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KARLHEINZ STOCKHAUSEN/ 2009
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 2 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0123 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
Karlheinz Stockhausen:
Q: Do you still think society is sonically deaf, where everything is controlled by the visual?
A. It is true that the eyes dominate the ears in our time. The more simple the people, the more they are dominated by their visual world. And people who have learned to close the eyes, and to listen, experience another world, which is closed to many others. In this human situation, some artists, some musicians in particular, are very helpful because they concentrate the public on listening. One can do that, even through the sort of musical context. But with certain music, one cannot continue talking or smoking or eating. So most people then just shut off my music when it comes through the radio, because they feel it disturbs what they are used to doing when music is coming through loudspeakers or in public places. That is very good. Very slowly a few people come to discover the aural world, the world which comes through sound. And then they feel that this is far more spiritual than the world which comes through the eyes.
As a matter of fact, what we can see through the eyes is very limited, much more limited than what we can hear. Just the range of what we can perceive is far more developed in acoustics, and the precision of identifying the vibrations and the proportions, all the intervals, all the relationships between the vibrations of a spectrum. We musicians know much more. We are almost a thousand years ahead of the visual artist, because we have a very precise language of vibrations, proportions of vibrations, and all our measurements of rhythms and relationships between slow vibrations and fast vibrations in 20,000 cycles per second range are very developed in music.
I think in the long run listening will become more important. The visual invention obviously becomes very dull in the world nowadays, because shocks and changes can only be developed up to a certain limit, and then it doesn't matter what they show on screens, or whatever it is. It has an end in itself. But being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.
From Interview with Iara Lee for MODULATIONS
Introduction by James Wesley Johnson (January 1999)
-www.furious.com/perfect/stockhauseninterview.html
Karlheinz Stockhausen -
Karlheinz Stockhausen (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 twentieth and early twenty-first centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his ground-breaking 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, and later studied 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 artists. 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.
Some of his notable compositions include the series of nineteen Klavierstücke (Piano Pieces), Kontra-Punkte for ten instruments, the electronic/musique-concrète Gesang der Jünglinge, Gruppen for three orchestras, the percussion solo Zyklus, Kontakte, the cantata Momente, the live-electronic Mikrophonie I, Hymnen, Stimmung for six vocalists, Aus den sieben Tagen, Mantra for two pianos and electronics, Tierkreis, Inori for soloists and orchestra, and the gigantic opera cycle Licht.
He died of sudden heart failure at the age of 79, on 5 December 2007 at his home in Kürten, Germany.
Theories:
In the 1950s and early 1960s, Stockhausen published a series of articles that established his importance in the area of music theory. Although these include analyses of music by Mozart, Debussy, Bartók, Stravinsky, Goeyvaerts, Boulez, Nono, Johannes Fritsch, Michael von Biel, and, especially, Webern (Texte 1:24–31, 39–44, 75–85, 86–98; Texte 2:136–39, 149–66, 170–206; Texte 3:236–38; Texte 4:662–63), the items on compositional theory directly related to his own work are regarded as the most important generally. "Indeed, the Texte come closer than anything else currently available to providing a general compositional theory for the postwar period" (Morgan 1975, 16). His most celebrated article is "... wie die Zeit vergeht ..." (". . . How Time Passes . . ."), first published in the third volume of Die Reihe (1957). In it, he expounds a number of temporal conceptions underlying his instrumental compositions Zeitmaße, Gruppen, and Klavierstück XI. In particular, this article develops (1) a scale of twelve tempos analogous to the chromatic pitch scale, (2) a technique of building progressively smaller, integral subdivisions over a basic (fundamental) duration, analogous to the overtone series, (3) musical application of the concept of the partial field (time fields and field sizes) in both successive and simultaneous proportions, (4) methods of projecting large-scale form from a series of proportions, (5) the concept of "statistical" composition, (6) the concept of "action duration" and the associated "variable form", and (7) the notion of the "directionless temporal field" and with it, "polyvalent form" (Stockhausen Texte 1:99–139).
