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viewing 1 To 18 of 18 items
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LP
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ALGA 047LP
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A documentation of a music happening recorded at Judson Hall, NYC. Sept 8-9, 11-13, 1964 with a stellar line-up that includes James Tenney on piano, David Behrman, Max Neuhaus, Alvin Lucier, Allan Kaprow, Nam June Paik, Allen Ginsberg, and Jackson Mac Low. The idea, Allan Kaprow director explained, is "a collage of music and action". The music was electronic, but the action was clearly electrifying as Karlheinz Stockhausen's Originale was presented as the top event od Manhattan's Second Annual Avant-Garde Festival. from the program original notes: the artist got on a ladder and, from a height, dropped eggs, paprika and stuff on a sheet of plastic, making a wonderful action painting. In the background was the electronic music. Of course there was Allen Ginsberg, who recited a poem, using a few phrases that caused nervous giggles from some young ladies in the audience. Allen Ginsberg was dressed in his usual formal dress for concert work: blue jeans, red shirt open at the neck, a jacket of sorts, even shoes. The evening was a triumph of organization. lest you think that the whole is not greater than the parts, consider how the following materials were so cannily used: live musicians (saxophone and percussion, the latter ending up undressed save for red leotards), a walkie‐talkie, a film sequence, a piano decorated with flowers, and stuff in its innards, a clothes-rack, pillows, hi‐fi equipment, a newspaper boy, kids erecting constructions from wooden blocks, a big clock, newspaper obits, a scaffolding, the audience itself, apples thrown around, a monologue in Greek, one from Shakespeare, insane laughter. Silk screened cover art, with xerox insert reproducing Time Magazine review of the performance -- published 9/18/64. Includes photo of Charlotte Moorman stripping.
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LP
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OI 009LP
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Modern Silence presents Beton-Studie / Zeitmass für fünf Holzbläser / Klavierstuck XI compositions written by Karlheinz Stockhausen. A collection of some of Karlheinz Stockhausen's earliest work, including his earliest piece of musique concrète "Beton-Studie" (aka "Étude") written by Stockhausen in 1952-53 at Pierre Schaeffer's studio at the RTF in Paris. Until 1992 this piece was believed to have been lost. The LP also includes the celebrated "Zeitmass" (1955), and "Klavierstück XI, parts I-IV" (1956), both of which helped to cement Stockhausen's role as one of the leading German composers of the 20th century. 180 gram vinyl. Edition of 500.
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LP
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OI 007LP
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Modern Silence presents Kontakte written by Karlheinz Stockhausen. Kontakte (1959-60) was Stockhausen's first piece to use both electronics and traditional instruments together, marking a turning point in his career, when his music was beginning to show the influences of American avant-garde jazz and composers like John Cage. In Kontakte, live musicians play alongside a tape recording of percussion sounds that have been altered by different electronic devices (i.e. a ring modulator or a reverberator). Stockhausen wanted the musicians to improvise over the prepared tape, but the musicians were at such a loss that Stockhausen eventually had to score the instrumental parts as well. 180 gram vinyl. Edition of 500.
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LP
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OI 008LP
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Modern Silence presents Studie I & II, Gesang der Jünglinge, Zyklus für zwei Schlagzeugern featuring compositions written by Karlheinz Stockhausen. A collection of Stockhausen's most important works from the 1950s, particularly "Gesang der Jünglinge" ("Song of the Youths") (1955-56) which is probably the most iconic piece of electronic music ever written. Only because of Stockhausen's complete understanding of electronic equipment, along with his creative genius, was he able to produce this masterwork, the first piece of music to unify vocals and electronics. 180 gram vinyl. Edition of 500.
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CD
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WER 6774
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"In the1960s, Wergo made a name for themselves as a contemporary music label thanks to a series of ground-breaking recordings entitled Studio Reihe Neuer Musik. Wergo is now offering these gems from their early years on CD for the first time. Karlheinz Stockhausen's Momente, written for soprano, four choral groups and thirteen instrumentalists, was not designed as a fixed work with a clearly defined beginning, formal structure, and ending. It is a composition of independent events with multiple meanings. Premiered in May 1962, the composition underwent some changes in the following years which led to several variants, with this CD presenting 'Version 1965.' Performed by Martina Arroyo (soprano), Aloys Kontarsky (organ), Alfons Kontarsky (organ), Kölner Rundfunkchor, Kölner Rundfunk-Sinfonie-Orchester, and Karlheinz Stockhausen.
