- published: 04 Jul 2022
- views: 20399
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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.
Karlheinz Stockhausen – Kontakte (1958-1960) for electronic sounds, piano and percussion Benjamin Kobler, piano Dirk Rothbrust, percussion Kathinka Pasveer, sound direction Wolfgang Ellers, recording producer/editing video by WARPED TYPE Andreas Huck, Roland Nebe Follow us on ►Facebook: https://www.facebook.com/Musikfabrik/ ►Twitter: https://twitter.com/Musikfabrik ►Instagram: https://www.instagram.com/ensemble_musikfabrik/ www.musikfabrik.eu
KONTAKTE (1958–60) for electronic sounds, piano and percussion by Karlheinz Stockhausen: copyright of the tape and score: Stockhausen Foundation for Music, Kürten, Germany (www.karlheinzstockhausen.org) KontakteDuo Carlos Puga, percussions Patrícia Martins, piano
Zyklus für einen Schlagzeuger (1959) [No. 9]: "Karlheinz Stockhausen was a pupil of Messiaen and Milhaud, and was greatly influenced by the serial works of Webern. The work “Zyklus” (cycle) for solo percussionist was composed in 1959 as a test piece for the Kranichstein Music Prize for percussion players. The work represents the application of a concept formulated by Webern and continued by Messiaen seeking the unification of all properties of sound under a single principle of organization. Based on these influences, Stockhausen sought to apply serial control to all aspects of musical sound. In “Zyklus” he combined the idea of total serialism with indeterminacy, allowing the performer a certain amount of freedom within carefully controlled musical parameters. “Zyklus” is scored for thirte...
Performed by Philippe Gaspoz & Alexander M. Smith Video/Sound/Production by Alexander M. Smith
Provided to YouTube by Universal Music Group Stockhausen: Zyklus · Florent Jodelet Stockhausen: Zyklus - Refrain - Kontakte ℗ 1993 Decca Records France Released on: 1993-11-16 Studio Personnel, Recording Engineer, Producer: Alain Joubert Composer: Karlheinz Stockhausen Auto-generated by YouTube.
Provided to YouTube by Universal Music Group Stockhausen: Kontakte · Florent Jodelet · Gérard Frémy Stockhausen: Zyklus - Refrain - Kontakte ℗ 1993 Decca Records France Released on: 1993-11-16 Studio Personnel, Recording Engineer, Producer: Alain Joubert Associated Performer, Percussion: Gérard Frémy Composer: Karlheinz Stockhausen Auto-generated by YouTube.
Eclats Duo plays Kontakte by Karlheinz Stockhausen - Festival Wege Der Wahrnehmung/Neubad Luzern
Für elektronische Klänge, Klavier und Schlagzeug. Haeyoung Kim, Klavier Jaime Moraga, Schlagzeug 18 Juli 2015 kürten. Deutschland
Provided to YouTube by Universal Music Group Stockhausen: Refrain · Florent Jodelet · Gérard Frémy · Jean Efflam Bavouzet Stockhausen: Zyklus - Refrain - Kontakte ℗ 1993 Decca Records France Released on: 1993-11-16 Studio Personnel, Recording Engineer, Producer: Alain Joubert Associated Performer, Percussion: Jean Efflam Bavouzet Associated Performer, Percussion: Gérard Frémy Composer: Karlheinz Stockhausen Auto-generated by YouTube.
Zyklus, for solo percussion (1959) Tristan Fry, percussion Stockhausen composed Zyklus (1959) as part of a competition he initiated in order to find performers skilled enough to play the taxing percussion parts in his orchestral work Gruppen. Prospective participants complained about the lack of works available for solo percussion, so Stockhausen attempted to fill the void with Zyklus, a latter-day etude intended to awaken the performer to new possibilities. Zyklus is arranged in a cycle of 17 "periods" which express nine dominant timbral groups. These periods are divided into 30 temporal units, the durations of which are decided in advance by the performer. The arrangement of the periods, in turn, is governed by nine attack cycles that correspond to the timbral groups. The nine major ...
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.