Karlheinz Stockhausen Mittwoch aus Licht, Opp. 65-71 Vidéos
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2024-04-27
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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•••)
Holland Festival Een Korte Karlheinz Stockhausen Arditti Zich Kennis Kan Kathinka Pasveer Stevens Arditti String Quartet 1995 2017
Een korte compilatie uit filmmaker Frank Scheffers film “Helicopter String Quartet”. Tijdens het Holland Festival 1995 wordt het “Helikopter Streichquartett” (de derde akte van "Mittwoch aus Licht") van Karlheinz Stockhausen uitgevoerd. De vier leden van het Arditti String Quartet bevinden zich ieder in een helikopter; het geluid van de wieken werd door Stockhausen gemixed met de vier strijkinstrumenten. Scheffer volgt de muzikanten en componist tijdens de repetities in de studio en door middel van air-to-air shots tijdens de uitvoering. Het beeldmateriaal is verkregen via filmmaker Frank Scheffer. Het Holland Festival bestond in 2017 zeventig jaar en is daarmee een van de oudste en grootste podiumkunstenfestivals van Europa. Dit jubileum werd gevierd met een groot programma in de Amsterdamse theaters en concertzalen. Het festival heeft in de afgelopen jaren zijn archief gedigitaliseerd, zodat het publiek kennis kan nemen van de rijke historie van het festival. Om dit archief te verrijken met beeldmateriaal hebben het Holland Festival en de VPRO hun krachten gebundeld. Onder de naam ‘Holland Festival Parels’ hebben wij gezamenlijk een duurzaam online platform ingericht. Hier kan het publiek zeventig korte televisiefragmenten vinden uit en over producties, die het Holland Festival de afgelopen zeven decennia in Nederland presenteerde. Deze televisiefragmenten van diverse publieke omroepen zoals de NTR en VPRO zijn vaak eenmalig op televisie te zien geweest. Ze zijn nu als hommage en als online archief beschikbaar gemaakt. Meer over de voorstelling in kwestie vindt u op de desbetreffende pagina van het Holland Festival Archief. Die kan u vinden door onderstaande link aan te klikken. Pagina in archief: (http•••) Naam programma: Helikopter-Streichquartett - Arditti String Quartet, The Grasshoppers Show Team Programmadatum: 12/10/1995 Credits: Muziek: Karlheinz Stockhausen - Algehele muzikale leiding: Karlheinz Stockhausen - Uitvoering: Arditti Sting Quartet - Uitvoering: The Grasshoppers Showteam Zie ook nog: (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) By courtesy of Stockhausen-Stiftung für Musik. Special thanks to Kathinka Pasveer and Suzanne Stevens. Met bijzondere dank aan Frank Scheffer. Muyi Film
Birmingham Opera Company Scottish Opera Muti Levine Haitink Gergiev Runnicles Ozawa Mehta Verdi Ponte Berio Stockhausen Battistelli Rossini Scala Salzburg Festival Covent Garden Rossini Opera Festival Pesaro 1984 1987 1994 2000 2021
We are pleased to welcome Sir Graham Vick to our Opera in Conversation series Sir Graham Vick is the Artistic Director of Birmingham Opera Company and works in the world’s major opera houses with the world’s leading conductors: Muti, Levine, Haitink, Gergiev, Runnicles, Ozawa and Mehta. He was Director of Productions at Scottish Opera +••.••(...)) and at Glyndebourne +••.••(...)). His many awards include Italy’s Premio Abbiati seven times and is a Chevalier de L’Ordre des Arts et des Lettres. He was knighted in the 2021 New Year Honours. His Wagner productions include Die Meistersinger in London, Parsifal in Paris, Tristan und Isolde in Berlin, and Der Ring in Lisbon and Palermo; Verdi : Macbeth & Otello at La Scala, Falstaff in London , Don Carlo in Paris, Rigoletto in Madrid, Barcelona, Palermo and Firenze; Mozart: Die Zauberflote Salzburg Festival and Da Ponte trilogy at Glyndebourne and Mitridate in London and A Coruna. He directed the world premieres of Berio’s Outis at La Scala, Stockhausen’s Mittwoch aus Licht and Battistelli’s Wake in Birmingham, and Haas’s Morgen und Abend at the Royal Opera House Covent Garden. Forthcoming productions include Die Tote Stadt at La Scala, Don Giovanni in Rome, Semiramide at the Rossini Opera Festival in Pesaro and Pique Dame in Berlin. Check out www.oxfordcontemporaryopera.com/opera-in-conversation for more speakers to come/ Facebook: www.facebook.com/operainconversationoxford Instagram: (http•••) Twitter: (http•••)
Hoch-Zeiten (High Times, or Marriages) is performed simultaneously in two different halls by five choral groups and five orchestral sections, respectively. The five divisions in each hall perform at independent speeds, producing "a tour de force of multiple superimposed tempi" (Toop 2008). The performance is then repeated, with the audiences changing halls (Ulrich 2011, 4). As such, these two versions are sometimes regarded as both the fifth and sixth scenes of Sonntag (Stockhausen 2003a, 5). The basic structure of the orchestral version is identical to that of Hoch-Zeiten for Choir, but has added to it five duos and two trios performed by the first-desk players of the orchestra. These ensembles are recollections of characteristic moments from each of the seven operas in the Licht cycle, presented not in weekday order but in the order they were composed (Stockhausen 2004b, 5, 7–28): Thursday duo, for trumpet and clarinet, quoting from Mondeva, act 1, scene 2 of Donnerstag Saturday duo, for flute and trombone, quoting from Kathinkas Gesang, scene 2 of Samstag Monday duo, for viola and cello, quoting from Wochenkreis, the second "situation" of act 2, scene 3 (Evas Lied) of Montag Tuesday duo, for flugelhorn and trombone, quoting from Pietà, in act 2 of Dienstag Friday duo, for oboe and bassoon, quoting from Elufa, the ninth "real scene" of Freitag Wednesday trio, for clarinet, violin, and cello, quoting from the "Carousel" section of Michaelion, scene 4 of Mittwoch Finally, a Sunday trio for flute, viola, and synthesizer, quoting the opening of Lichter—Wasser, the first scene of Sonntag.
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