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2024-05-21
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Alarm Will Sound Karlheinz Stockhausen Luciano Berio 1969 2001
Alarm Will Sound is the kind ensemble that eschews labels and defies definition. As their managing director Gavin Chuck puts it when asked what kind of music they play, he often says simply "we play good music". Whether you call the music that they play classical or new music or avant-garde, the members of this eclectic group devote most of their energy in trying to find projects they find exciting with the hope that in the process they engage their audience and put on a good show. Although the 20 members of the group are scattered around the country, most of them got their start in one spot: the Eastman School of Music. The group was formed there around 2001 after they had spent a few years working together on a student run orchestra and decided to take that experience with them beyond their time at Eastman. As they have continued on with successful music careers in cities from New York to Chicago to San Francisco, they have continued to keep this collective alive by gathering in a different city every month or so to put on concerts. Each time, the program is the same. Members fly into a city from all over the country, rehearse the material for a few days, play the show and then head their separate ways until the next gig. Despite this itinerant schedule, the formula seems to work. More than a decade after its founding, Alarm Will Sound is still as vibrant as ever. When the invitation was extended for them to return to Rochester to play a show at Eastman, they didn't hesitate to accept. What they brought was much more than just a concert, but an experience for audiences that included not only music from the popular to the obscure, but also a theatrically staged narrative, large video screens with vivid imagery and plenty of action. It's a show they call 1969, and it brings together the music and culture of that time in American history to tell a story with an approach that is decidedly original. From the life and music of John Lennon, to experimental composers Karlheinz Stockhausen and Luciano Berio to Richard Nixon and Jimi Hendrix's electrified version of the Star Spangled Banner, 1969 covers a vast array, and in a way that's anything but the typical concert going experience.
Louis Andriessen Mariss Jansons Hendrik Andriessen Boulez Stravinsky Baaren Berio Guevara Schat Reinbert Leeuw Mengelberg Stockhausen Koninklijk Concertgebouworkest Hoketus Royal Concertgebouw Amsterdam Holland Festival 1939 1957 1962 1963 1965 1966 1968 1969 1972 1973 1976 1977 2013
Louis Andriessen (1939) Mysteriën (Mysteries) : for orchestra (2013) Orchestra: Koninklijk Concertgebouworkest Conductor: Mariss Jansons Commissioned by the Royal Concertgebouw Amsterdam for the Royal Concertgebouw Orchestra on the occasion of the 125th anniversary of both hall and orchestra Louis Andriessen is a Dutch composer, son of Hendrik Andriessen. After a few youthful works influenced by neo-classicism and serialism in the manner of Boulez he moved steadily away from the postwar European avant garde and towards American minimalism, jazz and Stravinsky. Out of these elements he has developed a musical language marked by extremes of ritual and masquerade, of monumentality and intimacy, of formal rigour and intuitive empiricism. The epitome of the Hague School, he is regarded as the most influential Dutch composer of his generation. Andriessen was born the youngest son of a musical family. His father and his elder brother Jurriaan, who passed on to him his musical experiences of Stravinskian neo-classicism and jazz, were his earliest mentors. Between 1957 and 1962 he studied composition at the Royal Conservatory in The Hague with Van Baaren. After receiving the composition prize there, he continued his studies with Berio in Berlin and Milan +••.