of the stage manager. Thus we see a pianist and percussionist, recording and filming themselves playing a composition which itself contains prerecorded sounds - performances within performances, by "originals" playing themselves. The premiere of the work in Cologne in autumn 1961 was a success for the participants and a scandal for the organizers, who pulled funding two days into the twelve-day run, forcing composer and company to take financial responsibility for the rest of the run.
No more?
Every day soclassiq looks for new articles, videos, concerts and so on about classical music and opera, their artists, venues, orchestras...
Stop, Op. 18 ? We have not gathered a lot of content on this topic yet but we continue to search.
or
- The greatest works for orchestra
- Essential works: modern & contemporary era
- Indexes (by alphabetical order): S...