Stockhausen's Spaceship

[chadfeldheimer]

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.

Thanks that sound's really good to me even if it might not be deepest piece and deepness is one thing I really love at Stockhausen. Now I'm tempted to order the CD from stockhausencds.com, which also has the orchestral version of tierkreis on it, another rewarding piece to my first impression from listening to the youtube upload.
BTW. Did you hear Hochzeiten from Sunday from Light? If yes what's your impression of it? Musically it also reminds me a bit of Inori and Luzifers Tanz.

[Uatu]

Thanks that sound's really good to me even if it might not be deepest piece and deepness is one thing I really love at Stockhausen. Now I'm tempted to order the CD from stockhausencds.com, which also has the orchestral version of tierkreis on it, another rewarding piece to my first impression from listening to the youtube upload.
BTW. Did you hear Hochzeiten from Sunday from Light? If yes what's your impression of it? Musically it also reminds me a bit of Inori and Luzifers Tanz.

I've got Hoch-Zeiten, though haven't listened to it with "total attention" yet.  I've read Stockhausen's analysis of it and it has lots of details that aren't obvious (5 different languages, various patterns of rhythms, etc...).  On the surface it reminds me alot of Scelsi's "1-note" works, where the music kind of hovers around single pitches with lots of ornamentation.  I never really connected it with Inori or Lucifers Tanz, though I suppose I can see it somewhat, especially the 1st half of Inori (which I kind of suspect was also inspired by Scelsi).  Anyways, I actually bought the "study CDs" where each of the 5 orchestra groups are on separate tracks, since those are pretty cool little chamber structures in themselves.  I'll be writing about Hoch Zeiten soon enough...

[chadfeldheimer]

I've got Hoch-Zeiten, though haven't listened to it with "total attention" yet.  I've read Stockhausen's analysis of it and it has lots of details that aren't obvious (5 different languages, various patterns of rhythms, etc...).  On the surface it reminds me alot of Scelsi's "1-note" works, where the music kind of hovers around single pitches with lots of ornamentation.  I never really connected it with Inori or Lucifers Tanz, though I suppose I can see it somewhat, especially the 1st half of Inori (which I kind of suspect was also inspired by Scelsi).  Anyways, I actually bought the "study CDs" where each of the 5 orchestra groups are on separate tracks, since those are pretty cool little chamber structures in themselves.  I'll be writing about Hoch Zeiten soon enough...

Ok - thanks. I'guess the main reason because Hoch Zeiten reminds me of Luzifers Tanz or Inori is the polyphonic writing used in all of these works. That Scelsi connection is interesting, never recognized that. Looking forward to read your article about Hoch Zeiten when it is ready.

[Uatu]

MOMENTE (Moments)
for soprano soloist, 4 mixed choirs (with soloists) and 13 instrumentalists (4 tpt., 4 tbn., 2 el. organs or synth., perc. w tam-tam)
1962-1964, 1969 [1 hr. 53 min.]


Pt 1 - Concepts and Structure :
http://stockhausenspace.blogspot.com/2015/09/momente-pt-1-concepts-and-structure.html

This was (and is) a hard piece for me to get into totally.  The earlier recording on Nonesuch was never that enjoyable to me since it just seemed so chaotic with all the clapping at the beginning.  The 2nd recording on DG (and Stockhausen Edition) I like much more because it starts in a different section - very dramatic and rhythmic.  Who was it that said that the most important parts are the beginning and endings?  Definitely has a point.  In any case, this piece really opened up for me after analysing it and after getting used to the "noises".  Each Moment section is like a gem with a puzzle inside. 

[Uatu]

Stockhausen's first (and funniest opera) containing the unforgettable lines "For Heaven's sake, can't you let a person finish his phrase!" and "They nabbed him, Jesus Christ...he knew too much!".  The music is actually pretty awesome, too....

ATMEN GIBT DAS LEBEN (Breathing Gives Life)
Choir Opera with orchestra (live or tape)
1974/1977 (48-53 min.)

http://stockhausenspace.blogspot.com/2015/09/atmen-gibt-das-leben.html

[Uatu]

Updated with track info about the new Stockhausen CD with MIXTUR 2003...should be handy for people who picked up this recent disc and want to know where the breaks occur.  It's a fantastic-sounding disc, the ring-modulation is much richer than in any previous recording and the instruments are all nicely close-miked.
Stockhausen Edition CD 106: MIXTUR 2003
http://stockhausenspace.blogspot.com/2014/09/opus-16-mixtur.html

[James]

Updated with track info about the new Stockhausen CD with MIXTUR 2003...should be handy for people who picked up this recent disc and want to know where the breaks occur.  It's a fantastic-sounding disc, the ring-modulation is much richer than in any previous recording and the instruments are all nicely close-miked.