Other important articles from this period include "Musik im Raum" ("Music in Space", 1958, Texte 1:152–75), "Musik und Graphik" ("Music and Graphics", 1959, Texte 1:176–88), "Momentform" (1960, Texte 1:189–210), "Die Einheit der musikalischen Zeit" ("The Unity of Musical Time", 1961, Texte 1:211–21; Stockhausen 1962), and "Erfindung und Entdeckung" ("Invention and Discovery", 1961, Texte 1:222–58), the last summing up the ideas developed up to 1961. Taken together, these temporal theories
suggested that the entire compositional structure could be conceived as "timbre": since "the different experienced components such as color, harmony and melody, meter and rhythm, dynamics, and form correspond to the different segmental ranges of this unified time" [Texte 1:120], the total musical result at any given compositional level is simply the "spectrum" of a more basic duration—i.e., its "timbre," perceived as the overall effect of the overtone structure of that duration, now taken to include not only the "rhythmic" subdivisions of the duration but also their relative "dynamic" strength, "envelope," etc. . . . Compositionally considered, this produced a change of focus from the individual tone to a whole complex of tones related to one another by virtue of their relation to a "fundamental"—a change that was probably the most important compositional development of the latter part of the 1950s, not only for Stockhausen’s music but for "advanced" music in general. (Morgan 1975, 6)
Some of these ideas, considered from a purely theoretical point of view (divorced from their context as explanations of particular compositions) drew significant critical fire (Backus 1962, Fokker 1968, Perle 1960). For this reason, Stockhausen ceased publishing such articles for a number of years, as he felt that "many useless polemics" about these texts had arisen, and he preferred to concentrate his attention on composing (Texte 4:13).
Through the 1960s, although he taught and lectured publicly (Texte 3:196–211), Stockhausen published little of an analytical or theoretical nature. Only in 1970 did he again begin publishing theoretical articles, with "Kriterien", his six seminar lectures for the Darmstädter Ferienkurse (Texte 3:222–29).
Notable students:
* Maryanne Amacher
* Gilbert Amy
* Junsang Bahk
* Clarence Barlow
* Gerald Barry
* Mary Bauermeister
* Michael von Biel
* Konrad Boehmer
* Jean-Yves Bosseur
* Karl Gottfried Brunotte
* Boudewijn Buckinx
* Cornelius Cardew
* Stephen Chatman
* Tom Constanten
* Holger Czukay
* Hugh Davies
* Michel Decoust
* Jean-Claude Éloy
* Peter Eötvös
* Julio Estrada
* Johannes G. Fritsch
* Renaud Gagneux
* Rolf Gehlhaar
* Jacob Gilboa
* Gérard Grisey
* Jon Hassell
* York Höller
* Eleanor Hovda
* Nicolaus A. Huber
* Alden Jenks
* David C. Johnson
* Will Johnson
* Jonathan Kramer
* Helmut Lachenmann
* André Laporte
* Mario Lavista
* Luca Lombardi
* Vincent McDermott
* John McGuire
* Jennifer Helen McLeod
* Robin Maconie
* Mesías Maiguashca
* Pierre Mariétan
* Tomás Marco
* Gérard Masson
* Paul Méfano
* Costin Miereanu
* Dary John Mizelle
* Emmanuel Nunes
* Gonzalo de Olavide
* Jorge Peixinho
* Robert HP Platz
* Zoltán Pongrácz
* Horaţiu Rădulescu
* Wolfgang Rihm
* Ingo Schmitt
* Irmin Schmidt
* Holger Schüring
* Kurt Schwertsik
* Gerald Shapiro
* Makoto Shinohara
* Roger Smalley
* Avo Sõmer
* Tim Souster
* Atli Heimir Sveinsson
* Zsigmond Szathmáry
* Ivan Tcherepnin
* Serge Tcherepnin
* Gilles Tremblay
* Stephen Truelove
* Claude Vivier
* Kevin Volans
* Thomas Wells
* La Monte Young
* Hans Zender
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* Schönberger, Elmer. 2001. "Andriessen: (4) Louis Andriessen". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
* Schwartz, Elliott, and Barney Childs, with Jim Fox. 1998. Contemporary Composers on Contemporary Music. Expanded edition. New York: Da Capo Press. ISBN 0306808196
* Sigel, Paul. 2000. "Der deutsche Beitrag auf der Expo70 in Osaka." Arch plus no. 149–150 (April): 116–33. Reprinted online Thema 5, no. 1 (July 2000)
* Skowron, Zbigniew. 1981. "Muzyka elektroniczna Karlheinza Stockhausena. Okres prób i doswiadczen" [Karlheinz Stockhausen's electronic music. A period of trials and experiences]. Muzyka: Kwartalnik Instytutu Sztuki Polskiej Akademii Nauk 26, nos. 3-4:17-40.
* Stenzl, Jürg. 1991. "York Höller's 'The Master and Margarita': A German Opera." Translated by Sue Rose. Tempo New Series, no. 179 (December): 8–15.