••(...)). Back in the Netherlands he played an active role in the increasing politicization of the arts put into practice during the Holland Festival in 1969 with the collective work Reconstructie, a music-theatre morality based on the character of Che Guevara; the composers involved were Schat, van Vlijmen, Reinbert de Leeuw and Misha Mengelberg, all former students of Van Baaren. Later the same year Andriessen was involved in the Notenkrakersactie, the disruption of a concert by the Concertgebouw Orchestra, whose artistic policy the protesters regarded as reactionary. This controversial act has since come to be seen as a turning-point in postwar Dutch musical life. For Andriessen it led to a permanent abandonment of the medium of the symphony orchestra. Convinced that musical renewal cannot be separated from the renewal of performance practice, he set up in 1972 De Volharding ('Perseverance') to perform his composition of the same name, and similarly in 1977, Hoketus, the result of a project at the Royal Conservatory; both ensembles have gone on to stimulate extensive new repertories. Andriessen began to teach composition and instrumentation at the Royal Conservatory in 1973, and in the mid-1980s started to be in great demand as a guest lecturer, particularly in the USA. It may be tempting to regard the première of De staat in 1976 as marking the birth of the 'real' Andriessen. A typically European response to the more ethereal American minimalism of the time, it made his name internationally. It is the first work in a line of monumental, for the most part 'didactic' compositions which mark moments of synthesis and re-orientation in his output; it also unveiled Andriessen's characteristic sonorities of brass, keyboards and bass guitars. However, his output from before De staat should not be viewed merely as a preliminary stage, since in it a number of distinctive (albeit short-lived) styles and techniques are discernible, becoming marked increasingly by personal features. At the extremes stand the graphic composition Registers (1963) and the exercise in youthful sentiment Souvenirs d'enfance (1966). In Ittrospezione III (Concept I) serial methods derived from Boulez are uneasily combined with a Cageian conceptualism, though pre-echoes of De staat are occasionally apparent in the work's instrumentation and form. Contra tempus of 1968 reveals Andriessen explicitly turning away from the avant garde's rejection of the past. The montage form, the mixture of static, 'chorale' continuos of sound, traced by the composer to such variable sources as Stockhausen's Momente, Stravinsky and pre-tonality, and the big-band-like instrumentation, all point in another direction. Most of all it is Stravinsky whom Andriessen considered / 'with his hand on my shoulder' / the model; the last chord of the work is the opening one of the Symphony of Psalms. With De volharding (1972), Andriessen moved a step closer to De staat. Composed in response to American minimalism in general and to Riley's In C in particular, the musico-political convictions which have determined Andriessen's development are reflected in the title, with its reference to the ideals of the early 20th-century labour movement
Jan Kopp John Cage Bloch Schubert Rolle Adorno Broch Stockhausen 1320 1340 1430 1532 1707 1738 1833 1910 1961 2021
