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Karlheinz Stockhausen (1928-2007)

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Stockhausen: Amour, Wochenkreis & Der kleine Harlekin

Stockhausen: Amour, Wochenkreis & Der kleine Harlekin


Stockhausen:

Amour

Wochenkreis

Der kleine Harlekin


Michele Marelli (basset horn, clarinet) & Antonio Pérez Abellán (synthesizer)

“This CD aims to be a direct expression of the joy that the act of composing aroused in Stockhausen and, at the same time, to pick up the pieces that made me more attached to him and to his music in the 10 fortunate years of artistic collaboration with him that have totally changed my life not only from a musical point of view.” Michele Marelli

'Amour' is a series of 5 pieces for clarinet based on 5 short poems written as gifts for women whom Stockhausen was deeply connected to. All these pieces carry something magical within them; the most complex and hypnotic of these is 'Die Schmetterlinge spielen' [The Butterflies are Playing]. 'Der kleine Harlekin' [Little Harlequin] is probably the most known and extreme among 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, involving and amusing the audience both visually and acoustically.

'Wochenkreis' [Circle of the Week], derived from the opera 'Montag' from Stockhausen’s seven-opera cycle 'Licht', is a series of songs. The basset horn player represents a man who walks through seven stations, each one representing a day of the week. At the same time, 'Wochenkreis' musically describes an initiatory journey from birth to ascension to God, accompanied by the synthesizer player, who has the role of the antagonist Lucifer.

“Attractive examples of Stockhausen’s interest in the clarinet family… the piece is a full of purely musical humour as anything by Mozart and works well on CD, here alongside Amour.” International Record Review, December 2013

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Wergo - WER67852

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Stockhausen: Complete Early Percussion Works

Stockhausen: Complete Early Percussion Works


Stockhausen:

Kontakte

for pianist, percussionist & 4-channel electronic tape

Mikrophonie for 6 percussionists playing a single tam-tam, with electronics

Zyklus

for solo percussionist

Refrain

for piano, celesta & vibraphone

Schlagtrio

for piano & 2 timpanists


James Avery (piano), Katalin Lukács (piano), Pavlos Antoniadis (celesta) & Steven Schick

red fish blue fish

Stockhausen’s early percussion music is among the most visionary of the percussion repertoire. This unique collection features some works which are almost impossible to find elsewhere.

'Zyklus' was not only a novel composition in terms of its treatment of time and structure, it was also the first percussion solo ever performed.

'Kontakte', a masterpiece for piano and percussion with 4-channel tape, challenges performers to play together and to make the maximum number of “contacts” with the tape. Schick and Avery have performed this work together for decades, and this recording shows that experience to full effect. Mode’s new transfers from the analogue tapes for this recording reveal greater detail and low end frequency response.

FIRST RELEASE IN SURROUND!

'Mikrophonie' calls for 6 percussionists playing a single instrument – a giant 60” tam-tam. Three musicians activate the instrument from either side. One player performs on the tam-tam using a large array of mallets and small objects, a second holds a highly directional microphone and also plays the tam-tam, and the third is a sound designer who sits in the hall and regulates settings for volume, filtration and spatial diffusion of the sounds. The result is an extraordinary and theatrical sound world.

In 'Refrain', the three performers produce an array of pure tones from their primary instruments to noisy shouted syllables and tongue clicks. In the most complex passages, the sounds merge nearly completely. 'Schlagtrio' is one of Stockhausen’s earliest published pieces. Rather than articulating the differences between piano and percussion, he is interested in creating a continuum between the two.

The DVD edition features full video with stereo, and Dolby Digital or DTS 5.1 surround options.

BONUS: 3 interviews with Schick on the music.

ALSO AVAILABLE AS Available as a 2 CD set mode274/75

DVD Video

Region: 0

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Mode - DVDMODE274

(DVD Video)

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Stockhausen - Klavierstücke 1-11

Stockhausen - Klavierstücke 1-11


Stockhausen:

Klavierstück I

Klavierstück II

Klavierstück III

Klavierstück IV

Klavierstück V

Klavierstück VI

Klavierstück VII

Klavierstück VIII

Klavierstück IX

Klavierstück X

Klavierstück XI


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Stockhausen: Kontakte

Stockhausen: Kontakte


David Tudor: piano, percussion / Christoph Caskel: percussion / Karlheinz Stockhausen, Gottfried Michael König: electronic parts

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Stockhausen: Kontra-Punkte, Refrain, Zeitmasze & Schlagtrio

Stockhausen: Kontra-Punkte, Refrain, Zeitmasze & Schlagtrio


Stockhausen:

Kontra-Punkte for 10 instruments, Op.1

Rupert Huber

Refrain

Zeitmasse

Rupert Huber

Schlagtrio


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. 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 premières 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.

