Kathinka Pasveer Videos
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Karlheinz Stockhausen Kathinka Pasveer 1986 2014
Karlheinz Stockhausen - Montags-Abschied / Eva-Abschied (Mondays Farewell / Eva's Farewell), Nr. 59, from Montag aus Licht (1986/88) Fifth Section of the opera Montag aus Licht (Monday from Light) Scored for piccolo flute, multiple soprano voices and electronic keyboard instruments Piccolo and sopranos - Kathinka Pasveer Sampled bird sounds - Simon Stockhausen Monday's Farewell, like the greeting, is played back over four channels in the foyer as the audience leaves the theatre. The foyer is now wreathed in clouds, as the ever-rising voices of the children-birds circle around. Toward the end, a single voice sings: "The Eve-children have been abducted by music into higher worlds with green clouds". Monday's Farewell is a tape-manipulated version of "Abduction" (Scene 3 of Evas Zauber) consisting of the children's choir part (sung by soprano Kathinka Pasveer on 2 tracks (lower and higher voice)) and the piccolo flute part (also Pasveer). Additionally, dense samples of birdsong (44 different species) are interspersed throughout MONTAGs ABSCHIED. In the latter part of the work, Pasveer sings (in German): The tape-recording process of Montags Abschied was designed so that on an aural level, the piccolo and soprano voices "ascend into the clouds" as well. The piccolo flute and soprano voices are transposed upwards over a duration of 28 minutes so that they join the "natural" (un-modulated) bird sounds in the higher sonic stratosphere. (http•••) Join the Score Video Creator Discord Server: (http•••) PATREON - Pay a small monthly fee and gain access to my online score library, full of rare scores that I have used in videos - (http•••) PAYPAL - Donations of any amount welcome! - (http•••)
Karlheinz Stockhausen Basset Kathinka Pasveer Suzanne Stephens Stephens 1984
Karlheinz Stockhausen - Evas Zauber (Eve's magic), Nr. 58 +••.••(...)) Act 3 of the opera Montag aus Licht (Monday from Light) Scored for basset-horn, alto flute with piccolo, choir, children's choir, modern orchestra (3 synth. players, 1 perc., tape) Children's Choir of Radio Budapest (Janos Remenyi, choir master) Zaans Kantatekoor (Jan Pasveer, choir master) Coeur de Basset (basset horn) - Suzanne Stephens Pied Piper (flute) - Kathinka Pasveer Scene 1: Botschaft 'Message' has a series of four situations. Scene 1a: Botschaft - Evas Spiegel - 0:00 Eve's Mirror; Eve, as Cœur de Basset, moves as in a dream over the fresh green lawn until she sees her reflection in the water-filled glassware. Fascinated by her mirror-image, she begins to play, as a male chorus appears and sings, "Mirror, mirror on the wall, who is fairest of them all?". Scene 1b: Botschaft - Nachricht - 2:57 News; Women rush in and report the news that a musicus with magic powers has arrived. Scene 1c: Botschaft - Susani - 4:52 The men sing to Eve, and the glass sculpture that mirrored Cœur de Basset bursts. Scene 1d: Botschaft - Ave - 13:19 An alto-flute player dressed as a young man arrives. Eve and the flautist play a duet as the choir comments on their dialogue. Scene 2: Der Kinderfänger - 26:35 In 'The Pied Piper' - originally titled Der Zauber (The Magic) - the musicus bewitches the children as Cœur, confused and disappointed, withdraws into the heart of the Eve statue. The adults, too, become frightened and shrink away against the walls and into the corners and watch as the Pied Piper enchants their children. It is a game of mimicry, in which the children try to imitate everything that the flute player demonstrates to them, accompanied by a rapid succession of sound-scenes from the real world. In the end, the Pied Piper dupes the children into removing their shoes and piling them up in a heap. Scene 3: Entführung - 44:19 In the final scene, Abduction, the Pied Piper, now playing a piccolo, leads the singing children off in ordered procession into the skies. As their voices become higher and higher in pitch, the Eve statue is transformed into a mountain (the "Evaberg"), sprouting trees, bushes, animals, and streams. The children are seen as giant white birds, circling higher and higher into the skies. Just before the end, one child come back out on stage, looks at the audience in astonishment and shouts, "Are you still here?" He then goes to the pile of shoes, finds his own and puts them on, observing, "It is very dirty outside", and darts away, as the children-bird voices continue to be heard in the distance. (http•••) Join the Score Video Creator Discord Server: (http•••) PATREON - Pay a small monthly fee and gain access to my online score library, full of rare scores that I have used in videos - (http•••) PAYPAL - Donations of any amount welcome! - (http•••)
