- published: 14 Oct 2011
- views: 7447
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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.
Punkte, for orchestra (1952-1962) I. 1 II. 13 III. Takt vor 25 IV. 37 V. 49 VI. 61 VII. 73 VIII. 85 IX. 97 X. 109 XI. 121 XII. Takt vor 133 The North German Radio Symphony Orchestra Karlheinz Stockhausen Punkte originated as a punctual orchestral work which was begun in September in Hamburg and had reached a first-draft stage by 30 September. The final draft was completed on 24 October 1952, but the work remained unperformed and unpublished (Blumröder 1993, 97--99; Frisius 2008, 56). The work did not receive the title by which it is known today until much later, however. In a letter dated 4 November 1952 to Alfred Schlee (the editor from Universal Edition in Vienna who, at the premiere of Stockhausen's Spiel at the Donaueschingen Festival in October, had offered to pub...
Karlheinz Stockhausen - Punkte (1952-1962) rev. 1966 - Sinfonieorchester des Norddeutschen Rundfunks - dir. Stockhausen
Duration: 29'43" Lecture 1 - (Musical Forming) (138 minutes) given on February 13th 1972 at the Institute of Contemporary Arts, London. Excerpts from KONTRA-PUNKTE, GRUPPEN, GESANG DER JÜNGLINGE, ZEITMAßZE, ZYKLUS, KREUZSPIEL, MANTRA, CARRÉ Fuente: http://ubu.com/film/stockhausen_lectures.html
Duration: 34'01" http://tomasolano.com.ar Given on February 15th 1972 at the Institute of Contemporary Arts, London. This is the second part of the lecture originally entitled Live Electronic Music and Intuitive Music. Intuitive music is a form of musical improvisation based on instant creation in which fixed principles or rules may or may not have been given. It is a type of process music where instead of a traditional music score, verbal or graphic instructions and ideas are provided to the performers. The concept was introduced in 1968 by the German composer Karlheinz Stockhausen.
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
Punkte, for orchestra (1952-1962) I. 1 II. 13 III. Takt vor 25 IV. 37 V. 49 VI. 61 VII. 73 VIII. 85 IX. 97 X. 109 XI. 121 XII. Takt vor 133 The North German Radio Symphony Orchestra Karlheinz Stockhausen Punkte originated as a punctual orchestral work which was begun in September in Hamburg and had reached a first-draft stage by 30 September. The final draft was completed on 24 October 1952, but the work remained unperformed and unpublished (Blumröder 1993, 97--99; Frisius 2008, 56). The work did not receive the title by which it is known today until much later, however. In a letter dated 4 November 1952 to Alfred Schlee (the editor from Universal Edition in Vienna who, at the premiere of Stockhausen's Spiel at the Donaueschingen Festival in October, had offered to pub...
Karlheinz Stockhausen (1928-2007) The British Lectures - Lecture 1, Part 4 - (Musical Forming) (1972) Duration: 29'43" http://tomasolano.com.ar Lecture 1 - (Musical Forming) (138 minutes) given on February 13th 1972 at the Institute of Contemporary Arts, London. Excerpts from KONTRA-PUNKTE, GRUPPEN, GESANG DER JÜNGLINGE, ZEITMAßZE, ZYKLUS, KREUZSPIEL, MANTRA, CARRÉ
Karlheinz Stockhausen (1928-2007) The British Lectures - Lecture 1, Part 1 - (Musical Forming) (1972) Duration: 29'49" Lecture 1 - (Musical Forming) (138 minutes) given on February 13th 1972 at the Institute of Contemporary Arts, London. Excerpts from KONTRA-PUNKTE, GRUPPEN, GESANG DER JÜNGLINGE, ZEITMAßZE, ZYKLUS, KREUZSPIEL, MANTRA, CARRÉ
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
Between 1971 and 1974 Jill lived and worked in Germany with the composer Karlheinz Stockhausen. In this clip, he describes Jill as a "special messenger" regarding her work with spirals and healing sound. Filmed in Donaueschingen, 1974. More on Jill's work with Stockhausen https://www.healingvoice.com/about/biography-of-jill-purce
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.