Stockhausen's Spaceship

[Uatu]

Early Wks:
SONATINE (SONATINA) for violin and piano 1951 [10'32"]
FORMEL (FORMULA) for orchestra including piano, vibraphone and harp 1951 [12'57"]
SPIEL (PLAY) for orchestra 1952 [16'01"]

These works briefly trace Stockhausen's development from a student writing classroom exercises (thinking more about poetry than music, actually) to a soon-to-be-published mature composer receiving commissions for major music festivals.   Beyond their historical importance, they are all actually pretty enjoyable to hear! In fact, I think they come across as being fairly forward-thinking even in today's musical climate... 
http://stockhausenspace.blogspot.com/2015/10/early-wks-sonatine-formel-spiel.html

[Uatu]

No. 21: ADIEU, for woodwind quintet (flute, oboe, clarinet, horn, bassoon), 1966 [16:13]

This is a beautiful chamber work with a very delightful "vibe" to it, despite the fact that it's a "farewell". Some of the held textures remind me of held organ mixtures, which may be in honor of the dedicatee's instrument. The pauses may be felt as interruptions of life, or perhaps as "moments of silence". Stockhausen notes: "The musicians must be able to experience deeply, and form into notes, the sense of closeness to death that vibrates in this music." However, the tonal cadence phrases provide a festive counterpoint, and the more lively sections throb with energy. Compositionally, the blending of systematic Fibonacci-based mathematics and "free-choice" aleatoric notation makes this piece very balanced, yet open to repeated reinvention.

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

Only 4 more to go...

[Uatu]

No. 33: FÜR KOMMENDE ZEITEN (For Times to Come) (1968-1970)
17 "intuitive music" text compositions
for electroacoustic ensemble or small ensemble



During a period of personal upheaval and crisis, Stockhausen wrote a set of texts, AUS DEN SIEBEN TAGEN, which are essentially verbal instructions which an ensemble (usually small) could use to embark on a kind of "textural" improvisation.  These works would tend to establish a kind of "vibratory environment" and then gradually develop into new ensemble landscapes.  Stockhausen called these improvisatory journeys "intuitive music", and sometimes inferred that instead of playing from a score, the performers would receive musical vibrations from each other and possibly from some kind of external (spiritual?) force.   FÜR KOMMENDE ZEITEN is basically a second collection of texts for use in creating intuitive music improvisations

http://stockhausenspace.blogspot.com/2015/11/fur-kommende-zeiten.html

[Uatu]

ZEITMASZE (Time-Measures)
for wind quintet (flute, oboe, English horn (cor anglais), clarinet, bassoon)
(1955-56)  [approx. 15 min.]

In this wind quintet, the players play in different tempos at the same time ("as fast as possible", "as slow as possible", speeding up",
etc...) and then somehow "meet up" at the other end.  Tricky stuff....must be a beast to play!

http://stockhausenspace.blogspot.com/2015/11/zeitmasze.html

[Uatu]

Nr. 79, HOCH-ZEITEN ("High-Times", or "Marriages") for choir and orchestra, (2001-2002) [2 x '35]
Nr. 80, SONNTAGS-ABSCHIED ("Sunday Farewell") for 5 Synthesizers, (2001, 2003) ['35]
     (also played as KLAVIERSTÜCK XIX for a solo synthesizer player and 5-channel tape)
Nr. 80 1/2, STRAHLEN ("Rays") for a percussionist and 10-channel recording, (2002-2010)  ['35]

http://stockhausenspace.blogspot.com/2015/11/hoch-zeiten-sonntags-abschied.html

I've found that there are two ways of listening to these works. The first is to listen to them as slowly modulating drone harmonies with ornamentation providing a "rough surface" (or perhaps "imperfections in the paper", from a Cage-ian perspective). This gives these works a kind of meditative, ritualistic feel, and the metal percussion signals reinforce this imagery.

The other way (and I think this may be the more intended way) is to concentrate on the ornamentation as a foreground layer on top of a static harmonic background. In this interpretation, the various articulations "speak" to each other, using the 5 languages applied to the 5 layers. Stockhausen also emphasizes that the figures and glissandi are "more important than the sustained tones...and should be played very clearly, slightly louder, and never casually or as ornaments." In any case, it's fascinating to compare and contrast these 4 arrangements of essentially the same melodic and harmonic material. Because of these versions, HOCH-ZEITEN becomes a true exploration of timbre and coloration, expressed vocally, instrumentally, electronically and electr-acoustically.

The Memories and Blend-ins of the choral and orchestral versions add an additional dimension as well. Naturally, these Memories become much more meaningful after one has become very familiar with all of the Scenes of the LICHT opera cycle, but even without the recognition factor, they provide a nice contrast to the tightly-focused structure of the main body. However, just as in DONNERSTAG AUS LICHT's last Scene, VISION (which features a brief revue of that opera's previous scenes), these reminiscences of operas past give the listener who has travelled through all 7 "Days" the strong feeling of an epic journey completed.