“Few works better epitomise the excitement of the 1950s “new music” than Stockhausen’s Kontra-Punkte, for 10 instruments, at least when performed with the breathtaking ease and accuracy heard here...The severity is captivating.” Sunday Times, 15th November 2009 ****

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Stockhausen: Mantra

Stockhausen: Mantra


Andreas Grau, Götz Schumacher: piano / Brian Wolf: sound engineer

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Stockhausen: Mantra

Stockhausen: Mantra

for Two Pianists


Pestova/Meyer Piano Duo: Xenia Pestova and Pascal Meyer (pianos) & Jan Panis (electronics)

“The electronic ring modulation adds another layer, sometimes just subtly enhancing the piano timbres, sometimes adding a much more astringent edge. This is the first recording on which those effects have been achieved digitally...this is a highly accomplished presentation of one of the landmark pieces in the second half of the 20th century.” The Guardian, 2nd September 2010 ****

“it is highly colourful (electronics make the music often seem to come from underwater), theatrical, humorous (Doctor Who enters at track 15) and wise. Captivating.” Sunday Times, 26th September 2010 ****

“If 1950s modernism brings you out in spots, there's nothing to fear from Mantra. The relatively conventional push-pull of Stockhausen's expressive arcs mixes with what I find, personally, a less appealing atmosphere of quasi-religious ritual; crotales ring changes, like mapping out a liturgy.” Gramophone Magazine, January 2011

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Naxos - 8572398

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Stockhausen: Mantra

Stockhausen: Mantra

recorded at Kings Place, January 2013


Mark Knoop (piano), Roderick Chadwick (piano) & Newton Armstrong (electronics)

"The composition of 'Mantra' was a turning point for Stockhausen. After a period in the second half of the 1960s during which his music had taken a decidedly speculative turn, Mantra signalled a return to the intricately systematised approach to musical construction that had characterised his serial works of the 1950s, and at the same time established a set of concerns that would underpin his music for much of the remainder of his life. This return to serial preoccupations was, however, by no means a regression. 'Mantra' expanded the possibilities and potentialities of the serial principle, effecting a decisive shift away from the more austere and abstract music of the 1950s, and effectively re-opening the doors to melody, theatre, extra-musical reference, and allusions to tonal harmony." Newton Armstrong

“The playing cuts through with knockout physicality; the sense that you are being shown multiple sides of an object that is perpetually evolving, spinning in and out of control, is secure.” Gramophone Magazine, May 2015

“The resulting music is playful, inventive, dramatic; a colourful array of semi-exotic sounds. It’s give a fine performance here by Knoop, Chadwick and Armstrong, sharper and more engaging that the rival version on Naxos.” International Piano, May/June 2015

“Mantra is also one of the most immediate and lucid of Stockhausen’s works; it’s a showpiece for the two pianists’ virtuosity, and for their comedic skills, too, in the few moments of rather heavy-handed humour.” The Guardian, 19th February 2015 ***

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hat hat[now]ART - HATNOWART190

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Stockhausen: Michaels Reise um die Erde (from Donnerstag aus Licht)

Stockhausen: Michaels Reise um die Erde (from Donnerstag aus Licht)


Andreas Boettger, Markus Stockhausen, Lesley Schatzberger, Kathinka Pasveer, Michael Svoboda, Isao Nakamura, Simon Stockhausen, Ian Stuart, Michael Obst, Suzanne Stephens

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ECM New Series - 4371882

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Stockhausen: Michaels Reise um die Erde (from Donnerstag aus Licht)

Stockhausen: Michaels Reise um die Erde (from Donnerstag aus Licht)


Marco Blaauw (trumpet solo) & Nicola Jürgensen (basset horn solo)

Ensemble musikFabrik, Peter Rundel

Michael's reise um die Erde' is the second act of the opera 'Donnerstag' [Thursday] from the 7-part, 7-day opera cycle 'Licht' by Karlheinz Stockhausen, a cosmic world theatre in which three protagonists set the tone: Michael as Prince of Angels who appears in human shape to lead mankind to God; Eva as Power of Love, of Life; Lucifer as fallen angel and adversary. To each of these three figures has been assigned a characterising melody (or formula/leitmotif). These three themes unfold through the musical action of the entire opera cycle.

'Donnerstag' is for 14 performers (3 voices, 8 instrumentalists, 3 dancers) plus a choir, an orchestra and tapes. Though not the first part of Licht to be started, it was the first opera in the cycle to be completed, being written between 1978 and 1980. Thursday is the day of the archangel Michael, and the story is centered around this character. Thursday's exoteric colour is bright blue and it's planet is Jupiter. Each opera and each act can stand alone.

In 2008, after performances in Vienna, Cologne, Venice and Dresden, the ensemble musikFabrik performed 'Michael's Reise' twice at the Théâtre Bobigny in Paris at the Festival d'Automne. The production created in collaboration with Carlus Padrissa from Catalan theatre company La Fura dels Baus was received with great enthusiasm by the audience and received great acclaim from the press and the public. This live recording of these two successful concerts is released by WERGO as part of their edition musikFabrik.

Following the world premiere of 'Mittwoch', this August, by Birmingham Opera/Graham Vick, as part of Festival 2012, interest in this mighty 29 hour project is high!

“the most performable opera in Karlheinz Stockhausen’s seven-day Licht extravaganza … the solos by Blaauw and Nicola Jürgensen (basset horn) are suitably brilliant.” Financial Times, 18th January 2013

“a strange, intriguingly fanciful work from such a sober rationalist.” The Independent, 15th December 2012 ***

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Wergo edition musikFabrik - WER68582

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