Karlheinz Stockhausen Für kommende Zeiten, Op. 33 n.° 7, « Ausserhalb » Vídeos
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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•••)
Klaas Vries Kelemen Vermeulen Stravinsky Skryabin Debussy Messiaen Stockhausen Boulez Woolf Tanglewood 1944 1968 1971 1972 1973 1974 1977 1979 1982 1983 1987 1989 1992 1994 1995 2014
Klaas de Vries (1944) All that we love is bound for the past : for mezzo soprano, narrator, piano, violin and violoncello (2014) text by David Mitchell Gerrie de Vries, mezzo soprano Osiris Trio Klaas de Vries is a Dutch composer. He studied the piano at Rotterdam Conservatory and continued his composition studies with Ketting at the Royal Conservatory in The Hague, winning the prize for composition there in 1974. He subsequently studied with Kelemen in Stuttgart. In 1972, he began to teach music and in 1979 was appointed to teach analysis, instrumentation and composition at Rotterdam Conservatory; in 1995 he was guest composer at the Tanglewood Festival of Contemporary Music. He was awarded the Matthijs Vermeulen Prize in 1983 for his orchestral Discantus. De Vries is typical of postwar Dutch composers in his rejection of Expressionism and in his empirical approach, which has remained undogmatic and open to a variety of influences. Beginning from the immediacy of the late-Stravinsky-like Refrains for two pianos and orchestra (1968), his self-critical development has been one of action and reaction, both to his own work, in which more or less complex pieces alternate, and to impulses from outside: for example, early music in Organum (1971), minimalism in Moeilijkheden ('Difficulties') (1977), jazz in the trumpet solos of A King, Riding, or a specific composition, for instance Strauss's Metamorphosen in Interludium (1977). His earlier ideal of an extrovert, objectified sound is brilliantly accomplished in works such as Follia (1973) and Discantus (1982) with their homogeneous blocks, elementary contrasts, montage-like forms and rhythmic physicality. In the following decade De Vries added a more inward-looking lyrical component, the basis for a family of 'dream pieces': ... sub nocte per umbras ... , Eclips, and the first part of the String Quartet of 1994, in which pale echos and fleeting references evoke a half-historical, half-mythical musical past. The Sonata for piano (1987), inspired by the dramatic conflict between tradition and renewal in Mann's Doktor Faustus, represents a turning-point. In subsequent works, De Vries has increasingly questioned the avant-garde belief in progress, without resorting to postmodern nostalgia. Under the influence of Borges and Stravinsky / whom he calls 'fantastic liars' / he has probed musical history and memory: for example, Diafonía, la creación (1989) results in 're-invented folk music', while ... sub nocte per umbras ... (1989) employs a number of archetypal formulas and motifs, which, like the shadows of Vergil's Aeneid to which the title refers, repeatedly return. (Together with De profundis these two works form part of an important trilogy.) A form of shadows plays a part too in Eclips (1992), an instrumental postscript which embarks from within the final reverberation of Skryabin's piano work Vers la flamme and can only be performed with that piece. Debussy, Messiaen, Stockhausen and Boulez, present in the form of brief quotations, bear witness, in this reflective and essentially pessimistic essay-in-sound, to a view of a future which has become past. Despite De Vries's evolution in technique and style, certain elements have remained constant: his brilliant instrumentation, a flexible harmonic interplay between the chromatic and the diatonic, and a characteristic repertory of musical figures, of which the sustained note, the fanfare-like signal and the percussive rhythm are among the most notable. His most significant work, to date, is the 'scenic oratorio' A King, Riding, a summation of previous intellectual and technical concerns. Based upon Virginia Woolf's The Waves, the work explores through seven characters / or seven parts of an autobiographical 'I' / his preoccupation with the question of identity, artistic and otherwise.
Klaas Vries Vogel Kelemen Vermeulen Stravinsky Skryabin Debussy Messiaen Stockhausen Boulez Woolf Tanglewood 1944 1968 1971 1972 1973 1974 1977 1979 1982 1983 1987 1989 1992 1994 1995 1999
Klaas de Vries (1944) Litanie : for mezzo soprano and 8 violoncellos (1999) text: excerpts from letters from Henriette Vogel to Heinrich von Kleist Gerrie de Vries, mezzosoprano Cello Octet Conjunto Ibérico Conductor: Elias Arizcuren Klaas de Vries is a Dutch composer. He studied the piano at Rotterdam Conservatory and continued his composition studies with Ketting at the Royal Conservatory in The Hague, winning the prize for composition there in 1974. He subsequently studied with Kelemen in Stuttgart. In 1972, he began to teach music and in 1979 was appointed to teach analysis, instrumentation and composition at Rotterdam Conservatory; in 1995 he was guest composer at the Tanglewood Festival of Contemporary Music. He was awarded the Matthijs Vermeulen Prize in 1983 for his orchestral Discantus. De Vries is typical of postwar Dutch composers in his rejection of Expressionism and in his empirical approach, which has remained undogmatic and open to a variety of influences. Beginning from the immediacy of the late-Stravinsky-like Refrains for two pianos and orchestra (1968), his self-critical development has been one of action and reaction, both to his own work, in which more or less complex pieces alternate, and to impulses from outside: for example, early music in Organum (1971), minimalism in Moeilijkheden ('Difficulties') (1977), jazz in the trumpet solos of A King, Riding, or a specific composition, for instance Strauss's Metamorphosen in Interludium (1977). His earlier ideal of an extrovert, objectified sound is brilliantly accomplished in works such as Follia (1973) and Discantus (1982) with their homogeneous blocks, elementary contrasts, montage-like forms and rhythmic physicality. In the following decade De Vries added a more inward-looking lyrical component, the basis for a family of 