[James]

On disc .. I prefer the choral perspective of High Times, but this is something that has to be experienced live. Like most (highly spatial) Stockhausen .. compact disc is only scratching the surface of what the music really is, if that.

I like the Farewell and especially Rays. Immersive, mind-bending, ear stretching electronic/electro-acoustic stuff. There is a modern ballet of the former.

The final klavierstuck is long overdue with it's premiere & recording. Come on already!

[Uatu]

On disc .. I prefer the choral perspective of High Times, but this is something that has to be experienced live. Like most (highly spatial) Stockhausen .. compact disc is only scratching the surface of what the music really is, if that.

I like the Farewell and especially Rays. Immersive, mind-bending, ear stretching electronic/electro-acoustic stuff. There is a modern ballet of the former.

The final klavierstuck is long overdue with it's premiere & recording. Come on already!

Did you experience High Times live James?  The Cologne premiere of Sonntag?  If so I quite envy you. 
BTW the "study" CDs where each of the 5 groups is separated onto individual tracks is very beautiful.  Each pair practically stands on its own as a work - really it's like a series of 10 duo compositions....
Rays also, hell I love'em all!

Klavierstuck XIX would be nice, but there are many others I would love to get first, such as Kathinkas Gesang for flute and 5 pianos, KatiKati, a few others from Lucifer's Dance.  I suspect KVSTK XIX would sound pretty much the same as Sonntags-Abschied unless they completely resynthesized the timbres.

[James]

Did you experience High Times live James?  The Cologne premiere of Sonntag?  If so I quite envy you. 

Klavierstuck XIX would be nice, but there are many others I would love to get first, such as Kathinkas Gesang for flute and 5 pianos, KatiKati, a few others from Lucifer's Dance.  I suspect KVSTK XIX would sound pretty much the same as Sonntags-Abschied unless they completely resynthesized the timbres.

No I haven't seen it live.

Klavierstuck XIX is a major work and pretty much the only thing left of his that I'm really curious about, but like the others you're mentioning there .. it's probably pretty superfluous for listeners ..

[Uatu]

No.12: KONTAKTE (Contacts)
for 4-channel tape
1958-60 (35:30)

also:
No.12 1/2 (ie 12.2) - KONTAKTE for tape, piano and percussion
No.12 2/3 (ie 12.3) - ORIGINALE (Originals), Musical Theatre with KONTAKTE (1961) [90 min]

Part 1 of 2, describing the planning stages...
http://stockhausenspace.blogspot.com/2015/11/kontakte-planning-design.html

[chadfeldheimer]

Nr. 79, HOCH-ZEITEN ("High-Times", or "Marriages") for choir and orchestra, (2001-2002) [2 x '35]
Nr. 80, SONNTAGS-ABSCHIED ("Sunday Farewell") for 5 Synthesizers, (2001, 2003) ['35]
     (also played as KLAVIERSTÜCK XIX for a solo synthesizer player and 5-channel tape)
Nr. 80 1/2, STRAHLEN ("Rays") for a percussionist and 10-channel recording, (2002-2010)  ['35]

http://stockhausenspace.blogspot.com/2015/11/hoch-zeiten-sonntags-abschied.html

I've found that there are two ways of listening to these works. The first is to listen to them as slowly modulating drone harmonies with ornamentation providing a "rough surface" (or perhaps "imperfections in the paper", from a Cage-ian perspective). This gives these works a kind of meditative, ritualistic feel, and the metal percussion signals reinforce this imagery.

The other way (and I think this may be the more intended way) is to concentrate on the ornamentation as a foreground layer on top of a static harmonic background. In this interpretation, the various articulations "speak" to each other, using the 5 languages applied to the 5 layers. Stockhausen also emphasizes that the figures and glissandi are "more important than the sustained tones...and should be played very clearly, slightly louder, and never casually or as ornaments." In any case, it's fascinating to compare and contrast these 4 arrangements of essentially the same melodic and harmonic material. Because of these versions, HOCH-ZEITEN becomes a true exploration of timbre and coloration, expressed vocally, instrumentally, electronically and electr-acoustically.

The Memories and Blend-ins of the choral and orchestral versions add an additional dimension as well. Naturally, these Memories become much more meaningful after one has become very familiar with all of the Scenes of the LICHT opera cycle, but even without the recognition factor, they provide a nice contrast to the tightly-focused structure of the main body. However, just as in DONNERSTAG AUS LICHT's last Scene, VISION (which features a brief revue of that opera's previous scenes), these reminiscences of operas past give the listener who has travelled through all 7 "Days" the strong feeling of an epic journey completed.

Again a very interesting article - thank's. I'm planning a 2 CD order at the Stockhausen Verlag soon. The first CD will be MANTRA played by the Kontarsky brothers (I only have the recording on New Albion), but regarding the second CD I'm still undecided. Judged from your article and after listening to the peace on youtube I'm tempted to choose Hoch-Zeiten.