Karlheinz Stockhausen Basset Kathinka Pasveer Suzanne Stephens Stephens Pierre Laurent Aimard Kertész 1628 1987
Karlheinz Stockhausen - Evas Zweitgeburt (Eve's second birthgiving), Nr. 57 (1987) Act 2 of the opera Montag aus Licht (Monday from Light) Scored for 7 solo boy singers, basset-horn, 3 basset-teases (2 basset-horns and 1 vocal basset-horn), piano, choir (tape or live), and on stage: 21 actresses, girls' choir, modern orchestra (3 synth. players, 1 perc., tape) Children's Choir of Radio Budapest (Janos Remenyi, choir master) Zaans Kantatekoor (Jan Pasveer, choir master) Coeur de Basset (basset horn) - Suzanne Stephens Budgerigar (piano) - Pierre-Laurent Aimard Monday Boy (soprano) - Gabriella Vakarcs Tuesday Boy (soprano) - Attila Kudor Wednesday Boy (soprano) - Patrik Pulinka Thursday Boy (soprano) - Borbála Györi Friday Boy (soprano) - Agnes Pintér Saturday Boy (soprano) - Péter Kertész Sunday Boy (soprano) - Gergely Hutás Bassettinen (2 basset horns and soprano) - Rumi Sota, Nele Langrehr, Kathinka Pasveer Scene 1: Mädchenprozession - 0:00 In the Girls' Procession, a choir of young girls, wearing dresses shaped like lilies, ceremonially enters bearing candles. The sea is now frozen, and women are hacking blocks of ice with axes, and melting the ice in cauldrons. The idea came from a ritual Stockhausen witnessed in Japan, in a valley near Kyoto, in which girls were carrying small lamps in a procession to a temple. This type of ceremony, with processions of torches, candles, or other forms of fire, is found as a fertility rite in many world traditions, such as the Egyptian Feast of Lamps for Osiris, the Greek and Roman rites of Hecate and Diana, respectively, and later in the Christian festival of torches on 15 August in honor of the Virgin Mary. Scene 2: Befruchtung mit Klavierstück - 10:13 Conception with Piano Piece. The women and girls call for a grand piano played by a budgerigar to inseminate the Eve statue for a second birth. The budgerigar plays Klavierstück XIV. Scene 3: Wiedergeburt - 16:28 Rebirth. To the singing of American Indian children, the piano is quickly pulled away and the statue's womb begins to glow, green and red, like a nativity scene. The sunlight returns, and seven boys are born, one for each weekday. Eve's Song is essentially a concerto for basset horn and synthesizers, against a background of the continuing boys' and girls' choirs from the preceding scenes, and trombones.[16] It consists of a succession of four situations: Scene 4a: Evas Lied - Cœur de Basset - 22:09 Cœur de Basset emerges from the breast of the statue, playing a basset horn. The women melt large chunks of ice in steaming vats. With glass laboratory equipment, they condense the steam into water. Scene 4b: Evas Lied - In Wochenkreis - 25:53 Cycle of the Week, Cœur de Basset teaches each of the boys the song of his weekday. Scene 4c: Evas Lied - Basset-Teases - 43:14 The women put the water they have collected into watering cans and sprinkle the earth with it. Cœur de Basset divides into multiple basset-horn players, Busi, Busa, and Muschi. A transparent Eve figure emerges from the statue and floats toward the boys. Scene 4d: Evas Lied - Initiation - 52:45 Cœur, Busi, Busa, and Muschi begin a dance, confusing and infatuating the boys. A distant thunderstorm is heard, and a boy calls, "Turn off the lights!" The lights go out. (http•••) Join the Score Video Creator Discord Server: (http•••) PATREON - Pay a small monthly fee and gain access to my online score library, full of rare scores that I have used in videos - (http•••) PAYPAL - Donations of any amount welcome! - (http•••)
Karlheinz Stockhausen Basset Suzanne Stephens Stephens Kathinka Pasveer 1436 1511 1551 1604 1616 1652 1704 1715 1727 1739 1751 1803 1827 1833 1851 1857 1909 1915 1921 1927 1939 1986 2003 2009
