- published: 01 Oct 2007
- views: 1289876
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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.
A little bit longer and higher quality version (than present here) of one of the freakest inventions of contemporary music legend. Downloadable at http://www.oenm.at/stadlerweb/images/mp3/Heli4tett.avi
Duration: 55'19" http://tomasolano.com.ar Given at the Oxford Union on May 6th 1972. The title of the work "refers both to contacts between instrumental and electronic sound groups and to contacts between self-sufficient, strongly characterized moments. In the case of four-channel loudspeaker reproduction, it also refers to contacts between various forms of spatial movement".
The first of three short film introductions on Stockhausen by Birmingham Opera Company as part of the London 2012 Festival. See more at: http://www.birminghamopera.co.uk/wednesday2012/
Karlheinz Stockhausen Gruppen, pour trois orchestres Orchestre du Conservatoire de Paris Ensemble intercontemporain Matthias Pintscher, direction Paul Fitzsimon, direction Bruno Mantovani, direction Enregistré en direct à la Cité de la musique le 30.01.2016.
Karlheinz Stockhausen (1928-2007): Telemusik, per nastro magnetico (1966). Realizzazione: Karlheinz Stockhausen presso lo Studio per la Musica Elettronica NHK di Tokyo. Cover image: City of Tokyo, photo by Stephanie Jung. *** The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
The Konkrete Etüde (Concrète Étude) is the earliest work of electroacoustic tape music by Karlheinz Stockhausen, composed in 1952 and lasting just three-and-a-quarter minutes. The composer retrospectively gave it the number "⅕" in his catalogue of works.
PLEASE SUPPORT THE ARTIST. You can order this music on http://stockhausencds.com/. Thank you! 1. Region: Die Internationale und die Marseillaise. 2. Region: Das Deutschlandlied, der Anfang der Hymne der Russischen Föderation, mehrere afrikanische Nationalhymnen und einer Momentaufnahme von Stockhausen selbst: "Das mit dem Horst Wessel Lied gibt böses Blut." Hymnen (Elektronische und konkrete Musik) für 4-Spur Magnet., 4x 2 Lautsprecher, Mischpult und Klangregie (ca. 114 Min.) "Hymnen" ist eine Komposition von Karlheinz Stockhausen, die von 1966 bis 1967 realisiert und 1969 nochmals modifiziert wurde. In Stockhausens Werkverzeichnis trägt sie die Nummer 22. Das Werk ist von einem weltmusikalischen Charakter geprägt, indem ca. 40 Nationalhymnen als Klangobjekte Verwendung finden, die als...
Director: Luc Ferrari Martina Arroyo, soprano. Alfons & Aloys Kontarsky, electric organs. Choir & Orchestra of the Westdeutscher Rundfunk, conducted by Karlheinz Stockhausen. Between 1965-68, composer Luc Ferrari collaborated with director Gérard Patris on a series of filmed intimate portraits of great musicians, “Les Grandes Répétitions” (The Great Rehearsals), which were broadcast on French TV. They are remarkable not only for their exceptional content, but also for their creative, dynamic camera work and playful juxtaposition of music and talk. Truly unique and enjoyable period documents. Karlheinz Stockhausen: Momente was filmed during rehearsals for the premiere of his monumental work Momente. The revealing rehearsal sequences are interspersed with Stockhausen speaking of his youth,...
Mittwoch aus Licht - Mittwochs-Gruß The greeting of the opera WEDNESDAY from LIGHT. The Wednesday Greeting consists of the electronic music from the fourth scene, Michaelion, and is played in the foyer amidst flues, winds, blowers, kites, balloons, and flying doves www.stockhausenCDs.com
Goldstaub (Gold Dust), (1973) Karlheinz Stockhausen, voice, conch trumpet, large cowbell, keisu, 14 rin, key and jar of water, kandy-drum, ring of bells Peter Eötvös, electronics Herbert Henck, vocals, sitar, saucepan partly filled, 2 little bells, ship's Bell Michael Vetter, voice, recorder Art by Ronald B. Kitaj
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.