[Cato]

In German a Hochzeit ("High Time")  is not a "Marriage" but the word for the wedding ceremony.  "Eine Ehe is the word for marriage, e.g. "Ehemann" = husband or "married man."

So the pun is not on "marriage" but on the ceremony "wedding."

[Uatu]

In German a Hochzeit ("High Time")  is not a "Marriage" but the word for the wedding ceremony.  "Eine Ehe is the word for marriage, e.g. "Ehemann" = husband or "married man."

So the pun is not on "marriage" but on the ceremony "wedding."

Thanks for the correction.  Will update.

[James]

BBC Radio 3: Composer of the Week, episode 1 of 5
http://www.bbc.co.uk/programmes/b06tkgvs#play

1 hour duration, 28 days left to listen to this part

[James]

Some of the other parts are up from the series ..

Episode 2: Darmstadt and Paris
http://www.bbc.co.uk/programmes/b06tl06g

Episode 3: Adventures in Electronica
http://www.bbc.co.uk/programmes/b06tl1ps

[...]

These 2 are to be broadcast soon ..

Episode 4: The Making of a Revolution
http://www.bbc.co.uk/programmes/b06tl2xt

Episode 5: Towards the Light
http://www.bbc.co.uk/programmes/b06tl2xw

[James]

KLANG (US Premiere)

http://analogarts.org/klangnyc/
http://analogarts.org/docs/KLANG%20Schedule.pdf
http://metmuseum.org/events/programs/met-live-arts/klang
https://www.facebook.com/events/1686133681599603/
https://www.goethe.de/ins/us/en/sta/ney/ver.cfm

We will be producing the US Premiere of KLANG on March 25 and 26th at the Metropolitan Museum of Art in New York City. The Met recently leased out the Breuer Building (former home of the Whitney Museum) to house its modern collection. So, our production will take place in the Met's main building on Central Park East, the Met Breuer, and the Cloisters at the northern tip of Manhattan. See the links above for complete details, including schedule information.

Our roster includes some of NYC's finest musicians. On March 23, the Goethe Institut will host a roundtable discussion with Marco Blaauw, Christine Chapman, and me about KLANG and Stockhausen's work. If you are in or near NYC, please make sure to stop by sometime during the marathon performance!

[EigenUser]

KLANG (US Premiere)

http://analogarts.org/klangnyc/
http://analogarts.org/docs/KLANG%20Schedule.pdf
http://metmuseum.org/events/programs/met-live-arts/klang
https://www.facebook.com/events/1686133681599603/
https://www.goethe.de/ins/us/en/sta/ney/ver.cfm

We will be producing the US Premiere of KLANG on March 25 and 26th at the Metropolitan Museum of Art in New York City. The Met recently leased out the Breuer Building (former home of the Whitney Museum) to house its modern collection. So, our production will take place in the Met's main building on Central Park East, the Met Breuer, and the Cloisters at the northern tip of Manhattan. See the links above for complete details, including schedule information.

Our roster includes some of NYC's finest musicians. On March 23, the Goethe Institut will host a roundtable discussion with Marco Blaauw, Christine Chapman, and me about KLANG and Stockhausen's work. If you are in or near NYC, please make sure to stop by sometime during the marathon performance!

I think I might drive up on Saturday to see Cosmic Pulses. I'd like to experience that one in octophonic sound.

[(poco) Sforzando]

I think I might drive up on Saturday to see Cosmic Pulses. I'd like to experience that one in octophonic sound.

So we finally have a schedule. Looks like they're doing Cosmic Pulses 8-9 times over the two days. I'll probably hear some of the pieces on Friday, as I have a show in Brooklyn on Saturday.

[EigenUser]

So we finally have a schedule. Looks like they're doing Cosmic Pulses 8-9 times over the two days. I'll probably hear some of the pieces on Friday, as I have a show in Brooklyn on Saturday.

Shoot! I won't be able to make it up on Friday. Well, if you aren't going to be there Saturday I'm not sure if I'll go. We'll see. Maybe I'll ask my friend if he is interested in going...

[(poco) Sforzando]

Shoot! I won't be able to make it up on Friday. Well, if you aren't going to be there Saturday I'm not sure if I'll go. We'll see. Maybe I'll ask my friend if he is interested in going...

They're doing Cosmic twice in the morning on Saturday, at 11 and 11:45. I could make the 11 show, but that might be too early for you, and I'd have to leave about 12 to make my other performance. Might be able to return to the Met after my show, however. But I'm going to the Messiaen on March 12, so we can meet up then.

[James]

A mind-melting 24 hours: Met brings
Stockhausen's Klang to New York
Met celebrates new Breuer campus with US premiere of one of the most
challenging avant garde works of all time – performed in all three of its buildings



Read here: http://www.theguardian.com/music/2016/mar/18/met-breuer-karlheinz-stockhausen-klang-sound-new-york