Karlheinz Stockhausen Für kommende Zeiten, Op. 33 n. 8, « Innerhalb » Video
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Pilot Stockhausen Arditti Arditti Quartet 1995
Helikopter-Streichquartett has been performed only three times in its original form. A full-scale production requires four large helicopters, each with a pilot, a live musician, and a sound technician inside, as well as an elaborate communications and audio-visual transmission apparatus. Faced with the daunting task of mounting a performance of even one scene of this huge work, the Digital Music Ensemble decided to stage its own interpretation of the piece. Thus we are using model helicopters instead of full-scale ones, a quartet of electric guitarists in place of a string quartet, and we're adding a live video processing dimension. Sonically, we have taken considerable liberties at variance with the printed score, as did Stockhausen himself on his recording with the Arditti Quartet (1995). We believe we have been true to the spirit of the piece.
Hoffmann Rolle Karlheinz Stockhausen 1987 1993 2000 2005 2013 2014
Zur Ausstellung STIPVISITE - Thüringer Stipendiaten für Bildende Kunst 2013, spielt das Ensemble für intuitive Musik live am Freitag, den 25. April 2014 um 22:00 Uhr, im NEUEN MUSEUM in Weimar. Dabei zeigen sich Daniel Hoffmann (Trompete und Flügelhorn), Matthias von Hintzenstern (Violoncello), Hans Tutschku (Live-Elektronik) und Michael von Hintzenstern (Harmonium/Synthesizer) verantwortlich für einen Abend der besonderen Art. Ausstellungsobjekte von Konstantin Bayer werden dabei zu Klangobjekten und Bühne. Auf dem Kohlefußboden und unter der Chinadecke wird musiziert, an der Rauminstallation "Working on Monument 2" kann partizipiert werden und im Foyer stehen Getränke bereit. Ein ungewöhnlicher Abend im Neuen Museum erwartet euch. Die Veranstaltung des Klang Projekte Weimar e.V. im Rahmen der Reihe "Neue Wege zur Musik - Wege zur Neuen Musik" versteht sich als nächtlicher Gruß an die 15. Frühjahrstage für zeitgenössische Musik! Der Eintritt ist frei! Zum Ensemble: In seinen Programmen mit Instrumentalmusik und Live-Elektronik ist das Ensemble für Intuitive Musik Weimar (EFIM) seit seiner Gründung vor 33 Jahren auf der Suche nach neuen Klängen und "besonderen Orten". Aber auch Grenzüberschreitungen und die Beziehungen zu anderen Künsten spielen eine wichtige Rolle. Ausgehend von Bauhaus-Traditionen konnten seit 1987 zahlreiche synästhetische Projekte realisiert werden. Prägend in der Geschichte der Gruppe war die langjährige Zusammenarbeit mit Karlheinz Stockhausen, mit dem es Teile aus seinem Zyklus "Für kommende Zeiten" 2005 auf CD eingespielt hat. Gastspiele führten in 30 Länder auf vier Kontinenten. Dabei kam es 1993 zum legendären Konzert "Ausbruch der Klänge" vor 2000 Zuhörern in einem Lavafeld in Mexico-City.
