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time_is_now
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« Reply #630 on: 23:13:36, 09-12-2007 » |
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No, I am in the dark just as everyone else. What I can say is that the short, severe illness that was mentioned by Mary Bauermeister (see above) must have been short indeed. I had last contact with Kathinka Pasveer from Stockhausen-Verlag on November 14, and things seemed to be just fine then. They were, in fact, enjoying some preparations for his 80th birthday. Al, can you explain the role of Mary Bauermeister in all this? I was surprised to see her mentioned in the Süddeutsche Zeitung article: I hadn't realised she was still in Stockhausen's life at all. |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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ahinton
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« Reply #631 on: 23:16:02, 09-12-2007 » |
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I realise that it's a tad off-topic, but it might perhaps be interesting to consider those few - so very few - composers who felt that they never came within the aura of Mozart in some way at some point - Chopin, Tchaikovsky, Strauss, Britten and Carter, to name but a very few - and now the recently departed Karlheinz as well; what is is about Mozart in particular that achieves this? This is surely the real "Mozart effect"...
Really interesting thought, ah. Start a thread? Go on! You can do it! Yes, you can!!  No, I can't - and won't - especially having boobed right royally in carelessly and inadvertently suggesting the very opposite of what I had in mind - i.e. that the six composers I mentioned were not a part of that effect when I meant to say that it seems that they were, along with many other composers. So - nah; if you want to start such a thread, please go ahead and be my guest! Sorry in the meantime for the twittish booboo... Best, Alistair |
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stuart macrae
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« Reply #632 on: 01:19:39, 10-12-2007 » |
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If anyone's interested in hearing that Carré recording I mentioned earlier, PM me.  |
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Bryn
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« Reply #633 on: 20:50:22, 10-12-2007 » |
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Many thanks for your help, Stuart. Do you know when the broadcast was? The performance was 1995, but I guess the broadcast would not have been until at least 1997 or the presenter would have said "earlier this year" or "last year" rather than stating the year of the performance. It's not the sort of thing I would have thought I'd not have listened to at the time, had I known it was being broadcast, yet ...
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Andy D
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« Reply #634 on: 15:14:50, 11-12-2007 » |
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I saw a CD version of Sternklang in the library yesterday but, as I can't imagine this working on CD, I didn't get it out. Does anyone know this recording, don't know what label but it's directed by KS. Is it worth listening to? I've found a reference to the performance I went to, it wasn't midsummer's day, my memory at fault. Sternklang, 14th July 1992 Cannon Hill Park, Birmingham, England Presentation by Karlheinz Stockhausen of his piece Sternklang. |
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richard barrett
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« Reply #635 on: 15:29:18, 11-12-2007 » |
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I saw a CD version of Sternklang in the library yesterday but, as I can't imagine this working on CD, I didn't get it out. Does anyone know this recording, don't know what label but it's directed by KS. Is it worth listening to? It's absolutely beautiful. (I was listening to it this morning.) It originally came out in 1978 on a Polydor double LP and was subsequently released on CD by Stockhausen. The (studio) recording only offers a certain perspective on things of course - sometimes it simulates a listener moving between the groups, bringing one particular one to the foreground, while sometimes, as in the massed sections, you hear everything together. It doesn't attempt to reproduce the experience of attending a performance, but instead makes something different out of the piece which makes perfect sense as a recording. Also, the performance is superb. |
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pim_derks
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« Reply #636 on: 15:46:50, 11-12-2007 » |
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What shines out from almost all Stockhausen's work, from beginning to end, is a sense of optimism, that there's a place in the world for music which proposes that each listener take the time and commitment to develop an "art of listening". Yesterday evening I was listening again to that old incomplete recording of "Carré". There's a quote (in Dutch) by Stockhausen in the liner notes: "Ik hoop dat deze muziek wat rust en concentratrie zal kunnen oproepen en ook het bewustzijn dat we veel tijd hebben als we onszelf eraan overgeven en dat het beter is om tot jezelf te komen dan om wild rond te rennen. De gebeurtenissen in het leven hebben iemand nodig om zich aan te voltrekken, iemand die ervoor openstaat." So optimistic! I don't know where or when Stockhausen wrote this. The liner notes are a bid odd: Ligeti is introduced as a Polish (!) composer.  |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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Bryn
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« Reply #637 on: 15:56:11, 11-12-2007 » |
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pim, I think the same quote, though this time in English, is included in the introduction to Paris performance which Stuart has mentioned.
