Karlheinz Stockhausen Viernes de Luz, Opp. 62-64 Vídeos
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Karlheinz Stockhausen Basset Kathinka Pasveer Suzanne Stephens Stephens Pierre Laurent Aimard Kertész 1628 1987
Karlheinz Stockhausen - Evas Zweitgeburt (Eve's second birthgiving), Nr. 57 (1987) Act 2 of the opera Montag aus Licht (Monday from Light) Scored for 7 solo boy singers, basset-horn, 3 basset-teases (2 basset-horns and 1 vocal basset-horn), piano, choir (tape or live), and on stage: 21 actresses, girls' choir, modern orchestra (3 synth. players, 1 perc., tape) Children's Choir of Radio Budapest (Janos Remenyi, choir master) Zaans Kantatekoor (Jan Pasveer, choir master) Coeur de Basset (basset horn) - Suzanne Stephens Budgerigar (piano) - Pierre-Laurent Aimard Monday Boy (soprano) - Gabriella Vakarcs Tuesday Boy (soprano) - Attila Kudor Wednesday Boy (soprano) - Patrik Pulinka Thursday Boy (soprano) - Borbála Györi Friday Boy (soprano) - Agnes Pintér Saturday Boy (soprano) - Péter Kertész Sunday Boy (soprano) - Gergely Hutás Bassettinen (2 basset horns and soprano) - Rumi Sota, Nele Langrehr, Kathinka Pasveer Scene 1: Mädchenprozession - 0:00 In the Girls' Procession, a choir of young girls, wearing dresses shaped like lilies, ceremonially enters bearing candles. The sea is now frozen, and women are hacking blocks of ice with axes, and melting the ice in cauldrons. The idea came from a ritual Stockhausen witnessed in Japan, in a valley near Kyoto, in which girls were carrying small lamps in a procession to a temple. This type of ceremony, with processions of torches, candles, or other forms of fire, is found as a fertility rite in many world traditions, such as the Egyptian Feast of Lamps for Osiris, the Greek and Roman rites of Hecate and Diana, respectively, and later in the Christian festival of torches on 15 August in honor of the Virgin Mary. Scene 2: Befruchtung mit Klavierstück - 10:13 Conception with Piano Piece. The women and girls call for a grand piano played by a budgerigar to inseminate the Eve statue for a second birth. The budgerigar plays Klavierstück XIV. Scene 3: Wiedergeburt - 16:28 Rebirth. To the singing of American Indian children, the piano is quickly pulled away and the statue's womb begins to glow, green and red, like a nativity scene. The sunlight returns, and seven boys are born, one for each weekday. Eve's Song is essentially a concerto for basset horn and synthesizers, against a background of the continuing boys' and girls' choirs from the preceding scenes, and trombones.[16] It consists of a succession of four situations: Scene 4a: Evas Lied - Cœur de Basset - 22:09 Cœur de Basset emerges from the breast of the statue, playing a basset horn. The women melt large chunks of ice in steaming vats. With glass laboratory equipment, they condense the steam into water. Scene 4b: Evas Lied - In Wochenkreis - 25:53 Cycle of the Week, Cœur de Basset teaches each of the boys the song of his weekday. Scene 4c: Evas Lied - Basset-Teases - 43:14 The women put the water they have collected into watering cans and sprinkle the earth with it. Cœur de Basset divides into multiple basset-horn players, Busi, Busa, and Muschi. A transparent Eve figure emerges from the statue and floats toward the boys. Scene 4d: Evas Lied - Initiation - 52:45 Cœur, Busi, Busa, and Muschi begin a dance, confusing and infatuating the boys. A distant thunderstorm is heard, and a boy calls, "Turn off the lights!" The lights go out. (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•••)
Karlheinz Stockhausen Kathinka Pasveer Dauer Atari Holland Festival 1991 1992 1994 1995
PLEASE SUPPORT THE ARTIST. You can order this music on (http•••) Thank you! FREITAG aus LICHT Oper in einem Gruß, zwei Akten und Abschied +••.••(...)) Freitags-Gruss Elektronische Musik 8-Spur-Projektion in Foyer und Saal. Die ELEKTRONISCHE MUSIK mit TONSZENEN wurde 1992 und 1994 im Studio für Elektronische Musik des WDR Köln realisiert. Karlheinz Stockhausen (Realisation und Baß-Stimme) Simon Stockhausen (Synthesizer, Sampler) Kathinka Pasveer (Sporan-Stimme) Volker Müller (Toningenieur) Getrud Melcher (Tontechnikerin) Die Elektronische Musik ohne Tonszenen kann auch für sich allein durchgehend mit einer Dauer von 145 Min. - oder in zwei Teilen mit einer Pause / 8-spurig projiziert werden. Sie heißt dann WELTRAUM. Am 17. Juni 1995 wurde WELTRAUM beim Holland Festival als eine Veranstaltung vom Ijsbreker im Planetarium von Amsterdam uraufgeführt. Am 18. Juni folgte eine zweite Aufführung. Zur 8-kanaligen Wiedergabe der Elektronischen Musik ließ Stockhausen das Sternenzelt Amsterdams mit der langsamsten Rotation von einer Umdrehung pro 12 Minuten projizieren. Im Zusammenhang mit einer integralen Aufführung vom FREITAG aus LICHT wird die Elektronische Musik (ohne Tonszenen) in zwei Teilen als FREITAGS-GRUSS und FREITAGS-ABSCHIED vor und nach den beiden Akten im Foyer 8-spurig wiedergegeben, der GRUSS auch im Saal. Bei der Produktion wurden alle klangerzeugenden Synthesizer, Module, Sampler vom ATARI Computer 1040 ST mit Unitor-Hardware und Notator-Software von C-LAB über MIDI angesteuert.
