- published: 23 Dec 2012
- views: 39762
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Karlheinz Stockhausen (German pronunciation: [kaʁlˈhaɪnts ˈʃtɔkhaʊzn̩]; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the 20th and early 21st centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his groundbreaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization.
He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company.
Dienstag aus Licht - Invasion-Explosion mit Abschied Act 2 of the opera TUESDAY from LIGHT. Eight-channel electronic music (called Oktophonie when performed separately) is projected from the corners of a cube surrounding the audience throughout Act 2. The act is divided into three large sections, together containing eleven scenes, though they run continuously without a break (99 Subdivisions) First Air-Defense. Beginning First Air-Defense. 1st shot - 1st downing First Air-Defense. 2nd shot First Air-Defense. 3rd shot First Air-Defense. 4th shot - second downing First Air-Defense. Sound-bomb 24 First Air-Defense. 15th shot with 3rd downing First Air-Defense. Sound-bomb 25 First Air-Defense. Grace-note before sound-bomb 26 First Air-Defense. Sound-bomb 27 First Invasion. Grace-note before ...
A look at the man from Sirius. This was a viewer request from YouTuber Mario Woj. See the current request queue at http://lentovivace.com/requestqueue.html. ---------- Classical Nerd is a weekly video series covering music history, theoretical concepts, and techniques, hosted by composer, pianist, and music history aficionado Thomas Little. ---------- Music: - Karlheinz Stockhausen: Cosmic Pulses [original upload: EqsDLMii8gk] - Thomas Little: Dance! #2 in E minor, Op. 1 No. 2, performed by Rachel Fellows, Michael King, and Bruce Tippette ---------- Contact Information: Questions and comments can be directed to: nerdofclassical [at] gmail.com Tumblr: classical-nerd.tumblr.com ---------- All images and audio in this video are for educational purposes only and are not intended a...
Karlheinz Stockhausen - Sirius
In this clip (from our rehearsals) you can see a little more interaction between the conductors. Difficult to get a full shot so I had to pan (annoying). From Lucerne Festival Academy, 2007.
Digital Video Final Project (Short Film) Electronic Media Fall 2014 Written, Directed, Shot, Edited, Produced and Catered by Connor Boyle The piece ("Gesang der Jünglinge" by Karlheinz Stockhausen) played in this video is being used strictly for non-profit Educational purposes.
œuvre pour deux harpes - 2005 (œuvre complète : près de 40 minutes) Interprètes : à gauche : Bleuenn Le Friec - à droite : Frédérique Cambreling. (frederique-cambreling.fr/) Prises de vue et montage : Matthieu Gérard-Tulane
shot during the rehearsals for the concert on Sep 1st, 2012 in Berlin Ensemble musikFabrik, Peter Eötvös
The first four Klavierstücke together mark a stage in Stockhausen's evolution from point music to group composition. They were composed in the order III–II–IV–I, the first two (originally titled simply A and B) in February 1952, and the remaining two before June 1952. Number I was therefore the last of the set to be composed. "It was written in just 2 days and probably flowed quite intuitively from his pen. In fact, only when analyzing it after the fact did Stockhausen notice the symmetry he'd unconsciously incorporated into it. The groupings are based on things like register, dynamic curve, melodic direction, tempo, chord elements etc... Though it also has the chordal and contrapuntal elements of II and IV, it's notable for having several pauses and sustained chords which make it easi...
Piece: Rhapsody on a Theme of Paganini by Rachmaninoff (Performed by Tianxu An) #classicalmusic #piano #pianoconcerto #rachmaninoff #fail
The Ensemble for Intuitive Music Weimar performs Karlheinz Stockhausen's WACH from his cycle FÜR KOMMENDE ZEITEN. Excerpt taken through the dress rehearsal at SCHÖMER-HAUS Klosterneuburg on March 7th, 2009. Video: Karlheinz Essl
Karlheinz Stockhausen (German pronunciation: [kaʁlˈhaɪnts ˈʃtɔkhaʊzn̩]; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the 20th and early 21st centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his groundbreaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization.
He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company.