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The Radio 3 Boards > The Music Boards > Music Through The Ages > 20th Century > Karlheinz Stockhausen
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Author Topic: Karlheinz Stockhausen  (Read 20523 times)
Al Moritz
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Posts: 57
« Reply #690 on: 02:40:51, 14-06-2008 »
Interesting observations, Richard.

Quote from: richard barrett on 12:04:57, 11-06-2008
What I miss in those synthetic sounds of Stockhausen's electronic-keyboard parts is the sense of every sound evolving individually within itself, [...] That's what I mean by "clinical". The trouble is that the commercial synthesizers that Stockhausen and his collaborators used are geared to the kind of precise "industrial" reproduction demanded by most pop musicians, who of course represent the vast majority of users and whose priorities are therefore hard-wired into these devices. I may be mistaking Stockhausen's priorities, but once you've heard one sound using a particular timbre, every other sound using that timbre sounds precisely the same as it and evolves in time in exactly the same way, and this quality I find reduces rather than increases my attention to the musical processes.

1. This has never occurred to me as being a problem -- and the least with the music of Himmelfahrt, lively as it is.

2. Does not a given sound on an organ, with registering unchanged, always sound the same as well? As opposed to a piano, where the player's attack changes -- consciously or unconsciously -- with varying musical context?

Al
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richard barrett
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« Reply #691 on: 16:15:46, 14-06-2008 »
Quote from: Al Moritz on 02:40:51, 14-06-2008
1. This has never occurred to me as being a problem -- and the least with the music of Himmelfahrt, lively as it is.

2. Does not a given sound on an organ, with registering unchanged, always sound the same as well? As opposed to a piano, where the player's attack changes -- consciously or unconsciously -- with varying musical context?

The first point is a question of taste, I suppose - I have a preference for electronic sounds with more of a sense of internal "life". Because the sound of an organ pipe is mechanically produced it always contains subtle internal irregularities, and because each pipe is physically in a different place it will always have slight differences from its neighbour sounds. These factors give the sound of an organ a different quality from an electronically-generated sound. I'm pretty sure I could almost always tell the difference.
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time_is_now
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« Reply #692 on: 18:09:44, 23-06-2008 »
I'm not sure if this has already been pointed out but http://www.bbc.co.uk/orchestras/symphonyorchestra/performances/stockhausen_17_jan.shtml seems to contain more information than I remember being aware of before (I didn't know about the late-night Hymnen, for example).
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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
richard barrett
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« Reply #693 on: 10:17:36, 24-06-2008 »
I've just been reading a fairly idiotic review of a Stockhausen concert in Amsterdam by Mark Swed of the LA Times.

I was particularly interested by this assertion.

Quote from: nobody in LA will notice my ignorance
The Dutch are as sophisticated and skeptical an audience as you will find anywhere. A standing ovation here is rare and special.

Now I hope our Dutch correspondent(s?) will correct me if I'm wrong, but in the course of many occasions on which I attended concerts at the Amsterdam Concertgebouw, I cannot remember one which didn't receive a standing ovation. It's standard practice over there (unless, I suppose the concert was an absolute pile of stront). I wonder how that came about.
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pim_derks
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« Reply #694 on: 11:03:54, 24-06-2008 »
Quote from: richard barrett on 10:17:36, 24-06-2008
Now I hope our Dutch correspondent(s?) will correct me if I'm wrong, but in the course of many occasions on which I attended concerts at the Amsterdam Concertgebouw, I cannot remember one which didn't receive a standing ovation. It's standard practice over there (unless, I suppose the concert was an absolute pile of stront). I wonder how that came about.

That's true, Richard, but it wasn't a standard practice fourty, fifty years ago. In the 1930s a standing ovation was really something special in the Concertgebouw.
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
Al Moritz
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« Reply #695 on: 14:14:01, 24-06-2008 »
I agree, standing ovation is standard in the Netherlands, alas. It happened in the Muziekcentrum Vredenburg in Utrecht, where I attended concerts in the beginning of the Nineties, all the time too.
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George Garnett
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« Reply #696 on: 14:39:46, 24-06-2008 »
I'd always assumed it was a function of how comfortable the seats were rather than national temperament. I defy anyone to play the Holywell Music Room, Oxford to even the most stolid Middle England audience and not get a standing ovation. Well the standing bit anyway. There may or not be much ovating. 
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pim_derks
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« Reply #697 on: 15:57:33, 24-06-2008 »
Another crazy Dutch custom of the last thirty years is giving friends three (!) kisses when you meet them. Lips sealed
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
martle
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« Reply #698 on: 15:58:49, 24-06-2008 »
Quote from: pim_derks on 15:57:33, 24-06-2008
Lips sealed

That would be  Kiss Kiss Kiss Pim.

