Stockhausen's Spaceship

[Uatu]

This is something I started before I left for the Stockhausen Courses, and have added some photos of electronic devices.  I would love a coffee table book of vintage electronic gizmos....

Stockhausen on Electronic Music / WDR Studio Tour
http://stockhausenspace.blogspot.com/2015/08/stockhausen-on-electronic-music-wdr.html

[Uatu]

No. 36: ALPHABET for Liège,
13 Musical Scenes for soloists and duets
(with electro-acoustic equipment)
1972 (~4 hours)

No. 36 1/2: AM HIMMEL WANDRE ICH
(In the Sky I am Walking)
Indianerlieder (American Indian songs) for 2 voices
1972 (51:30)


http://stockhausenspace.blogspot.com/2015/08/alphabet-for-liege-am-himmel-wandre-ich.html

[Uatu]

No.1/2: PUNKTE (POINTS)
for orchestra (including 2 pianos and 2 harps)
1952 version (8:20)
1962, 1964, 1966, 1993 versions (approx. 27:00)
http://stockhausenspace.blogspot.com/2015/08/punkte.html
I never really looked very closely at this one until now,  but after studying it a bit I see why Stockhausen was so fond of it.  An unheralded masterpiece.

[James]

musica viva's Stockhausen Festival, featuring the Symphonieorchester des Bayerischen Rundfunks (BRSO), Peter Eötvös, Pierre-Laurent Aimard, Tamara Stefanovich, Dirk Rothbrust, Kathinka Pasveer, Paul Jeukendrup, Marco Stroppa and the Bavarian Landesjugendorchester (BLJO). October 21-25, 2015. 7 Events. Works include Piano Pieces I-IV, V-X, XI, Zyklus, Kontakte, Hymnen Region with Orchestra, Mantra, Hymnen electronic & concrete music (all 4 regions).

http://www.br-musica-viva.com/veranstaltungen/stockhausen-festival/

[James]

2 new editions are out ..

http://www.stockhausencds.com/Stockhausen_Edition_CD105.htm

IN FREUNDSCHAFT / IN FRIENDSHIP for oboe
LINKER AUGENTANZ / LEFT-EYE-DANCE for saxophones, a percussionist, a synthesizer player
TAURUS for bassoon
TAURUS-QUINTETT / TAURUS-QUINTET for tuba, trumpet, bassoon, horn, trombone
KAMEL-TANZ / CAMEL-DANCE for bass, trombone, synthesizer
ROTARY-Bläserquintett / ROTARY Woodwind Quintet

http://www.stockhausencds.com/Stockhausen_Edition_CD106.htm

MIXTUR 2003 for orchestra
(5 instrumental groups, 4 sine-wave generator players, 4 sound mixers with 4 ring modulators,
sound projectionist)) Forward Version – Backward Version

[Uatu]

2 new editions are out ..

http://www.stockhausencds.com/Stockhausen_Edition_CD105.htm

IN FREUNDSCHAFT / IN FRIENDSHIP for oboe
LINKER AUGENTANZ / LEFT-EYE-DANCE for saxophones, a percussionist, a synthesizer player
TAURUS for bassoon
TAURUS-QUINTETT / TAURUS-QUINTET for tuba, trumpet, bassoon, horn, trombone
KAMEL-TANZ / CAMEL-DANCE for bass, trombone, synthesizer
ROTARY-Bläserquintett / ROTARY Woodwind Quintet

http://www.stockhausencds.com/Stockhausen_Edition_CD106.htm

MIXTUR 2003 for orchestra
(5 instrumental groups, 4 sine-wave generator players, 4 sound mixers with 4 ring modulators,
sound projectionist)) Forward Version – Backward Version

Time for Celebration!!

[Uatu]

In honor of Stockhausen's birthday:
MICHAELION (featuring a talking camel with shortwave radio communicating with a chorus armed with whistles, bells, noise makers and a Casio PT-88)....