* Stephens, Suzanne, and Kathinka Pasveer (eds.). 2008. Gedenkschrift für Stockhausen. Kürten: Stockhausen-Stiftung für Musik. ISBN 978-3-00-023528-3
* Stockhausen, Christel. 1978. "Stockhausens Tierkreis: Einführung und Hinweise zur praktischen Aufführung." Melos 45/Neue Zeitschrift für Musik 139 (July-August): 283-87. Reprinted together with an English trans. as "Stockhausen’s ZODIAC, Introduction and Instructions for Performance Practice", in a booklet now included with the score of Tierkreis.
* Stockhausen, Karlheinz. Texte zur Musik. 10 vols. Vols. 1–3 edited by Dieter Schnebel; vols. 4–10 edited by Christoph von Blumröder. Vols. 1–3, Cologne: Verlag M. DuMont Schauberg (1963, 1964, 1971); vols. 4–6 DuMont Buchverlag (1978, 1989, 1989). Vols. 7–10 Kürten: Stockhausen-Verlag (1998). English edition, as Texts on Music, edited by Jerome Kohl, with translations by Jerome Kohl, Richard Toop, Tim Nevill, Suzanne Stephens, et al. Kürten: Stockhausen-Verlag, in preparation.
* Stockhausen, Karlheinz. 1962. "The Concept of Unity in Electronic Music". Translated by Elaine Barkin. Perspectives of New Music 1, no. 1 (Autumn): 39–48.
* Stockhausen, Karlheinz. 1989a. Stockhausen on Music: Lectures and Interviews, edited by Robin Maconie. London and New York: Marion Boyars.
* Stockhausen, Karlheinz. 1989b. Towards a Cosmic Music. Texts selected and translated by Tim Nevill. Shaftsbury: Element Books. ISBN 1852300841
* Stockhausen, Karlheinz. 1996a. "Electroacoustic Performance Practice". Perspectives of New Music 34, no. 1 (Fall): 74–105.
* Stockhausen, Karlheinz. 1996b. “Kino-Bilder”. In Bilder vom Kino: Literarische Kabinettstücke, edited by Wolfram Schütte, 138–40. Frankfurt am Main: Suhrkamp Verlag.
* Stockhausen, Karlheinz. 1996c. "Helikopter-Streichquartett". Grand Street 14, no. 4 (Spring, "Grand Street 56: Dreams"):213–25. ISBN 1-885490-07-0. Online Variant of this text (some omissions, some supplements, different illustrations).
* Stockhausen, Karlheinz. 1998. “Bildung ist große Arbeit: Karlheinz Stockhausen im Gespräch mit Studierenden des Musikwissenschaftlichen Instituts der Universität zu Köln am 5. Februar 1997.” In Stockhausen 70: Das Programmbuch Köln 1998. Signale aus Köln: Musik der Zeit 1, edited by Imke Misch and Christoph von Blumröder, 1–36. Saarbrücken: Pfau-Verlag.
* Stockhausen, Karlheinz. 1999. Stockhausen-Kurse Kürten 1999: Kompositions-Kurs: Skizzen von Welt-Parlament (1995) für Chor a capella (mit singenden Dirigenten/Klangregisseur (1. Szene vom Mittwoch aus Licht). Kürten: Stockhausen-Verlag.
* Stockhausen, Karlheinz. 2001a. "Message from Professor Karlheinz Stockhausen" (Accessed 27 December 2007)
* Stockhausen, Karlheinz. 2001b. Stockhausen Courses Kürten 2001: Composition Course on Lights-Waters (Sunday Greeting) for Soprano, Tenor, and orchestra with synthesizer (1999). Kürten: Stockhausen-Verlag.
* Stockhausen, Karlheinz. 2002. "„Huuuh!“ Das Pressegespräch am 16. September 2001 im Senatszimmer des Hotel Atlantic in Hamburg". MusikTexte no. 91:69–77.
* Stockhausen, Karlheinz. 2003. Stockhausen Courses Kürten 2003: Composition Course on Hoch-Zeiten (of Sunday from Light) for Choir (2001/02). Kürten: Stockhausen-Verlag.
* Stockhausen, Karlheinz. 2007a. "Cosmic Pulses: Electronic Music." (Accessed 30 March 2008) In programme book for the world première. Rome (8 May). Slightly expanded version in 2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from July 7th to 15th 2007 in Kuerten, notes for the German première on July 13, 2007, pp. 22 (German text) and 40 (English text), with illustrations divided between those pages and the programme cover. Kürten: Stockhausen-Verlag.
* Stockhausen, Karlheinz. 2007b. "Harmonien/Harmonies for Bass Clarinet (2006)". In 2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from July 7th to 15th 2007 in Kuerten, notes for the German première on 11 July 2007, pp. 33–34. Kürten: Stockhausen-Verlag.