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richard barrett
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« Reply #638 on: 19:35:11, 11-12-2007 » |
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Spotted on the KS memorial blog at stockhausen-org:
kathinka said...
Dear friends,
the night before Stockhausen died, he finished composing the commission for Orchestra which will be premiered in Bologna next September (ZODIAC for orchestra)
Also to tell you that up to the 21st Hour of KLANG (which is called PARADIES for flute and electronic music), Stockhausen had already composed these works. So although he is now with us only in spirit, there are many more surprises to come!
In June, ASKO will premìere
2006/ KLANG – 10th Hour [ca. 40’]
2007 GLANZ (BRILLIANCE) for bassoon, viola, clarinet, trumpet, trombone, oboe, tuba
In August Ensemble Recherche plans to première
2006/ KLANG – 7th Hour [ca. 30’]
2007 BALANCE for bass clarinet, English horn, flute
And Musikfabrik plans to première also in August
2006/ KLANG – 9th Hour [ca. 35’]
2007 HOFFNUNG (HOPE) for violoncello, viola, violin
Our copyist will start soon on these scores.
The 6th Hour of KLANG,
SCHÖNHEIT, BEAUTY for flute, trumpet and bass clarinet will be also ready as this will be premièred in October in Lisbon by Suzanne, Marco and me (ca. 30 min.).
It is also possible to acquire the rights for a première, as Stockhausen has already finished composing the following hours:
2007 KLANG – 14th Hour [24’10”]
HAVONA for bass and electronic music
(layers 24 - 23 - 22 from COSMIC PULSES)
2007 KLANG – 15th Hour [24’]
ORVONTON for baritone and electronic music
(layers 21 - 20 - 19 from COSMIC PULSES)
2007 KLANG – 16th Hour [22’40”]
UVERSA for basset-horn and electronic music
(layers 18 - 17 - 16 from COSMIC PULSES)
2007 KLANG – 17th Hour [21’40”]
NEBADON for horn and electronic music
(layers 15 - 14 - 13 from COSMIC PULSES)
2007 KLANG – 18th Hour [20’40”]
JERUSEM for tenor and electronic music
(layers 12 - 11 - 10 from COSMIC PULSES)
2007 KLANG – 19th Hour [19’40”]
URANTIA for soprano and electronic music
(layers 9 - 8 - 7 from COSMIC PULSES)
2007 KLANG – 20th Hour [18’40”]
EDENTIA for soprano saxophone and electronic music
(layers 6 - 5 - 4 from COSMIC PULSES)
2007 KLANG – 21st Hour [18’]
PARADIES / PARADISE for flute and electronic music
(layers 3 - 4 - 1 from COSMIC PULSES)
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pim_derks
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« Reply #639 on: 19:39:07, 11-12-2007 » |
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Many thanks, Richard. This is happy news in a sad week. |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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martle
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« Reply #640 on: 19:40:20, 11-12-2007 » |
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Good grief: from a quick calculation that appears to be over 5 hours of music awaiting its first performance! Fairly awesome, neh?
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Green. Always green.
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time_is_now
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« Reply #641 on: 19:44:45, 11-12-2007 » |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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pim_derks
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« Reply #642 on: 11:29:32, 12-12-2007 » |
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Music Matters
Saturday 15 December 2007, 12:15-13:00 (Radio 3)
"Tom Service presents a special programme looking back on the life and music of one of the 20th century's most distinguished and controversial composers - Karlheinz Stockhausen, who died last week."
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« Last Edit: 11:33:41, 12-12-2007 by pim_derks »
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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harmonyharmony
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« Reply #644 on: 01:09:58, 13-12-2007 » |
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But hours 14-21 all use some layers of Cosmic Pulses, which he finished last year (?), so presumably quite a lot of the new composition that he had to do towards that lot was done at the same time. |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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