Nr. 70: MICHAELION
for choir (w misc. whistles, noise-makers, toys), bass vocal soloist (with short-wave radio), flute, basset-horn, trumpet, trombone, synthesizer, tape, 2 dancers in a camel suit
4th Scene of MITTWOCH AUS LICHT (WEDNESDAY FROM LIGHT)
(1997)  [ca. 60']

Also:
Extract 1: THINKI for flute (~4:30)
Extract 2: BASSETSU for basset-horn (~5:30)
Extract 3: BASSETSU-TRIO for basset-horn, trumpet, trombone (~26:00)
Extract 4: "MENSCHEN, HÖRT" (MANKIND, HEAR) for vocal sextet (2 S, A, T, 2 B) (~16:00)
Extract 5: KAMEL-TANZ (CAMEL-DANCE) for bass, trombone, synthesizer/tape, 2 dancers (~5:00)
Nr. 70 1/2: ROTARY Woodwind Quintet (~8:00)
("What happens at the MICHAELION, stays at the MICHAELION...")

http://stockhausenspace.blogspot.com/2015/08/michaelion.html

[CRCulver]

http://www.stockhausencds.com/Stockhausen_Edition_CD106.htm

MIXTUR 2003 for orchestra
(5 instrumental groups, 4 sine-wave generator players, 4 sound mixers with 4 ring modulators,
sound projectionist)) Forward Version – Backward Version[/size][/font]

Is this the same 2008 recording (Symphonieorchester des Bayerischen Rundfunks cond. Lucas Vis) that was released on Neos some years back?

[James]

Is this the same 2008 recording (Symphonieorchester des Bayerischen Rundfunks cond. Lucas Vis) that was released on Neos some years back?

its received quite a few performances since that one, but who knows .. I'll send an email to the official site seeking an answer.

[James]

I just received an answer Chris .. see below

Dear James,

no it is the mix I just made of multichannel recordings of the dress rehearsal and concert of the world premiere in Salzburg, with Wolfgang Lischke conducting and Stockhausen doing all the corrections. It is an amazing document! (and much better then the recording you mention...).

Mit herzlichem Gruß
Kathinka Pasveer
Stockhausen-Stiftung für Musik
51515 Kürten

[Uatu]

I have the Vis recording (which is good), but I heard this new mix of the world premiere at the Stockhausen Courses last month and I can attest that it is dramatically better than any version thus far released.  One of the problems with the previous version was that the orchestral parts were recorded with a roomier sound, and so the ring modulation was not very efficient.  In this recording however, the instruments were recorded better and are very clearly transformed in a harmonically pleasant way.  Also there are some additional fermatas in between the "moments", which make the sections clearer when following the structure. 

[ritter]

I have the Vis recording (which is good), but I heard this new mix of the world premiere at the Stockhausen Courses last month and I can attest that it is dramatically better than any version thus far released.  One of the problems with the previous version was that the orchestral parts were recorded with a roomier sound, and so the ring modulation was not very efficient.  In this recording however, the instruments were recorded better and are very clearly transformed in a harmonically pleasant way.  Also there are some additional fermatas in between the "moments", which make the sections clearer when following the structure.

Good to know this, Uatu!. Because, really, one would hardly expect Frau Pasveer to say "the Neos recording is much bettre than ours" 

Mixtur is a work I still need to explore; there was a falling out between Boulez and Stockhausen about it (which makes it even more intriguing to me). Since the Neos version is prohibitevely expensive (included in a set with a very varied--too varied?--program), this new release is clearly the way to go.

Regards,

[James]

Mixtur is a work I still need to explore; there was a falling out between Boulez and Stockhausen about it (which makes it even more intriguing to me).

why would that make it more intriguing to you? that's pretty fucked up.

[ritter]

why would that make it more intriguing to you? that's pretty fucked up.

I will not dignify a question made in such hostile terms with an answer, James. I suggest you look at yourself in a mirror before calling others "fucked-up". I have henceforth  no interest in discussing anything with you. A pity that someone with whom I share some musical interests has to be so ill-mannered.

[James]

I will not dignify a question made in such hostile terms with an answer, James. Look yourself in a mirror before calling others "fucked-up". I have henceforth  no interest in discussing anything with. A pity that someone with whom I share some musical interests has to be so ill-mannered.

oh for chrissakes .. nevermind then.

[James]

Audio Broadcast (PBS's Sound Barrier) on KS with interviews with Suzee & Kathinka   ..

Part 1: http://pbsfm.org.au/taxonomy/term/658/2015-08-20

Part 2: http://pbsfm.org.au/taxonomy/term/658/2015-08-27

[Uatu]

No. 28: Dr. K-SEXTETT
for flute, bass clarinet, percussion (tubular bells & vibraphone), piano, viola and cello
1968/1969 [2:32 - 3:36]

Something of a Stockhausen "bagatelle", where a synchronous downbeat disintegrates, and then re-forms into a secondary downbeat.  I think it's also a commentary on sloppy playing, but I could be wrong....
http://stockhausenspace.blogspot.com/2015/08/dr-k-sextett.html

[Uatu]

Nr. 45: JUBILÄUM (JUBILEE)
for orchestra
(1977, rev. 1980) [approx. 15 min.]

