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Partitur 26 - Stockhausen* - Aries - Klavierstück XIII


1994
Label: Stockhausen-Verlag - Stockhausen 33 • Format: CD Album • Country: Germany • Genre: Classical • Style: Contemporary
Download Partitur 26 - Stockhausen* - Aries - Klavierstück XIII

Adaption: I. This was because I was supposed to document the Partitur 26 - Stockhausen* - Aries - Klavierstück XIII through the camera lens. However, I was always welcomed by the teachers and their disciples, in the general mood of goodwill and graciousness that permeate the Stockhausen Coursessince the participants all knew why I came in the room.

It was a fine experience, as I drifted through the room like a ghost with my camera, around and inside the music, under and above the instruments, to the side and behind the teacher and the disciple, who were deeply engaged in this timeless act of teaching and learning, on the very high Partitur 26 - Stockhausen* - Aries - Klavierstück XIII radiant level that Markus Stockhausen and any disciple who dares approach does soar!

It was a magnificent moment! The layer divides into two parts, one of which continues to glide and accelerate, until, by switching down the tempo for short moments, fragments of ARIES with greatly expanded rhythm become recognizable in the high register. Also the volume has gradually smoothed down Marionette - Unknown Artist - Boøwy ⊕ Complex ⊕ Himuro Kyosuke piano after the very agitated, loud transformation process.

These are then faded out in this order until finally only a completely periodical pulse series remains, which in turn slows down to a stationary A. In the trumpet, through single pitches, intervals, small figures and increasingly longer cantilenas, the ARIES formula very gradually awakens to new life. The volume increases slowly. However, the melody is rhythmically still so fast sometimes rushing by like lightning, in swarms of pitches that one only senses it, until it finally becomes slower and clearer and the trumpet synchronizes with parts of it in counterpoint.

In 4 subsequent repeats of the ARIES formula on the tape, the trumpet conceals it, interprets it harmonically with changing parallel intervals, entwines it dance-like at an increased tempo, and doubles it in a relaxed middle register once more in a slower tempo. The granary of the electronics simmers under the waving trumpet garlands, which contrast the magmic force of the mass of details boiling down below. Trumpet-blasts cut like gleaming samurai swords of metal through the air. Out of the kargiraa khoomei of the murmuring depths of the electronic music the solid pillar of air of the trumpet once again raises its golden, shiny vibrancy, streaming like the prayer streamers of Tibetan mountain passes, eventually taking on the color of the sun; the sound becoming one with the sunlight across these snowy fields and these old monasteries; the electronics providing the reflections out of innumerable snow crystals.

It is actually a piano version of Scene I of Act I of the opera, which originally is scored for bass voice and piano. This is a very original piano piece indeed, involving many unusual properties and manners of playing. Stockhausen provides amplification specifications for when the piece is to be played in larger halls, stating that two or more microphones should be placed above the strings, and preferably mounted on small stands inside the piano case, or perhaps affixed to the inside of the lid.

In addition to these extraneous sounds of human bodily origin, Stockhausen also specifies non-human extraneous sounds, such Partitur 26 - Stockhausen* - Aries - Klavierstück XIII bells.

Two bundles of Indian bells are hung from brackets mounted on the left and right edges of the piano frame, each bundle containing about 20 bells. In addition a felt onto which about 24 Indian bells have been loosely sewn is placed inside the piano case, to the right, which the pianist is to strike with the palm of 10 PM - DJ Cor Fijneman* - Mesmer1 hand.

A bone mallet is prescribed for beats and glissandi on the piano strings. Stockhausen says :. Toy rockets or self-made rockets may be used. If the rockets and launching stands are small enough, they may be placed next to each other on a high table at the left, next to the keyboard, reaching to where the piano lid begins, so that the right hand can trigger the launch levers.

Since propulsion rockets are inflammable, it is best to build mechanical launching equipment, for example rubber catapults. With catapults made by combining several rubber bands, the speed and distance of flight can be varied by using different numbers of rubber bands.

A striking, quite expressive sight is the cluster glissandi playing, especially the first time you see it. To protect the hands, the performer is wearing cotton gloves Stockhausen suggests wearing coffin-bearers gloves! Being a racing biker myself at my exaggerated age just for exercise!

He conjures the elements. Saturday from Light! All the extraneous sounds gives the impression of a whole crowd of creatures closing a circle around the piano, around the music, with the pianist performing a sought-after magic rite for the One Fixation - Eli Jaxon-Bear - The Enneagram Tapes: The Possibility Of Freedom, whose gleaming eyes you can almost see in the darkness around the illuminated piano.

All beings watch! Stockhausen Edition no. Duration:


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9 thoughts on “ Partitur 26 - Stockhausen* - Aries - Klavierstück XIII

  1. However, this recording of “Klavierstück XIII” on the Edition Volume 33 features Stockhausen’s daughter Majella Stockhausen, to whom Karlheinz Stockhausen also has dedicated the piece. I know that Stockhausen thinks very highly of Majella Stockhausen ’s mastery of “ Klavierstück XIII ”, which of course is why her interpretation is.
  2. SAMSTAGs-GRUSS (Saturday Greeting/Lucifer's Greeting) for 26 brass instruments and 2 percussionists (), feat. members of the University of Michigan Symphony Band, rec. Scene 1: LUZIFERs TRAUM (KLAVIERSTÜCK XIII)/(LUCIFER's Dream, or Piano Piece 13) for bass vocalist and piano (), feat. Majella Stockhausen (pno) and Matthias.
  3. May 31,  · Karlheinz Stockhausen - Klavierstück XII () Chiara Saccone, pianoforte Rondò registrazione effettuata il al Teatro Litta di Milano.
  4. Jun 25,  · Recorded live in Milano - Gallerie d'Italia on 7/5/ This performance was part of the project "Call for young performers" organized by Divertimento Ensemble in .
  5. Dec 28,  · Piano: Angela Guasco Registrato dal vivo il 10/5/ a Milano, Gallerie d'Italia. Concerto nell'ambito dell' esecuzione integrale dei Klavierstücke di Stock.
  6. The pitch content of Klavierstück II consists of rotations of two groups of five pitches (Sabbe , 36–38).According to one writer, the piece is a study in vertical note groups treated as electronic tone mixtures (Maconie , ), though Stockhausen composed it ten months before his first practical experience in an electronic kajikinosmugisbroadcrusher.infoinfo consists of thirty groups, each of one bar.
  7. Aug 06,  · Klavierstück VIII, for piano () Herbert Henck, piano Karlheinz Stockhausen's Klavierstück VIII is the briefest and conceptually, the simplest, of the works that constitute the composer.
  8. Dec 18,  · Klavierstück XIII () was originally composed as a piano piece and, with the addition of a bass singer, became scene 1 ("Luzifers Traum") of .
  9. Find album reviews, stream songs, credits and award information for Stockhausen: Aries; Klavierstücke XIII - on AllMusic - Find album reviews, stream songs, credits and award information for Stockhausen: Aries; Klavierstücke XIII - on AllMusic - 26 - Karlheinz Stockhausen. Klavierstück XIII (Luzifers Traum.

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