Stockhausen Edition CD 106: MIXTUR 2003 .. http://stockhausenspace.blogspot.com/2014/09/opus-16-mixtur.html;

The audio samples are up, and I have to agree ..
http://www.stockhausencds.com/Stockhausen_Edition_CD106.htm

This one sounds excellent too ..
http://www.stockhausencds.com/Stockhausen_Edition_CD105.htm

Stockhausen's label is easily one of my favorite (I own over 90% of the editions), the quality and care is remarkably high .. and it's such a definitive career statement overall.

[Uatu]

Another beautiful choral work from the latter-era Stockhausen...less "noisy" than MIKROPHONIE II, but in some ways much deeper and complex.
WELT-PARLAMENT (World Parliament)
for choir (a cappella)
1st Scene of MITTWOCH AUS LICHT (WEDNESDAY FROM LIGHT)
1995 (~40 min.)


WELT-PARLAMENT begins with an introductory entrance phase (cued by the President with a wooden gavel and bells) based on single note aleatoric (free, irregular) rhythms and clicking metronomes.  Following this is the main fabric of the work, a sequence of different lyric, rhythmic and dynamic combinations between 12 vocal groups (polyphonically-structured into 4 choral groups, SATB).  Occasionally, soloists step forward and have a brief exchange with the President (and sometimes a choral group).  Near the end of the main section, a janitor interrupts the proceedings in order to have someone move their car.  After the President leaves (it was his car), a Coloratura Soprano takes his role.  At the end, the vocal groups leave, again intoning on single pitches accompanied with metronomes.
More:
http://stockhausenspace.blogspot.com/2015/09/welt-parlament.html

[James]

Another beautiful choral work from the latter-era Stockhausen...less "noisy" than MIKROPHONIE II, but in some ways much deeper and complex.
WELT-PARLAMENT (World Parliament)
for choir (a cappella)
1st Scene of MITTWOCH AUS LICHT (WEDNESDAY FROM LIGHT)
1995 (~40 min.)


WELT-PARLAMENT begins with an introductory entrance phase (cued by the President with a wooden gavel and bells) based on single note aleatoric (free, irregular) rhythms and clicking metronomes.  Following this is the main fabric of the work, a sequence of different lyric, rhythmic and dynamic combinations between 12 vocal groups (polyphonically-structured into 4 choral groups, SATB).  Occasionally, soloists step forward and have a brief exchange with the President (and sometimes a choral group).  Near the end of the main section, a janitor interrupts the proceedings in order to have someone move their car.  After the President leaves (it was his car), a Coloratura Soprano takes his role.  At the end, the vocal groups leave, again intoning on single pitches accompanied with metronomes.
More:
http://stockhausenspace.blogspot.com/2015/09/welt-parlament.html

An amazing work, a LICHT highlight .. and the best thing in the Wednesday Opera.

[Uatu]

An amazing work, a LICHT highlight .. and the best thing in the Wednesday Opera.

I would not have agreed with you a year ago, but now...  I think I do.  I'm really fond of the Greeting and Farewell as well, sonicaly, at least, but the craftmanship of this work is really something to behold.

[James]

Despite earlier announcements that the tickets for the Basel performances of DONNERSTAG aus LICHT on 25 and 26 June would not be available until March 2016, they have just been put on sale yesterday. 25 June is already very heavily booked because that night was also part of the Basel Opera subscribers' package. But you should hurry for either night.

Here is the link: https://tba.shop.secutix.com/selection/event/date?productId=486736398

[Uatu]

Despite earlier announcements that the tickets for the Basel performances of DONNERSTAG aus LICHT on 25 and 26 June would not be available until March 2016, they have just been put on sale yesterday. 25 June is already very heavily booked because that night was also part of the Basel Opera subscribers' package. But you should hurry for either night.

Here is the link: https://tba.shop.secutix.com/selection/event/date?productId=486736398

I got tix for night 2 just a day before your post, but thanks anyways.  Exciting!  It will be my first Stockhausen opera.