'dream pieces': ... sub nocte per umbras ... , Eclips, and the first part of the String Quartet of 1994, in which pale echos and fleeting references evoke a half-historical, half-mythical musical past. The Sonata for piano (1987), inspired by the dramatic conflict between tradition and renewal in Mann's Doktor Faustus, represents a turning-point. In subsequent works, De Vries has increasingly questioned the avant-garde belief in progress, without resorting to postmodern nostalgia. Under the influence of Borges and Stravinsky / whom he calls 'fantastic liars' / he has probed musical history and memory: for example, Diafonía, la creación (1989) results in 're-invented folk music', while ... sub nocte per umbras ... (1989) employs a number of archetypal formulas and motifs, which, like the shadows of Vergil's Aeneid to which the title refers, repeatedly return. (Together with De profundis these two works form part of an important trilogy.) A form of shadows plays a part too in Eclips (1992), an instrumental postscript which embarks from within the final reverberation of Skryabin's piano work Vers la flamme and can only be performed with that piece. Debussy, Messiaen, Stockhausen and Boulez, present in the form of brief quotations, bear witness, in this reflective and essentially pessimistic essay-in-sound, to a view of a future which has become past. Despite De Vries's evolution in technique and style, certain elements have remained constant: his brilliant instrumentation, a flexible harmonic interplay between the chromatic and the diatonic, and a characteristic repertory of musical figures, of which the sustained note, the fanfare-like signal and the percussive rhythm are among the most notable. His most significant work, to date, is the 'scenic oratorio' A King, Riding, a summation of previous intellectual and technical concerns. Based upon Virginia Woolf's The Waves, the work explores through seven characters / or seven parts of an autobiographical 'I' / his preoccupation with the question of identity, artistic and otherwise.
Klaas Vries Johansen Kelemen Vermeulen Stravinsky Skryabin Debussy Messiaen Stockhausen Boulez Woolf Tanglewood 1944 1968 1971 1972 1973 1974 1977 1979 1982 1983 1985 1987 1989 1992 1994 1995
Klaas de Vries (1944) Murder in the dark : five quarter-tone pieces for harpsichord (1985) 1. Preludio - 00:00 2. Inventio - 01:59 3. Recitativo - 04:43 4. Toccata - 07:28 5. Chorale - 10:28 Annelie de Man, harpsichord Thora Johansen, harpsichord dedicated to Annelie de Man Klaas de Vries is a Dutch composer. He studied the piano at Rotterdam Conservatory and continued his composition studies with Ketting at the Royal Conservatory in The Hague, winning the prize for composition there in 1974. He subsequently studied with Kelemen in Stuttgart. In 1972, he began to teach music and in 1979 was appointed to teach analysis, instrumentation and composition at Rotterdam Conservatory; in 1995 he was guest composer at the Tanglewood Festival of Contemporary Music. He was awarded the Matthijs Vermeulen Prize in 1983 for his orchestral Discantus. De Vries is typical of postwar Dutch composers in his rejection of Expressionism and in his empirical approach, which has remained undogmatic and open to a variety of influences. Beginning from the immediacy of the late-Stravinsky-like Refrains for two pianos and orchestra (1968), his self-critical development has been one of action and reaction, both to his own work, in which more or less complex pieces alternate, and to impulses from outside: for example, early music in Organum (1971), minimalism in Moeilijkheden ('Difficulties') (1977), jazz in the trumpet solos of A King, Riding, or a specific composition, for instance Strauss's Metamorphosen in Interludium (1977). His earlier ideal of an extrovert, objectified sound is brilliantly accomplished in works such as Follia (1973) and Discantus (1982) with their homogeneous blocks, elementary contrasts, montage-like forms and rhythmic physicality. In the following decade De Vries added a more inward-looking lyrical component, the basis for a family of 'dream pieces': ... sub nocte per umbras ... , Eclips, and the first part of the String Quartet of 1994, in which pale echos and fleeting references evoke a half-historical, half-mythical musical past. The Sonata for piano (1987), inspired by the dramatic conflict between tradition and renewal in Mann's Doktor Faustus, represents a turning-point. In subsequent works, De Vries has increasingly questioned the avant-garde belief in progress, without resorting to postmodern nostalgia. Under the influence of Borges and Stravinsky / whom he calls 'fantastic liars' / he has probed musical history and memory: for example, Diafonía, la creación (1989) results in 're-invented folk music', while ... sub nocte per umbras ... (1989) employs a number of archetypal formulas and motifs, which, like the shadows of Vergil's Aeneid to which the title refers, repeatedly return. (Together with De profundis these two works form part of an important trilogy.) A form of shadows plays a part too in Eclips (1992), an instrumental postscript which embarks from within the final reverberation of Skryabin's piano work Vers la flamme and can only be performed with that piece. Debussy, Messiaen, Stockhausen and Boulez, present in the form of brief quotations, bear witness, in this reflective and essentially pessimistic essay-in-sound, to a view of a future which has become past. Despite De Vries's evolution in technique and style, certain elements have remained constant: his brilliant instrumentation, a flexible harmonic interplay between the chromatic and the diatonic, and a characteristic repertory of musical figures, of which the sustained note, the fanfare-like signal and the percussive rhythm are among the most notable. His most significant work, to date, is the 'scenic oratorio' A King, Riding, a summation of previous intellectual and technical concerns. Based upon Virginia Woolf's The Waves, the work explores through seven characters / or seven parts of an autobiographical 'I' / his preoccupation with the question of identity, artistic and otherwise.
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