Karlheinz Stockhausen - Montags-Gruss / Eva-Gruss (Mondays Greeting / Eva's Greeting), Nr. 55, from Montag aus Licht (1986/88) First Section of the opera Montag aus Licht (Monday from Light) Scored for multiple basset horns and electronic keyboard instruments (performed either with live basset horn and tape, or only tape) Basset Horn parts recorded by Suzanne Stephens The Monday Greeting is a tape composition played in the foyer as the audience arrives. The visual impression is of being underwater. The music is multilayered, made of stretched-out basset-horn sounds, occasionally mixed with the sounds of splashing and rushing water. Twelve photographs of the basset-horn player in different poses corresponding to the twelve pitches of the mirrored Eve formula surround the space. Montags Gruss had its birth in the solo instrumental work Xi (from the Greek letter, meaning "unknown quantity"). Designed for instruments with the ability to play "bent" notes microtonally (ruling out the traditional acoustic piano, vibraphone, accordion, etc...), one of the challenges of Xi is to develop techniques for keyed wind and brass instruments to play "in between" adjacent notes of the chromatic scale, with not one, but several steps (up to 12!) from note to note. This is typically done with non-traditional key fingerings as well as embouchure techniques. The basset-horn and flute-specific scores for Xi include the techniques and fingerings developed by Suzanne Stephens and Kathinka Pasveer to play the micro-intervals necessary for those 2 instruments. From a purely melodic standpoint, Montags Gruss is the basset-horn version of Xi slowed down from 8.5 minutes to 34 minutes, with 3 additional tempo-reduced layers of the same melody transposed down in pitch 3 times. Because the tempos are reduced, the number of micro-steps is increased in some places from 7 to 12 (which of course meant that new fingerings had to be discovered for the additional micro-tones). In a way, the 3 additional layers create a 4-part harmonized Xi chord melody, but there are 3 important factors which make the work more interesting on a smaller time-scale as well. NOTE: The 'measures' mentioned in the video chapters correspond to the numbers in circles underneath the top basset horn stave. Intro – 0:00 Measure 1 – 0:07 Measure 2 – 0:17 Measure 3 – 0:26 Measure 4 – 0:35 Measure 5 – 0:45 Measure 6 - 1:04 Measure 7 – 1:14 Measure 8 – 1:43 Measure 9 – 2:06 Measure 10 – 3:18 Measure 11 – 3:33 Measure 12 – 4:05 Measure 13 – 4:19 Measure 14 – 4:53 Measure 15 – 5:40 Measure 16 – 6:28 Measure 17 – 7:53 Measure 18 – 8:10 Measure 19 – 9:39 Measure 20 – 12:49 Measure 21 – 13:13 Measure 22 – 14:24 Measure 23 – 14:36 Measure 24 – 15:11 Measure 25 – 15:51 Measure 26 – 16:04 Measure 27 – 16:16 Measure 28 – 16:52 Measure 29 – 17:04 Measure 30 – 17:15 Measure 31 – 17:27 Measure 32 – 17:39 Measure 33 – 17:51 Measure 34 – 18:03 Measure 35 – 18:27 Measure 36 – 18:33 Measure 37 – 18:51 Measure 38 – 18:57 Measure 39 – 19:09 Measure 40 – 19:15 Measure 41 – 19:21 Measure 42 – 19:27 Measure 43 – 19:39 Measure 44 – 20:03 Measure 45 – 20:09 Measure 46 – 20:44 Measure 47 – 20:50 Measure 48 – 20:56 Measure 49 – 21:02 Measure 50 – 21:14 Measure 51 – 21:38 Measure 52 – 21:44 Measure 53 – 22:01 Measure 54 – 22:08 Measure 55 – 22:13 Measure 56 – 22:25 Measure 57 – 22:37 Measure 58 – 22:43 Measure 59 – 22:49 Measure 60 – 23:07 Measure 61 – 22:13 Measure 62 – 23:28 Measure 63 – 24:00 Measure 64 – 24:16 Measure 65 - 24:31 Measure 66 – 25:20 Measure 67 – 25:35 Measure 68 – 25:51 Measure 69 – 26:07 Measure 70 – 26:31 Measure 71 – 27:11 Measure 72 – 27:43 Measure 73 – 27:52 Measure 74 – 28:14 Measure 75 – 28:26 Measure 76 – 28:46 Measure 77 – 22:02 Measure 78 – 22:26 Measure 79 – 22:49 Measure 80 – 30:21 Measure 81 – 31:17 Measure 82 – 32:21 Measure 83 – 32:44 Measure 84 – 32:54 Closing Silence – 33:43 [thats a LOT of timestamps...] Join the Score Video Creator Discord Server: (http•••) PATREON - Pay a small monthly fee and gain access to my online score library, full of rare scores that I have used in videos - (http•••) PAYPAL - Donations of any amount welcome! - (http•••)
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- Zeitleiste: Interpreten (Europa).
- Indizes (in alphabetischer Reihenfolge): P...