Ojai Music Festival Schick Iannis Xenakis Karlheinz Stockhausen Kaija Saariaho David Lang Liang Vinko Globokar 2015
Part II: Presenting Steven Schick Steven Schick, solo percussion IANNIS XENAKIS: Rebonds KARLHEINZ STOCKHAUSEN: Zyklus KAIJA SAARIAHO: Six Japanese Gardens DAVID LANG: The Anvil Chorus LEI LIANG: Trans VINKO GLOBOKAR: ?Corporel XENAKIS: Psappha Steven Schick presents a tour de force of solo percussion: pioneering works by Stockhausen, Xenakis, and Globokar along with pieces by today’s claimants to their bold legacies. Streamed live from the 2015 Ojai Music Festival.
Johannes Brahms Robert Schumann Clara Schumann Johann Herbeck Julius Stockhausen Stockhausen Suter Weber Friedrich Hegar Carl Reinecke Wagner Franz Krückl Selig Tonhalle Orchester Zürich Gewandhaus
Johannes Brahms - A German Requiem Op. 45 A German Requiem, to Words of the Holy Scriptures, Op. 45 (German: Ein deutsches Requiem, nach Worten der heiligen Schrift) by Johannes Brahms, is a large-scale work for chorus, orchestra, a soprano and a baritone soloist, composed between 1865 and 1868. It comprises seven movements, which together last 65 to 80 minutes, making this work Brahms's longest composition. A German Requiem is sacred but non-liturgical, and unlike a long tradition of the Latin Requiem, A German Requiem, as its title states, is a Requiem in the German language. Brahms's mother died in February 1865, a loss that caused him much grief and may well have inspired Ein deutsches Requiem. Brahms's lingering feelings over Robert Schumann's death in July 1856 may also have been a motivation, though his reticence about such matters makes this uncertain. His original conception was for a work of six movements; according to their eventual places in the final version, these were movements I–IV and VI–VII. By the end of April 1865, Brahms had completed the first, second, and fourth movements. The second movement used some previously abandoned musical material written in 1854, the year of Schumann's mental collapse and attempted suicide, and of Brahms's move to Düsseldorf to assist Clara Schumann and her young children. Brahms completed all but what is now the fifth movement by August 1866. Johann Herbeck conducted the first three movements in Vienna on 1 December 1867. This partial premiere went poorly due to a misunderstanding in the timpanist's score. Sections marked as pf were played as f or ff, essentially drowning out the rest of the ensemble in the fugal section of the third movement. The first performance of the six movements premiered in the Bremen Cathedral six months later on Good Friday, 10 April 1868, with Brahms conducting and Julius Stockhausen as the baritone soloist. The performance was a great success and marked a turning point in Brahms's career. In May 1868 Brahms composed an additional movement, which became the fifth movement within the final work. The new movement, which was scored for soprano soloist and choir, was first sung in Zürich on 12 September 1868 by Ida Suter-Weber, with Friedrich Hegar conducting the Tonhalle Orchester Zürich. The final, seven-movement version of A German Requiem was premiered in Leipzig on 18 February 1869 with Carl Reinecke conducting the Gewandhaus Orchestra and Chorus, and soloists Emilie Bellingrath-Wagner and Franz Krückl. 1. Coros: "Selig sind, die da Leid tragen" - Ziemlich langsam und mit Ausdruck - Bastante lento e com expressão 12:21 2. Coros: "Denn alles Fleisch, es ist wie Gras" - Langsam, marshmassig - Un poco sostenuto - Allegro non troppo 16:06 3. Solo (barítono) e coros - "Herr, lehre doch mich" - Andante moderato 10:22 4. Coros: "Wie lieblich sind Deine Wohnungen" - Massig bewegt - Moderadamente rápido 5:15 5. Solo (soprano) e coros - "Ihr habt nun Traurigkeit" - Langsam - Lento 8:29 6. Solo (barítono) e coros - "Denn wir haben hie keine bleibende Statt" - Andante - Vivace - Allegro 11:03 7. Coros: "Selig sind die Toten, die in dem Herren sterben" - Feierlich - Solemne 12:14 For more: (http•••) #MusicHistory #ClassicalMusic #Brahms
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