Kazimierz Serocki Stockhausen Miró 1963
This is one of the earliest examples of aleatory writing in Polish music. Its structure reminds of the famous Klavierstuck XI by Stockhausen. The piece consists of 3 pages each containing 10 musical fragments. Both the pages and the fragments inside them can be played in any order. However, in this recording all the fragments are played in a direct order, for study purposes. Painting by Joan Miró
Iannis Xenakis Ikeda Lopez Fleuret Karlheinz Stockhausen Lays Percussions Strasbourg 1962 1966 1967 1969 1970 1971 1972 2005
Disc 1- Persepolis: 0:00 - 1:00:43 Disc 2- Remixes: Otomo Yoshihide: 1:00:43 Ryoji Ikeda: 1:10:03 Zbigniew Karkowski- Doing by Not Doing: 1:18:39 Antimatter: 1:33:52 Construction Kit- Gliché: 1:43:51 Francisco Lopez- Untitled 113: 1:48:52 Laminar- Whore: 1:58:57 Merzbow: 2:06:03 Ulf Langheinrich: 2:13:04 Original liner notes by Maurice Fleuret: "After Edgar Varese and Karlheinz Stockhausen - and even much more systematically than they - Iannis Xenakis has turned his attention towards using and mastering space in music. This is probably one of his most remarkable conquest, as attested by Bohor (1962) for eight magnetic tape channels, Terrêtektorh (1966) and Nomos Gamma (1969) for an orchestra scattered through the audience, and Persephassa (1969) for six percussion players (the Percussions de Strasbourg) performing in a circle around the listeners. This family of spacialized pieces, all more or less foreign to linearity and temporality, logically tends toward a spectacle in which what is seen is in direct correlation with what is heard, in a single, overall treatment of space. Aside from Persepolis, the polytope for electronic flashes and four recorded orchestras (written for the French Pavillon at the Montreal Exhibition, 1967), Hibiki Hana Ma for twelve magnetic tape channels (written for the laser-beam spectacle in the Japanese Steel Pavillon at the Osaka Exhibition, 1970), and the "Polytope de Clugny" for six hundred flashes, three laser-beams, and seven magnetic tape channels (written for the Paris Autumn Festival, 1972) have been the main signposts in this investigation. Commissioned by the Fifth International Arts Festival of Chiraz-Persepolis (Iran), Persepolis was given its first performance on August 26, 1971. The work lasts fifty-seven minutes and was intended for the eye as much as for the ear : it not only grew out of the site of Persepolis but was even tailored to it and accordingly bears its name. At the first performance, in the grandiose ruins of the Palace of Darius, the public was able to move about inside six listening zones of which was surrounded by eight loudspeakers reconstituting eight differents channels of electro-acoustical music. Fromxenakis the nearby mountain, close to the great tombs, arc-lights shone into the sky, while two lazer-beams restlessly agitated their blood-red rays across the night-dissolved ruins. Then atop the mountain, moving lights were seen, now separating now joining. Two hudge wind-whipped bonfires lit up the chaos of stone. Series of luminous dots traced on the flank of the mountain an irregular geometrical system. In the meantime firely-like pin-points first moved slowly about, outlining the curve of the crest, then suddenly burst, dispersed, and raced down the slope : the entire mountain became a reflection of the star-studded sky. One after the other the electric lights were changes into torches and form against the pitch-black rock the arabesc of Xenakis' phrase : "We bear the light of the earth." Finally, as the apotheosis, one hundred and fifty torch-carrying Shiraz schoolboys ran across the ravine and through the audience to disappear in the forest of columns of the Apadana, and the ruins of Persepolis returned to their mineral silence. Two days later, during a debate, Xenakis the Greek was accused of having reawakened the most painful memory in the minds of Cyrus's descendants : the burning of the Palaces of Persepolis by another Greek, Alexander the Great. Yet the symbols has not been difficult to decipher - above all in the country of Zoroaster, for whom fire and light represent the good and the eternal life. Inspired by the beauty and natural strength of this site pregnant with history, Xenakis had merely turned deliberately toward the future and the youth of the world to let out a tender though violent cry of hope. But as always he had also created an abstract, dense, complex work the sudden power of wich lays siege to the senses as well as to the intellect. Listeners of this record will be able to appreciate this fact for themselves, although here the music is reduce to the elementary proportion of stereopony, but in the process it has not lost its wealth of substance or its prodigious power to bewitch. As Xenakis has said, "this music corresponds to the rock on which hieroglyphic or cuneiform messages were engraved in such a concise, hermetic way that they only give up their secrets to those who wish to read them and learn how to do so." Buy: (http•••) I OWN NOTHING! Property of Asphodel Records
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