- published: 26 May 2016
- views: 2861
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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 Karlheinz Stockhausen (1952/1962) ....For orchestra....
Karlheinz Stockhausen - Punkte (1952-1962) rev. 1966 - Sinfonieorchester des Norddeutschen Rundfunks - dir. Stockhausen
Karlheinz Stockhausen - Kontra-Punkte, Nr.1, for 10 instruments (1953) Ensemble Linea Conductor - Jean-Philippe Wurtz Kontra-Punkte (Counter-Points, or Against-Points) is a composition for ten instruments by Karlheinz Stockhausen which resolves contrasts among six instrumental timbres, as well as extremes of note values and dynamic levels, into a homogeneous ending texture. Stockhausen described it: "Counter-Points: a series of the most concealed and also the most conspicuous transformations and renewals—with no predictable end. The same thing is never heard twice. Yet there is a distinct feeling of never falling out of an unmistakable construction of the utmost homogeneity. An underlying force that holds things together—related proportions: a structure. Not the same Gestalten in a chang...
This piece, the shortest of the set, has 2 main ideas which engage in a kind of dialogue (but is otherwise organized serially). The first idea is polyphony, in which short melodic groups overlap. These contrapuntal groups are separated ("punctuated") by the second idea: short chord fragments played as rapid satellite tone attacks. Since these chord flurries are always to be played as fast as possible, it creates a marked tempo contrast with the polyphonic statements (which are somewhat more leisurely). This is a short, concise, beautiful gem of a piece. (Ed Chang)
WDR Sinfonieorchester Köln - Bas Wiegers Klaus von Bismarcksaal/WDR Funkhaus, Cologne, November 27, 2016 (corrected version of the video, the first one had sonic disturbance at 3:38)
Stockhausen (1928-2007) - Tierkreis (1974/75 - quartet version by Kevin Juillerat, 2013) Chamber Performing Quartet http://www.facebook.com/ththquartet Kasko Basel 02-2014
Excerpt from Helga's second doctorate concert 10.10.2022 Camerata Hall, Musiikkitalo, Helsinki, Finland For more information on Helga's research and this concert visit http://helgakarenpianist.weebly.com
Karlheinz Stockhausen - NATÜRLICHE DAUERN Nr. 1, 8 und 9 (3. Stunde aus KLANG - Die 24 Stunden des Tages) für Klavier Duccio Beverini Kürten, 16. Juli 2015 Aufführung im Rahmen der Stockhausen-Kurse Kürten 2015
Description
Description
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.