Stockhausen's Spaceship

Started by Cato, September 21, 2007, 06:24:19 AM

Previous topic - Next topic

0 Members and 2 Guests are viewing this topic.

chadfeldheimer

Quote from: Uatu on September 21, 2014, 11:52:00 AM
Ring modulated Orchestra

MIXTUR

http://stockhausenspace.blogspot.com/2014/09/opus-16-mixtur.html


     The very first time I heard MIXTUR I actually thought there was something wrong with the record.  It really sounded to me like the vinyl grooves had deteriorated in some way.  Over time I got used to it and became very fascinated by the new textures obtained from the ring-modulated instrumental groups.  However I personally feel the effect works better in the later piano pieces, such as in MANTRA or MICHAEL's REISE.  Somehow the timbral complexity of the orchestral instruments almost makes the additional ring modulated sounds almost too complex for me.  However what I probably enjoy even more than the ring modulation is the orchestral writing itself.  In fact I think MIXTUR could stand perfectly well on its own even without the electronics.  Stockhausen uses a real smorgasbord of textural composition techniques to get these 20 Moments to sound independent and have their own identity.  In fact I may like this collection of Moments even more than the primary "moment form" work, MOMENTE.  In any case, there are many depths to plumb in this piece.
I agree - Mixtur really is really deep and somewhat underrated within Stockhausens oeuvre. I also like the raw energy of it, which reminds me a bit of Kagel's piece "der Schall" and also a bit of free jazz (however with much more structure) .

bhodges

This concert, which I attended last April, is now online at the link below. AXIOM is one of Juilliard's contemporary music ensembles (excellent) and Milarsky is one of the best conductors of this repertoire.

http://www.wqxr.org/#!/story/axiom-delivers-stockhausen-and-boulez-finish-2013-2014-series/

AXIOM
Jeffrey Milarsky, conductor

Stockhausen: Funf Sternzeichen (Five Star Signs)
Stockhausen: Refrain
Boulez: Dérive 2

--Bruce

Uatu

Quote from: Brewski on September 23, 2014, 09:53:19 AM
This concert, which I attended last April, is now online at the link below. AXIOM is one of Juilliard's contemporary music ensembles (excellent) and Milarsky is one of the best conductors of this repertoire.

http://www.wqxr.org/#!/story/axiom-delivers-stockhausen-and-boulez-finish-2013-2014-series/

AXIOM
Jeffrey Milarsky, conductor

Stockhausen: Funf Sternzeichen (Five Star Signs)
Stockhausen: Refrain
Boulez: Dérive 2

--Bruce

Thanks!!  I totally missed this concert and after I heard how good it was I kicked myself.  So happy I can hear it now.  These orchestral arrangements of Tierkreis are great.

Uatu

Slow day at the office...sooo

ZYKLUS (Cycles) for solo percussionist

http://stockhausenspace.blogspot.com/2014/09/opus-9-zyklus.html

First time I looked at this score it looked like the most bizarre (and beautiful) score I'd ever seen.  Now that I've studied it, it all seems very logical!

Karl Henning

Aye, perhaps . . . too logical?  ;)
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Uatu


Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Uatu


Uatu

On a roll...

SOLO for 1 Melody Instrumentalist with Looping Feedback System
1966 (10-20')

http://stockhausenspace.blogspot.com/2014/09/opus-19-solo.html


I think this was the first tape loop system for a live performer, tho Reich had used tape loops for tape pieces before 1966.  There's alot of aleatory/indeterminate material here, and I generally dislike that stuff (too much trust placed in the performer), but I guess if you put it through lots of looping operations it's ok....

Uatu


Uatu

Which performer do you like?  I'm really enjoying the Michele Marelli on bassett horn.

Mandryka

Is there an online discussion of the Natürliche Dauern anywhere - somewhere which discusses what's being explored in each piece?

Also, did anyone try the other recording yet, the one by Udo Falkner?
Wovon man nicht sprechen kann, darüber muss man schweigen

Uatu

Quote from: Mandryka on September 26, 2014, 12:55:04 PM
Is there an online discussion of the Natürliche Dauern anywhere - somewhere which discusses what's being explored in each piece?

I'd be curious to know more about these as well.  I don't have the Stockhausen Ed. CD so I don't know if it has notes about the details.  Anyone have it?

Mandryka

Quote from: Uatu on September 26, 2014, 04:10:05 PM
I'd be curious to know more about these as well.  I don't have the Stockhausen Ed. CD so I don't know if it has notes about the details.  Anyone have it?

I ripped the CD and didn't keep it, the notes are sparse if I remember right.
Wovon man nicht sprechen kann, darüber muss man schweigen

Uatu

A detailed synopsis to the first act from the opera DONNERSTAG aus LICHT.  Really brutal stuff. 

Opus 49 - MICHAELs JUGEND
http://stockhausenspace.blogspot.com/2014/09/opus-49-michaels-jugend.html

Stockhausen and family.

     KINDHEIT was probably the very first opera scene I'd ever tried to listen to (and not actively avoided).  Its poly-scenic, highly phonetic nature (in German, of course) did not immediately convert me into an ardent opera-lover (understandably I think).  In fact it was many years before I could really appreciate the work, and the lack of a video representation of this act of course makes the task that much harder (especially the 3rd Examination scene).  However, after learning of Stockhausen's own upbringing and reading an English translation of the libretto, it is now one of my favorite texts in all of LICHT.  The multi-layering of scenes is off-putting at first, but after repeated listening, the polyphony becomes much more meaningful.  It's probably one of the most meticulously staged parts of LICHT and every detail has a fascinating resonance.  It's also got to be one of the most brutal and gripping portrayals in opera of an imploding family during wartime.

Uatu

Thanks for the encouragement James.  I learn quite alot when writing and assembling these articles.  Usually I appreciate the music even more than before (but not before taking a little break from listening, since I'm usually sick of the piece by the time I publish a post!).

Kathinka mentioned that Stockhausen had hoped these operas could be filmed and disseminated as animated films like Disney's Fantasia one day.  You never know...especially now with 3d tv and surround sound!

Uatu

#956
PROZESSION

Stockhausen began to explore free improvisation with a vengeance from this point until MANTRA & INORI.

http://stockhausenspace.blogspot.com/2014/10/opus-23-prozession.html



The electronium and electrochord really rock on the 1971 recording.  Crazy outer space stuff, and in some ways more coherent without the shortwave stuff that was soon to come.

Uatu

Microtonal compositions for flute and bassett horn as well as tape-manipulated wind tracks. I really love the costume for this one as well.


Opus 55 - MONTAGs-GRUSS (and Xi)

http://stockhausenspace.blogspot.com/2014/10/opus-55-montags-gruss.html

Uatu

I'm about a quarter through all the Opus numbers so I still have quite a ways to go.  I'm sure I'll quit in the middle at some point and then come back to it later, that's how I tend to do my long-term projects.  Also I don't have every single score and recording, so those of course will be later...thanks!!

Uatu

Opus 59 - MONTAGs-ABSCHIED

http://stockhausenspace.blogspot.com/2014/10/opus-59-montags-abschied.html


Tape piece for speed-manipulated piccolo flute, soprano voice duo and bird samples
1986/1988 [28']