Karlheinz Stockhausen Originale, Op. 12 2/3 Vidéos
Dernière mise à jour
2024-04-25
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Karlheinz Stockhausen Provencher Leduc Arsenal 2019
Ensemble contemporain de Montréal (ECM+) présente : LE CHANT DE KATHINKA Lundi 4 mars 2019, 19h30 Théâtre Rouge du Conservatoire 4750 Henri-Julien, Montréal Billetterie : (http•••) PROGRAMME Karlheinz Stockhausen : Kathinka’s Gesang (Licht) Taylor Brook : Axon (création) Karlheinz Stockhausen : Nasenflügeltanz Marilène Provencher-Leduc, flûte Gaspard Daigle, contrebasse Olivier Maranda, percussion | 5 percussionnistes RÉSUMÉ DU SPECTACLE Dans la série ECM+Débuts visant à faire connaître de nouveaux venus de la scène contemporaine, la flûtiste Marilène Provencher-Leduc interprète le célèbre Kathinkas Gesang als Luzifers Requiem de Stockhausen dans la version originale pour flûte solo et six percussionnistes spatialisés. Dans ce véritable « requiem » pour Lucifer, le chat Kathinka récite les formules magiques qui le guideront vers la lumière et libéreront les « six sens mortels » qu’incarnent les percussionnistes spatialisés autour du public et portant sur eux leurs instruments. Également au programme, la création d'Axon de Taylor Brook – récipiendaire du Prix du Jury du concours Génération2016 –interprétée par la flûtiste et par le contrebassiste Gaspard Daigle, est un véritable tour de force microtonal conçu à partir des harmoniques naturelles de la contrebasse « scordatura ». Pour clôturer ce concert, le percussionniste Olivier Maranda offre une interprétation inusitée de Nasenflügeltanz de Stockhausen dont l’arsenal de percussions est enrichi d’une trompette maya.
Karlheinz Stockhausen Jonathan Harvey Peter Moore Moore Paik 1961 1964
NOTES ON STOCKHAUSEN'S ORIGINALE ORIGINALE The Piece In 1961, at age 33, Karlheinz Stockhausen was already among the most well-known of living composers, though not yet the guru figure of Beatles tributes and electronica lore. He had just finished composing Kontakte, a piece for electronic four-channel tape and piano/percussion duo, in which he attempted a high degree of interaction between live performers and taped sounds, as well a new degree of theatricality in the onstage movements of the musicians. He received a commission for a "theatrical" work from a theater producer in Cologne, and Originale (Originals) was scripted rapidly during a visit to Finland in July of 1961. The composer Jonathan Harvey, in his book The Music of Stockhausen, describes the form of Originale: "It consists of eighteen scenes in the form of instructions for the dramatis personae carefully placed in timeboxes. Each character's actions, in other words, must take a specified number of seconds or minutes [hence the frequent appearances of the clock in Peter Moore's film]. These scenes are grouped into seven 'structures' which may be performed successively as 'normal', or simultaneously (up to three at once), or both." The idea was to organize spoken language and stage actions in much the same way as musical materials had been organized in Stockhausen's previous pieces. The stage actions consisted largely of normal activities undertaken by actors who were basically playing themselves: a poet played himself as "the poet," reading poetry on stage; a "painter" paints; a "film man" and "lighting man" and ""models" go about their normal business, all within their allotted times (hence the title of the piece: "originals" playing themselves). A visual and aural complexity was created by the juxtaposition of these simultaneously occurring activities, creating an aura of absurdity which contrasted with the normality of the events themselves. In addition, some of the performers, such as the explosive performance artist Nam June Paik, went the opposite direction, performing bizarre actions within their roles. And certain elements of the set, such as goldfish swimming in a bowl hanging from the ceiling, contributed to this contrast between the mundane and the absurd. Stockhausen added another layer of irony to the title by basing Originale on his previous work, Kontakte, rather than composing new music for the piece. So, at the beginning of Originale, we see a pianist and a percussionist (playing themselves, of course) performing Kontakte. However, there is a film camera and a tape recorder present, as well as a stage manager shouting instructions over the music. After a few minutes, the players stop and the tape of their performance is heard, along with the recorded shouts of the stage manager. Thus we see a pianist and percussionist, recording and filming themselves playing a composition which itself contains prerecorded sounds - performances within performances, by "originals" playing themselves. The premiere of the work in Cologne in autumn 1961 was a success for the participants and a scandal for the organizers, who pulled funding two days into the twelve-day run, forcing composer and company to take financial responsibility for the rest of the run.
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