* Stockhausen, Karlheinz. 2007c. "Harmonien/Harmonies for Flute (2006): 5th Hour of Klang / Sound, The 24 Hours of the Day". In 2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from July 7th to 15th 2007 in Kuerten, notes for the German première on 13 July 2007, p. 36. Kürten: Stockhausen-Verlag.
* Stockhausen, Karlheinz, Hermann Conen, and Jochen Hennlich. 1989. "Before and After Samstag aus Licht: Conversation of 24 May 1984, in Milan." Translated by Karin von Abrams. Contemporary Music Review 5, no. 1:267–97.
* Stockhausen, Markus. 1998. "Markus Stockhausen plays Karlheinz Stockhausen", notes on pp. 13–17 of booklet to CD recording, Markus Stockhausen plays Karlheinz Stockhausen: Aries, In Freundschaft, Halt, Pietà. EMI Classics 7243 5 56645 2 5.
* Stockhausen-Stiftung. 2007. Stockhausen Aufführungen/Performances 2007. Kürten: Stockhausen-Stiftung.
* Stockhausen-Stiftung. 2008. Stockhausen Aufführungen/Performances 2008. Kürten: Stockhausen-Stiftung.
* Stockhausen-Verlag. 2008. Stockhausen August 22nd 1928–December 5th 2007, English edition of brochure with official worklist and list of CDs. Kürten: Stockhausen-Verlag.
* Straus, Joseph N. 1997. "Babbitt and Stravinsky under the Serial 'Regime'" Perspectives of New Music 35, no. 2 (Summer): 17–32.
* Straus, Joseph N. 2001. Stravinsky's Late Music. Cambridge Studies in Music Theory and Analysis 16. New York: Cambridge University Press 33–35. ISBN 0521802202
* Stravinsky, Igor. 1984. Selected Correspondence, vol. 2. Edited and with commentaries by Robert Craft. New York: Alfred A. Knopf.
* Stravinsky, Igor, and Robert Craft. 1960. Memories and Commentaries. Berkeley and Los Angeles: University of California Press.
* Stravinsky, Igor, and Robert Craft. 1980. Conversations with Stravinsky. Berkeley and Los Angeles: University of California Press. ISBN 0520040406 (Reprint of the 1959 Doubleday edition.)
* Tannenbaum, Mya. 1987. Conversations with Stockhausen, translated from the Italian by David Butchart. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-315467-6
* Tommasini, Anthony. 2001. "The Devil Made Him Do It". New York Times (30 September).
* Toop, Richard. 1998. "Mondrian, Fibonacci . . . und Stockausen: Mass und Zahl in Adieu". Neue Zeitschrift für Musik 159, no. 4 (July–August): 31–35.
* Toop, Richard. 2001. “Karlheinz Stockhausen”. The New Grove Dictionary of Music and Musicians ed. S. Sadie and J. Tyrrell. London: Macmillan.
* Toop, Richard. 2005. Six Lectures from the Stockhausen Courses Kürten 2002. Stockhausen-Verlag. ISBN 3-00-016-185-6
* Toop, Richard. 2008. "Kulturelle Dissidenten: Die Stockhausen-Klasse der Jahre 1973 und 1974". MusikTexte: Zeitschrift für neue Musik, no. 116 (February): 46–49.
* Truelove, Stephen. 1984. "Karlheinz Stockhausen’s Klavierstück XI: An Analysis of Its Composition via a Matrix System of Serial Polyphony and the Translation of Rhythm into Pitch." DMA diss. Norman: University of Oklahoma.
* Truelove, Stephen. 1998. "The Translation of Rhythm into Pitch in Stockhausen's Klavierstück XI." Perspectives of New Music 36, no. 1 (Winter): 189–220.
* Tsahar, Assif. 2006. "Gentle Giant". Haaretz Daily Newspaper [Tel-Aviv] (17 March).
* Voermans, Erik. 2008. "Besluit van een machtig oeuvre". Het Parool (20 June).
* Wager, Gregg. 1998. "Symbolism as a Compositional Method in the Works of Karlheinz Stockhausen. College Park, Maryland; diss. phil. Free University Berlin, 1996.
* Wörner, Karl Heinz. 1973. Stockhausen: Life and Work. Translated by Bill Hopkins. Berkeley: University of California Press.
* Williams, Alastair. 2006. "Swaying with Schumann: Subjectivity and Tradition in Wolfgang Rihm's Fremde Szenen I–III and Related Scores". Music and Letters 87, no. 3:379–97.
* Witts, Dick. 1995. "Karlheinz Stockhausen: Advice to Clever Children ...". The Wire, issue 141 (November).
-en.wikipedia.org/wiki/Karlheinz_Stockhausen
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