- published: 09 Feb 2012
- views: 2120
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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.
Ave, for basset-horn and alto flute (1984-1985) 1. Evas Spiegel (Eva's mirror) 2. Nachricht (News) 3. Susani 4. Auftakt Bassetthorn vor Abschnitt A (basset-horn upbeat before section A) 5. Abschnitt B 6. C 7. D 8. E mit Auftakt (section E with upbeat) 9. F 10. G 11. H mit Auftakt (section H with upbeat) 12. I mit Auftakt (section I with upbeat) 13. J 14. K 15. Takt vor L (one bar before section L) 16. M 17. N 18. O 19. P mit Auftakt (section P with upbeat) 20. Q 21. R 22. S 23. T (Monday) 24. U (Tuesday) 25. V (Wednesday) 26. W (Thursday) 27. X (Friday) 28. Y (Saturday) 29. Z (Sunday) Suzanne Stephens, basset-horn Kathinka Pasveer, alto flute "Ave" for basset-horn and alto flute is a piece that Stockhausen composed in Africa, in Kenya. Stockhausen vividly explains the piece: "The magic ...
Camerata Musica Nova Museu da República, Brasília, DF 8 de junho de 2013 Regente: Maestro Jorge Lisbôa Antunes Flauta: Sidnei Maia Oboé: Lucas da Cunha Clarineta: Félix Alonso Trompa: Anderson Sabino Fagote: Radan Slivensky
Ave, for basset-horn and alto flute (1984-1985) 1. Evas Spiegel (Eva's mirror) 2. Nachricht (News) 3. Susani 4. Auftakt Bassetthorn vor Abschnitt A (basset-horn upbeat before section A) 5. Abschnitt B 6. C 7. D 8. E mit Auftakt (section E with upbeat) 9. F 10. G 11. H mit Auftakt (section H with upbeat) 12. I mit Auftakt (section I with upbeat) 13. J 14. K 15. Takt vor L (one bar before section L) 16. M 17. N 18. O 19. P mit Auftakt (section P with upbeat) 20. Q 21. R 22. S 23. T (Monday) 24. U (Tuesday) 25. V (Wednesday) 26. W (Thursday) 27. X (Friday) 28. Y (Saturday) 29. Z (Sunday) Suzanne Stephens, basset-horn Kathinka Pasveer, alto flute "Ave" for basset-horn and alto flute is a piece that Stockhausen composed in Africa, in Kenya. Stockhausen vividly explains the piece: "The magic ...
Das Ensemble "die reihe" spielt Stockhausens "Kurzwelle". http://www.diereihe.at
PLEASE SUPPORT THE ARTIST. You can order this music on http://stockhausencds.com/. Thank you! COSMIC PULSES is the 13th "hour" of Stockhausen's originally-planned 24-part cycle KLANG ("SOUND") which is based on the 24 hours of the day. This electronic work is composed of 24 layers of synthesizer-generated melodic material, with each layer having a different speed and pitch register. The layers enter one by one, starting from the lowest/slowest layer, and go up in sequence to the highest/fastest layer. After a period of several minutes where all 24 layers are active, the layers begin to individually drop out, again starting from the lowest layers and moving upwards (gradually leaving just the higher/faster layers). This "draw down" is about twice as fast as in the "build-up". (http://s...
Karlheinz Stockhausen - Sirius
"Uversa" für Bassetthorn, elektronische Musik und Klangregelung. 16. Stunde aus "Klang", Werk Nr. 96 (2007) "Uversa" for basset horn, electronic music and sound control. 16th hour from "Klang (Sound)", work no. 96 (2007) played by Michele Marelli (voice: Kathinka Pasveer) recorded in Cologne, Sound Studio N (July 17, 2010) painting: Gilles Mansillon, Untitled (2019)
Performance Date: Saturday, December 6, 2014
Provided to YouTube by Kontor New Media Mission und Himmelfahrt: Mission und Himmelfahrt · Tara Bouman, Markus Stockhausen Isabel Mundry, Karlheinz Stockhausen, Pierre Boulez & Markus Stockhausen: Contemporary. ℗ Aktivraum Released on: 2007-08-01 Artist: Markus Stockhausen Artist: Tara Bouman Composer: Karlheinz Stockhausen Music Publisher: Stockhausen Verlag Auto-generated by YouTube.
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.