[Uatu]

Part 2 of my overly-detailed rundown of MOMENTE for soprano, choir, brass, organ and percussion:
http://stockhausenspace.blogspot.com/2015/09/momente-pt-2-moments.html

[Uatu]

 Early Works for Voice and Choir
Nr. 1/11 CHÖRE FÜR DORIS (CHORUSES FOR DORIS) for a cappella choir (1950) [9'21"]
Nr. 1/10 DREI LIEDER (THREE SONGS) for alto voice and chamber orchestra  (1950)  [18'30" - 19'26"]
Nr. 1/9 CHORAL (CHORALE) for a cappella choir  (1950)  [4'05"]

http://stockhausenspace.blogspot.com/2015/10/early-works-for-voice-and-choir.html
     These works are a fascinating look at the road to Stockhausen's (first) mature style, which would take a decisive turn in KREUZSPIEL.  However, even besides their value as examples of early experiments, these works actually are very enjoyable to listen to, especially DREI LEIDER.  In all three works, Stockhausen used an organizational device (in this case pitch rows) to first create a melodic backbone, and then used musical intuition to fill in all of the other elements (rhythm, polyphony, structure, etc...).  This concept of "enlivening" a set structural element with personality-driven musical intuition was a technique which Stockhausen would continue to use for the rest of his life.

[chadfeldheimer]

Part 2 of my overly-detailed rundown of MOMENTE for soprano, choir, brass, organ and percussion:
http://stockhausenspace.blogspot.com/2015/09/momente-pt-2-moments.html

Great thanks - like you I still have some problems to really get a grip on that piece. I know it's great and I like it a lot but I still have the feeling that I did not get through to the core of it.

[Uatu]

Great thanks - like you I still have some problems to really get a grip on that piece. I know it's great and I like it a lot but I still have the feeling that I did not get through to the core of it.

Totally agree.  Even after going through it with the score and writing about it, I still like the IDEA better than the actual execution.  I think for me the problem is the actual instrumentation.  If the whole thing were done with electronics, or maybe as a string orchestra I think I would like it more.  The combination of voice, brass and percussion doesn't quite fit for this style of composition (for me at least).  That's why the "I" moments work the best for me, those are "free" compositions and don't have to follow the rules.

[chadfeldheimer]

Totally agree.  Even after going through it with the score and writing about it, I still like the IDEA better than the actual execution.  I think for me the problem is the actual instrumentation.  If the whole thing were done with electronics, or maybe as a string orchestra I think I would like it more.  The combination of voice, brass and percussion doesn't quite fit for this style of composition (for me at least).  That's why the "I" moments work the best for me, those are "free" compositions and don't have to follow the rules.

I agree - the instrumentation is a bit odd, even if it has for that reason a certain charme to it.

I remember reading some Stockhause Interview from the early 2000s, where he said he was still waiting for a successful performance of Momente, so the recordings on the Stockhausen-Verlag CD weren't successful in his opinion. Maybe that is also a reason, why it is so difficult to really make sense of the piece.

[Uatu]

ENGEL-PROZESSIONEN (Angel Processions)
for choir (a cappella)
(2000) ['40]

Stockhausen's beautiful, late-era choral work for 7 "Angel Choirs" who promenade through the audience while singing for 40 minutes (in 7 different languages).

http://stockhausenspace.blogspot.com/2015/10/engel-prozessionen.html

[James]

ENGEL-PROZESSIONEN (Angel Processions)
for choir (a cappella)
(2000) ['40]

Stockhausen's beautiful, late-era choral work for 7 "Angel Choirs" who promenade through the audience while singing for 40 minutes (in 7 different languages).

http://stockhausenspace.blogspot.com/2015/10/engel-prozessionen.html

Another mind-blowing composition .. and LICHT highlight. Sunday is my favorite of the cycle ..

[Uatu]

No. 42: HARLEKIN (Harlequin) for clarinet, 1975 [45']
No. 42 1/2 (42.2) - DER KLEINE HARLEKIN (The Little Harlequin) for clarinet, 1975 [9']

http://stockhausenspace.blogspot.com/2015/10/harlekin.html

I can only imagine the level of commitment required to deliver this 45-minute tour-de-force of solo wind playing and dancing! You have to hand it to Karlheinz, he never let his favorite performers off easy!