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CD
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WER 6785
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"Stockhausen's Amour is a series of five pieces for clarinet based on short poems written as gifts for women whom the composer was deeply connected to. The most complex and hypnotic of these is 'Die Schmetterlinge spielen' ('The Butterflies Playing'). 'Der kleine Harlekin' ('The Little Harlequin') is probably the best known of Stockhausen's theatrical works. The clarinetist faces a musically demanding score while wearing a costume and performing a range of dance movements precisely indicated in the score. 'Wochenkreis' ('Circle of the Week') describes an initiatory journey from birth to ascension to God, accompanied by the electronic sounds produced by the synthesizer player who has the role of the antagonist Lucifer." Performed by: Michele Marelli (clarinet, basset horn) and Antonio Perez Abellan (synthesizer).
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CD
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WER 6858
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"Michaels Reise um die Erde ('Michael's Journey Around the World') is the second act of the opera Donnerstag from the seven-part opera cycle Licht by Karlheinz Stockhausen. It is a cosmic world theatre in which three protagonists each have been assigned a characterizing melody (a musical 'formula') which unfolds through the musical action of the entire opera cycle. The ensemble musikFabrik is heard here in a live recording from the Théâtre Bobigny in Paris." Performed by: Marco Blaauw (trumpet), Nicola Jürgensen (horn), musikFabrik, Peter Rundel.
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CD
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WER 6772
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"Wergo's essential reissues from their famous 1960s era Studio Reihe series continue with a recording of music by Karlheinz Stockhausen. The composer's 'Zyklus für einen Schlagzeuger' is offered in two different versions performed by two different performers: Max Neuhaus and Christoph Caskel. Stockhausen originally wrote the work for the Kranichstein Percussion Competition in 1959. He deliberately did not determine the length of the piece's performance, so as not to be overly specific concerning the work's multiplicity of meanings, the different characters of various performances, or the technical abilities of the players. For 'Klavierstück X,' performed here by the legendary pianist Frederic Rzewski, Stockhausen combined two extremes. The work is based on the attempt to mediate between relative disorder and order, chaos and balance."
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LP
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DOZ 416LP
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"A collection of some of Karlheinz Stockhausen's earliest work, including his earliest piece of musique concrete Beton-Studie (aka 'Etude') written by Stockhausen in 1952-53 at Pierre Schaeffer's studio at the RTF in Paris. Until 1992 this piece was believed to have been lost. The LP also includes the celebrated Zeitmass (1955), and Klavierstück XI, parts I-IV (1956), both of which helped to cement Stockhausen's role as one of the leading German composers of the 20th century." Zeitmass performed by Arthur Gleghorn, Donald Muggeridge, Donald Leake, Donald Christlieb and William Ulyate in Los Angeles, 1958. Klavierstück XI performed by David Tudor in Köln, 1958.
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LP
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DOZ 415LP
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Studie I (1953), Studie II (1954), Gesang Der Jünglinge (1956) and Zyklus für zwei Schlagzeugern (1960). Performed by David Tudor, Christoph Caskel, Gottfried Michael Koenig and Stockhausen. "A collection of Stockhausen' s most important works from the 1950s, particularly Gesang der Junglinge ('Song of the Youths') 1955-56, probably the most iconic piece of electronic music ever written. Only because of Stockhausen's complete understanding of electronic equipment, along with his creative genius, was he able to produce this masterwork, the first piece of music to unify vocals and electronics."
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CD
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ZKR 012CD
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Recorded live on April 12, 2011 at Kino Siska, Ljubljana, Slovenia, and April 14, 2011 at Vatroslav Lisinski Concert Hall, Zagreb, Croatia. This is the fourth release in the Zeitkratzer Old School series. The first three CDs, dedicated to the music of John Cage, James Tenney and Alvin Lucier have been highly-acclaimed. This new release is dedicated to the music of Karlheinz Stockhausen. Karlheinz Stockhausen is one of the most outstanding composers of the 20th century. After his early, super-organized compositions as Gesang Der Jünglinge, Kontakte or Studien 1 and 2, he conceived his From The Seven Days works as a precisely-organized text composition. Not one single note is written, but it is exactly defined: what kind of material the musicians should choose and how they should play it. Length, tempi, etc., are not given. Zeitkratzer had the chance to work on this piece in Ljubljana in the Spring of 2011, and tried to develop their approach to interpret the texts as precisely as possible, in the traditional way of score-reading. As Stockhausen pointed out: "musical meditation is not sentimentality, but ultra alertness and -- in the lightest moments -- creative ecstasy." Set sail for the sun. Directed by Reinhold Friedl. Burkhard Schlothauer (violin); Anton Lukoszevieze (violoncello); Ulrich Phillipp (double bass); Reinhold Friedl (piano); Christian Lillinger (percussion); Frank Gratkowski (reeds); Hild Sofie Tafjord (French horn); Hilary Jeffery (trombone); Martin Wurmnest (sound). Mixed by Martin Wurmnest, mastered by Rashad Becker, produced by Reinhold Friedl.
