Karlheinz Stockhausen Sonntag aus Licht, Opp. 75-80 Vidéos
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2024-04-25
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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•••)
Oper Köln Karlheinz Stockhausen Kathinka Pasveer Peter Rundel 2011
Karlheinz Stockhausen SONNTAG AUS LICHT - TEIL 1 + 2 Musikalische Leitung Kathinka Pasveer & Peter Rundel / szenisches Konzept Roland Olbeter & Carlus Padrissa (La Fura dels Baus) & Franc Aleu / Inszenierung Carlus Padrissa (La Fura dels Baus) / Bühne Roland Olbeter / Video Franc Aleu / Kostüme Chu Uroz / Dramaturgie Dr. Thomas Ulrich / Licht Andreas Grüter / Klangregie Paul Jeukendrup & Kathinka Pasveer / Ton Igor Kavulek / Choreografie Athol Farmer Probeneindrücke vom 22. März 2011
Oper Köln Karlheinz Stockhausen Kathinka Pasveer Peter Rundel
Oper von Karlheinz Stockhausen Uraufführung am 09. und 10. April Staatenhaus Musikalische Leitung: Kathinka Pasveer & Peter Rundel Szenisches Konzept: Roland Olbeter & Carlus Padrissa (La Fura dels Baus) & Franc Aleu Inszenierung: Carlus Padrissa (La Fura dels Baus) Bühne: Roland Olbeter Video: Franc Aleu Kostüme: Chu Uroz Dramaturgie: Dr. Thomas Ulrich Licht: Andreas Grüter Klangregie: Paul Jeukendrup & Kathinka Pasveer Ton: Igor Kavulek Choreografie: Athol Farmer theater.tv
Fryderyk Chopin Piotr Paleczny Karol Szymanowski Wojciech Świtała Robert Schumann Messiaen Bartók Crumb Ligeti Schönberg Górecki Stockhausen 2003 2010 2011 2013 2018
Sunday Chopin Recitals are an opportunity to listen to pianists participating in the Chopin Institute’s Programme for the Promotion of the Young Talents, academics, and winners of Polish and international Chopin competitions. The 30-minute piano concerts are held at 5pm and 6pm on each Sunday. The recital at 5pm is additionally streamed live on Facebook and YouTube channels of the Chopin Institute. Aleksandra Świgut Born in Nowy Sącz, she studied with Piotr Paleczny at the Fryderyk Chopin University of Music in Warsaw (2011–2013). She is a graduate of the Karol Szymanowski Academy of Music in Katowice, where she was taught by Wojciech Świtała and Maria Szwajger-Kułakowska, and is now pursuing doctoral studies at Gdańsk Music Academy. She has also studied fortepiano with Katarzyna Drogosz at Katowice Music Academy and with David Dolan at the Guildhall School of Music and Drama in London. She has won prizes in numerous competitions, including the Ettlingen International Piano Competition (second prize), New Orleans Piano Competition (second prize), Enschede International Piano Competition (second prize and a special prize) and the 47th All-Poland Fryderyk Chopin Piano Competition (second prize and the special prize for the best performance of a solo work by Robert Schumann). Her interests cover both historical performance and also music of the twentieth and twenty-first centuries. Besides music from the Baroque, Classical and Romantic eras, her repertoire also includes works by Messiaen, Bartók, Crumb, Ligeti, Schönberg, Górecki and Stockhausen. She has been awarded scholarships by the Polish Ministry of Culture, the ‘Sapere Auso’ Scholarship Foundation of Lesser Poland and the Jütting Foundation of Germany, as well as the Franciszek Wybrańczyk Artistic Scholarship. Fryderyk Chopin: Nocturne in C sharp minor Op. 27 No. 1 Barcarolle in F sharp major Op. 60 Etude in A flat major Op. 10 No. 10 Etude in C minor Op. 10 No. 12 Mazurka in C minor Op. 30 No. 1 Mazurka in B minor Op. 30 No. 2 Mazurka in D flat major Op. 30 No. 3 Mazurka in C sharp minor Op. 30 No. 4 .......... Niedzielne Recitale Chopinowskie stanowią okazję do wysłuchania występów pianistów objętych Programem Promocji Młodych Talentów Instytutu, asystentów i profesorów akademickich, a także laureatów polskich i międzynarodowych konkursów chopinowskich. 30-minutowe koncerty fortepianowe odbywają się w każdą niedziele o g. 17:00 i 18:00. Recital o g. 17:00 transmitowany jest dodatkowo na kanale YouTube oraz na Facebooku Narodowego Instytutu Fryderyka Chopina. Aleksandra Świgut Pianistka, absolwentka i pedagog Uniwersytetu Muzycznego Fryderyka Chopina w Warszawie, laureatka I Międzynarodowego Konkursu Chopinowskiego na Instrumentach Historycznych w Warszawie (2018). Studiowała w UMFC w klasie Piotra Palecznego, Akademii Muzycznej w Katowicach w klasie Wojciecha Świtały i Marii Szwajger-Kułakowskiej, a także Guildhall School of Music w Londynie w klasie Davida Dolana. Doktorantka w Akademii Muzycznej w Gdańsku (u Waldemara Wojtala). Zdobywała doświadczenie na fortepianie historycznym pod kierunkiem Katarzyny Drogosz. Uzyskała także dyplom w klasie klawesynu Małgorzaty Sarbak. Była wielokrotnie nagradzana na konkursach pianistycznych m.in. w Ettlingen, Enschede, Nowym Orleanie oraz Ogólnopolskim Konkursie Chopinowskim w Warszawie. Brała udział w festiwalach w Nohant, Paryżu, Dusznikach-Zdroju Wielkanocnym Festiwalu Beethovenowskim, ”Chopin i jego Europa”. Uczestniczyła w kursach mistrzowskich m.in. w Hamamatsu, La Châtre, Opactwie Royaumount (stypendium tamtejszej fundacji), Lipsku, Radziejowicach, Dusznikach Zdroju, Warszawie. Stypendystka Krajowego Funduszu na Rzecz Dzieci (2003–2010), który aktualnie wspiera jej działalność pedagogiczną. Wielokrotna stypendystka Ministerstwa Kultury, Fundacji im. Franciszka Wybrańczyka, niemieckiej Fundacji Jutting. Fryderyk Chopin: Nokturn cis-moll op. 27 nr 1 Barkarola Fis-dur op. 60 Etiuda As-dur op. 10 nr 10 Etiuda c-moll op. 10 nr 12 Mazurek c-moll op. 30 nr 1 Mazurek h-moll op. 30 nr 2 Mazurek Des-dur op. 30 nr 3 Mazurek cis-moll op. 30 nr 4
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