     "This genesis of this work reminds me of the development of a few of Beethoven's overtures, such as "The Ruins of Athens" (Op. 113), "Consecration of the House" (Op. 124), and "King Stephen" (Op. 117).   Like those works, this was also created to commemorate the inauguration of a new theater.  Also, like those works, this work is probably not that well-known, though it actually has a very "accessible" form and texture.

     It feels like this was sketched out fairly quickly, but Stockhausen has orchestrated it with a high level of craftsmanship, and the textures are always changing (beyond the simplified descriptions above).  The 3 sections in between the 2 sound windows are very interesting in that, by that point, all 4 layers are at their closest tempo-wise, and a greater sense of orchestral polyphony can be heard.  In other words, at the beginning and just before the coda, the texture is something like a prominent chord harmony surrounded by fluttering textures.  In the central section, the fluttering textures have slowed down enough so that they have themselves almost become recognizable as chord harmonies.  The 1980 additional solo parts are also very welcome, but it would be very interesting to hear the original version without them as well...

     The general feeling I get listening to this orchestral work is one of epic wonder, like discovering an ancient ruin in the forest.  The fleeting ritornelli are kind of like wisps of wind, or maybe birds flying around in the forest.  The final refrain in the coda is quite a fanfare, and if this were used as part of a procession, I can imagine them reaching the throne at that point.  This, along with the "İ(k)" moment of MOMENTE, makes JUBILÄUM one of Stockhausen's most evocative pieces."



http://stockhausenspace.blogspot.com/2015/09/jubilaum.html

[chadfeldheimer]

Nr. 45: JUBILÄUM (JUBILEE)
for orchestra
(1977, rev. 1980) [approx. 15 min.]

     "This genesis of this work reminds me of the development of a few of Beethoven's overtures, such as "The Ruins of Athens" (Op. 113), "Consecration of the House" (Op. 124), and "King Stephen" (Op. 117).   Like those works, this was also created to commemorate the inauguration of a new theater.  Also, like those works, this work is probably not that well-known, though it actually has a very "accessible" form and texture.

     It feels like this was sketched out fairly quickly, but Stockhausen has orchestrated it with a high level of craftsmanship, and the textures are always changing (beyond the simplified descriptions above).  The 3 sections in between the 2 sound windows are very interesting in that, by that point, all 4 layers are at their closest tempo-wise, and a greater sense of orchestral polyphony can be heard.  In other words, at the beginning and just before the coda, the texture is something like a prominent chord harmony surrounded by fluttering textures.  In the central section, the fluttering textures have slowed down enough so that they have themselves almost become recognizable as chord harmonies.  The 1980 additional solo parts are also very welcome, but it would be very interesting to hear the original version without them as well...

     The general feeling I get listening to this orchestral work is one of epic wonder, like discovering an ancient ruin in the forest.  The fleeting ritornelli are kind of like wisps of wind, or maybe birds flying around in the forest.  The final refrain in the coda is quite a fanfare, and if this were used as part of a procession, I can imagine them reaching the throne at that point.  This, along with the "İ(k)" moment of MOMENTE, makes JUBILÄUM one of Stockhausen's most evocative pieces."



http://stockhausenspace.blogspot.com/2015/09/jubilaum.html

Nice article! I've always been curious about that piece, because I like all orchestral works Stockhausen composed during the seventies and early eighties (like Trans, Inori and Luzifers Tanz) and that I know very much. Your article made me even more curious. Would love to hear a bit more from that piece than the short snippet on stockhausencds.com.

[Uatu]

Nice article! I've always been curious about that piece, because I like all orchestral works Stockhausen composed during the seventies and early eighties (like Trans, Inori and Luzifers Tanz) and that I know very much. Your article made me even more curious. Would love to hear a bit more from that piece than the short snippet on stockhausencds.com.

Thanks!  Yeah, I definitely hear alot of Trans and Inori, that's for sure!  There's 1 element that's a bit like Luzifers Tanz as well, which I didn't really mention on my blog: there's this rising/falling "wind" scale that is kind of like the Lucifers Tanz repeating loops.  Much higher above that is this 15-note high sparkling thing, which gets really loud and fast near the end, and sounds like a wind tunnel sort of.  It's not one of his most "deep" pieces (working on Momente now, which is almost too deep...), but it's really enjoyable and evocative.