"I do not want a spiritualistic session. I want music." --Karlheinz Stockhausen
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CD
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WER 6736
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"This recording of Stockhausen's Tierkreis (Zodiac) features the composer's version for organ. Originally composed for musical boxes, the work is played here by Dominik Susteck, organist at St. Peter's in Cologne. The recording features an unusual instrument. Since the 1980s, this Catholic chapel has strived to connect the church with contemporary art. Its organ, built by Willy Peter, was designed for contemporary music. The four-manual great organ and the three-manual choir organ has 104 stops, including such unusual sound additions as siren, saxophone and percussion orchestra. Susteck describes his interpretation of Stockhausen's work as, 'a frozen musical movement. The instrument no longer sounds like an organ but proves to be a colorful, agile and dynamic being.'"
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CD
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WER 6717
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Performed by The Ensemble Recherche. "The four works on this disc come from the first nine years of a compositional career that would span almost another half century. Yet today, one scarcely hears them as 'early Stockhausen,' but rather as a series of essential cornerstones of the emerging post-war European avant-garde on which Stockhausen, as the youngest major composer involved, exercised a crucial influence. What should strike is not what these pieces have in common, but how different they are from one another. Each exemplifies a phase of Stockhausen's early development. The Ensemble Recherche is one of the most distinguished ensembles for new music. With more than 450 premieres to its credit since it was founded in 1985, the ensemble has made a substantial contribution to the development of contemporary chamber and ensemble music."
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CD/SACD
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HMU 807408
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Performed by Theatre of Voices, under the direction of Paul Hillier; recorded Sept. 2006. "With the 1968 Paris première of his 'Stimmung,' Karlheinz Stockhausen (b. 1928) exploded the very definition of vocal performance. This musical tour de force, made up of an unbroken sequence of 51 sonic models -- entirely built on the overtones of B-flat and presented in every possible voice combination -- experiments with new compositional techniques and deconstructs the mechanics of speech and song. Paul Hillier, a champion of early and contemporary vocal repertoire, leads Theatre of Voices in his newly created 'Copenhagen Version' of a 20th-century milestone that today remains as relevant as ever. Hillier's life-long relationship with 'Stimmung' began in the 1970s when he performed it as a member of Singcircle with the composer at the controls. With its serene but highly-charged aural landscape, the work is surprisingly one of Stockhausen's most accessible compositions: spiritual yet humorous, mystical yet worldly and erotic in its poetry." Hybrid CD/SACD disc that can play on any CD player, as well as SACD players.
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CD
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WER 6659
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"As part of the celebration of Karlheinz Stockhausen's 75th birthday, Wergo is proud to release an exceptional new recording of Tierkreis and Zodiac, under the direction of Mike Svoboda. 'Zodiac' is one of Stockhausen's most beautiful and accessible compositions. He created several different arrangements, allowing each interpreter to create his or her own version by using special formulas. With regard to the first of his two realizations on this recording, Svoboda says,'I approached the composition the way jazz musicians approach a standard: take inspiration from the melody and harmonic sequences and then express themselves spontaneously and very individually.' In his second realization, Svoboda gave the musicians just a few structures and asked them to improvise freely on Stockhausen's melodies. These two versions of one of Stockhausen's most important works are a fitting tribute to this controversial master of contemporary composition."
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2CD
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WER 60135
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Pioneering piano studies, composed throughout the 1950s, recorded in 1985-86 by Herbert Henck. "Stockhausen experimented with different modes of attack and pedaling which modify the vibration of the strings and with silent depression of the keys which frees particular strings to resonate. In this way he achieved a 'filtering' of the sound spectrum that comes after the attack... the result was a rich palette of overtones and echo sounds which emphasized as never before the piano's characteristic resonance and its unique ability to suggest sound effects in perspective." --Herbert Henck
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CD
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WER 6009
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Kontakte is a Stockhausen classic from 1959, for electronics, percussion and piano (played here by David Tudor). One of his "moment form" compositions, which "...lead up to no climax, nor do they have prepared, and thus expected, climaxes, nor the usual introductory, intensifying, transitional, and cadential stages which are related to the curve of development in a whole work; they are rather immediately intense and -- permanently present -- endeavor to maintain the level of continued 'peaks' up to the end; forms in which at any moment one may expect a maximum or a minimum, and in which one is unable to predict with certainty the direction of the development from any given point... leading to timelessness."
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CD
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WER 6267
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A 1970 piece for 2 pianos, performed here by Andreas Grau and Gotz Schumacher in 1993. "The unified construction of 'Mantra' is a musical miniature of the unified macro-structure of the cosmos, just as it is a magnification into the acoustic time-field of the unified micro-structure of the harmonic vibrations in notes themselves." --Stockhausen
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viewing 1 To 18 of 18 items
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