  Smiley
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Green. Always green.
pim_derks
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« Reply #699 on: 16:31:25, 24-06-2008 »
Embarrassed

I always feel a bit embarrassed when I get a kiss.
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
Turfan Fragment
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Formerly known as Chafing Dish
« Reply #700 on: 17:33:19, 24-06-2008 »
Quote from: pim_derks on 16:31:25, 24-06-2008
I always feel a bit embarrassed when I get a kiss.
I always feel a bit frightened, myself.
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time_is_now
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« Reply #701 on: 18:30:11, 24-06-2008 »
Quote from: pim_derks on 15:57:33, 24-06-2008
Another crazy Dutch custom of the last thirty years is giving friends three (!) kisses when you meet them. Lips sealed
There are establishments in Amsterdam where I understand it's more customary to kiss three people at once.
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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
pim_derks
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« Reply #702 on: 18:34:15, 24-06-2008 »
Quote from: time_is_now on 18:30:11, 24-06-2008
There are establishments in Amsterdam where I understand it's more customary to kiss three people at once.

Because of things like that I don't like Amsterdam. Sad
« Last Edit: 18:40:00, 24-06-2008 by pim_derks » Logged
"People hate anything well made. It gives them a guilty conscience." John Betjeman
George Garnett
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« Reply #703 on: 11:41:50, 27-06-2008 »
Some more details of what's coming up at the South Bank Centre's Stockhausen festival in November.


Quote
KLANG A TRIBUTE TO KARLHEINZ STOCKHAUSEN

SATURDAY 1 - SUNDAY 9 NOVEMBER

We've just announced the programme for the first major retrospective of Stockhausen's works since his death last year. The festival is curated by one of Stockhausen's trusted interpreters, Oliver Knussen and features some of Stockhausen's classic works alongside the UK premieres of his final compositions, performed by the musicians for whom they were written, including the London Sinfonietta and Holland's Asko Ensemble. The world premiere of Urantia for tape, commissioned for this festival by Southbank Centre will also be performed. Visit www.southbankcentre.co.uk/stockhausen for more information
 

Festival Highlilghts:

 

Saturday 1 November

Harmonien 'Harmonies' from KLANG (2006)

Trans for orchestra and tape (1971)

Royal College of Music Students

Diego Masson (conductor)

Suzanne Stephens (bass clarinet)

Kathinka Pasveer (flute)

 

Sunday 2 November

Mantra for two pianists and electronics (1970) Ellen Corver, Sepp Grotenhuis (piano)

 

Sunday 2 November

Orchester-finalisten 'Orchestra Finalists' (1995-06)

Glanz 'Brilliance' from KLANG (2007) (UK premiere) Asko Ensemble

 

Wednesday 5 November

Himmels-tür 'Heaven's Door' from KLANG, for percussionist (2005) (UK premiere) Stuart Gerber (percussion)

 

Friday 7 November

Freude 'Joy' from KLANG, for two harps (2005) (UK premiere) Cosmic Pulses from KLANG (2006-07)

Marianne Smit, Esther Kooi (harp)


Saturday 8 November

Drei Lieder 'Three Songs' for alto voice and chamber orchestra (1950)

Urantia from KLANG (2007) (world premiere)

Zodiac from KLANG (2007)

London Sinfonietta
Oliver Knussen (conductor)
Helena Rasker (alto)

 

Saturday 8 November

Stimmung

'Tuning' for six vocalists, six microphones, six loudspeakers and sound director (1968)

SingCircle
Gregory Rose (sound director)

 

Sunday 9 November

Gesang der Jünglinge 'Song of the Youths' electronic and concrete music (1955-56)

Luzifers Tanz 'Lucifers Dance' for wind orchestra (1983)

Royal Northern College of Music Students
Clark Rundell (conductor)

 

Sunday 9 November

Michael's Abschied 'Michael's Farewell' (1980)

Royal Northern College of Music Students


I'm sure the RNCM wil do Michael's Farewell splendidly but sadly without the opportunity to see Ollie in martinswallow costume. Maybe next year in Lewisham?
« Last Edit: 00:36:00, 28-06-2008 by George Garnett » Logged
Sydney Grew
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« Reply #704 on: 12:04:38, 27-06-2008 »
Quote from: George Garnett on 11:41:50, 27-06-2008
Quote
The festival is curated by one of Stockhausen's trusted interpreters, Oliver Knussen . . .

The South Bank Centre's spokesman is illiterate, since there is no such verb as "curate." The great Oxford English Dictionary does list a verb "curatize" but even that cannot be what he intended to say or convey since it is intransitive and a nonce-word at that.

We think the announcement should read "The festival is under the curatorship of one of" etc.

Curiously though, the same Dictionary lists the word "curating," which means "acting as a curate" (not as a curator), and which it describes as a "verbal noun." This seems to be a rather rare instance of a verbal noun's existing in the absence of a corresponding verb.
« Last Edit: 12:15:12, 27-06-2008 by Sydney Grew » Logged
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