Karlheinz Stockhausen Spiel, Op. 1/4 Vidéos
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2024-04-23
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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.
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
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 Ensemble Recherche 1928 1952 1974 2007 2015
Karlheinz Stockhausen +••.••(...)) was a German composer, widely acknowledged by critics as one of the most important, but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance (aleatory techniques or aleatoric musical techniques) into serial composition, and for musical spatialization. The Schlagtrio is a chamber work originally written in Paris in 1952 as a Schlagquartett (Percussive Quartet), for piano and three timpanists. In 1974 it was revised: the attacks and pitches remained unaltered, but the six timpani were redistributed, three each for just two players, and the note values were doubled in order to facilitate reading. The six timpani are tuned to a whole-tone scale, a quarter tone lower than the piano. Each drum corresponds to one octave in the piano. This oppositional scoring differentiates the piece from its immediate predecessors, Kreuzspiel, Spiel, and Formel. The former two use percussion as a noise element in contrast to pitch, while Formel integrates percussion timbres into the pitch structures of the other instruments. The course of the work describes a process in which the clear sounds of the piano and the more shadowy notes of the timpani gradually come together, make contact and overlap, and then withdraw once again. This is accomplished in a succession of twenty-three phases. The central, twelfth phase is the only one in which all twelve pitches in the piano and all six stroke types in the timpani are present. (Wikipedia) More info at the Stockhausenspace blog: (http•••) Performer: Ensemble Recherche Original audio: (http•••)
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