Gespräch mit Jan Kopp über "offen. 31 Farben der Hoffnung" (2021) für Mezzosopran, Männerterzett, Klarinette, Violoncello und Klavier Kompositionsauftrag des KlangForum Heidelberg e.V. SCHOLA HEIDELBERG ensemble aisthesis Leitung: Ekkehard Windrich Aufnahme am 04. Juli 2021 im BETRIEBSWERK, Heidelberg Nachgespräch (Stuttgart 10/2021) und Editing: J. Marc Reichow Eine Produktion des KlangForum Heidelberg 2021./ TIMESTAMP 00:00 Jan Kopp - Gespräch über "offen" (2021) 01:12 Was ist "offen" - was wäre "geschlossen"? 03:22 "offen. 31 Farben der Hoffnung" - über Titel und Untertitel 04:35 Hörperspektive und Darstellungsformen von "offen" 05:15 "offen"heit und Medialität 05:50 Rahmen und Besetzung/en 07:20 Wie aber baut man das nur virtuell vorhandene Ganze? 08:00 31 Teile und die Pragmatik des Spiel(en)s 09:42 Besetzung, Stimmen, Gruppen 10:52 "Selbstverwirrung" als Teil der kompositorischen Herausforderung 11:05 Rekurs: Genese der Formidee. 12:38 "offen"heit als Fehlen kompositorischer Formkriterien 13:20 Konsequenzen aus dem Fehlen kompositorischer Formkriterien: 13:40 Erste Konsequenz: Eigenständigkeit der 31 Teile als "Miniaturen" 14:30 Weitere Konsequenz: Eigenständigkeit UND Anschlussfähigkeit der 31 "offenen" Miniaturen 15:32 Beispiel einer Kontinuitätsstrategie: Anschlusstöne 17:07 "offenes" Komponieren: Ahnung statt Planungssicherheit 17:38 Gespür für den gesamten Möglichkeitsraum bei Kontrollverlust 18:33 "offener" Musikbegriff bei John Cage im Vergleich 19:10 "offene" Form und Verzicht auf erweiterte Klanglichkeit 21:55 zur Frage der Ebenen: Klang, Material und Konnotation 22:35 zur Frage der Ebenen: Stimme/n und Instrumente (KlangForum) 23:09 zur Frage der Ebenen: Hintergrund Ernst Bloch 23:30 zur Frage der Ebenen: Implikation spezifischer Besetzung/en 24:19 zur Frage der Ebenen: Kombinatorik von Subbesetzungen 25:54 zur Frage der Ebenen: Schuberts Lied "Hoffnung" (Schiller) D.637 26:30 Historisches Zitat als Zusammenhangstrategie 27:30 Musikalische Zitatebene: Schuberts Lied "Hoffnung" (Schiller) D.637 31:15 Textebene Hoffnung 1 - Schiller (Schubert) 32:15 Textebene Hoffnung 2 - Ernst Bloch, Lang gezogen 33:05 Begegnung der Textebenen - Bloch und Schiller 33:50 Begegnung der Textebenen in der Musik 34:40 Textebenen und Linearität 35:45 "offene" Gewichtung der Ebenen 36:45 zur Ko-Inzidenz: Komposition während der Pandemie 37:44 zur Ko-Inzidenz: Präsentationsformen von Musik in der Pandemie 38:29 Ernst Bloch: Herausarbeiten der Utopie aus einer historischen Situation 39:53 Autobiographischer Exkurs: Der Komponist als Zeichner und die Rolle des Informel 40:43 Autobiographischer Exkurs (Fs.) - Informel und Utopie 41:00 Theodor W. Adorno: Vers une musique informelle (1961) 42:00 Exkurs (Fs.) - Informel und Utopie. 43:32 Exkurs (Fs.) - Uneindeutigkeit geometrischer Ausrichtung im Informel 44:20 zur Parallelität und Wechselwirkung von Zeichnen und Komponieren 45:45 "offen"heit im zeichnerischen Arbeitsprozess: anschuliche Beispiele 47:45 zur Parallelität und Wechselwirkung von Zeichnen und Komponieren (2) 49:50 "offen" als Möglichkeitsraum von Formen 50:10 "... ausprobieren ..., was stimmige Formbildung ist, und was nicht!" 50:25 "... beobachten, wie Form eigentlich entsteht." 50:41 Formmetaphern jenseits der Architektur: Mobile und Kaleidoskop (Broch) 51:40 zu "offenen" Formkonzepten von Stockhausen und Spahlinger 54:13 "... bei meiner Idee, für "offen" Abläufe zu kuratieren, spielt die Idee des Zufälligen keine Rolle" 54:40 Rolle der Zuhörer: Partizipation? Kuratieren? 54:58 "... ein partizipatives Angebot, an der Entstehung der Form mitzuwirken ..." 55:30 Interpretieren als Kuratieren 55:46 Medial ermöglichte Partizipation der Rezeption 56:38 Zufall und die Möglichkeit formalen Scheiterns 57:45 "... am Objekt studieren, wie Form entsteht." 58:10 zur Externalisierung kompositorischer Entscheidungen 58:20 "offene" praktische Fragen 59:33 Beifang: neue Aspekte von Digitalität 1:00:08 Übergänge ins Digitale
Maderna Boulez Karlheinz Stockhausen 1956 2020
Provided to YouTube by The Orchard Enterprises Maderna Boulez (Remastered) · Karlheinz Stockhausen Kontrapunkte / Maderna Boulez ℗ 2020 BRAIN DISCOS Released on: 1956-12-01 Music Publisher: Copyright Control Auto-generated by YouTube.
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- Zeitleiste: Dirigenten (Europa). Lyrische Sänger (Europa). Interpreten (Europa).
- Indizes (in alphabetischer Reihenfolge): S...