Customer Reviews (1)

"end of the fruitfull lands"
curious how some of us still return to these paradigm pieces of high modernity, the "klavierstuck" were like stepping stones to other places, as Boulez, "Gruppen" for three orchestras was written simultaneously with these various "klavierstuck", the last two, #s 10 and #11 are like a summation,the earlier appraisals of "punkt", "regions" pitch configurations were part of the process, and the experience with electronic media certainly influenced his sensitivityto timbre in general,as well its shape and temporality. "Klavierstuck X" is a good example of utilzing the piano's resonance with full forarm of clusters, black keys against white keys, fast filigree sinlge lines, softer more like "subterranean" materials to deploy against the surface of the work. These dimensions exist in the "Klavierstuck 11",although this "trope" of indeterminacy was a emphatic interest in the avant-garde, the concept of an "open form" work. Curious as to where this trajectory came from;perhaps James Joyce, or Mallarme, or Zen and John Cage, Stockhausen's "Klavierstuck 11" can be a brilliant work it is more difficult to experience than any of the other preceeding "klavierstuck" it can meander without a central a primary focus of materials, Perhaps then the repetition of materials, once you come around playing the "single line" ideas, or if you perform the work twice within a single performance. The way you play this piece is to begin anywhere and proceed forward, having your eye drift to another line, but there are directions, where this is not always possible; to give an orthodox reading of the work, something Alain Badiou would focus as the "Event" where a confluence of different inconsequential materials come together, as specific points to render meaning. I knw the "word " "meaning" is open to hermeneutical discourse in modernity,but you need to land some place to give this work substance, and to have a working premise on how to practice.

I like Aloys Kontarsky, or David Tudor, Henck, or Ellen Korver, Berhard Wambach; ... Read more

Product Description
This digital document is an article from The Register-Guard (Eugene, OR), published by The Register Guard on April 30, 2009. The length of the article is 876 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

Citation Details
Title: University offers Stockhausen tribute, jazz and an experiment.(Arts and Literature)
Author: Gale Reference Team
Publication: The Register-Guard (Eugene, OR) (Newspaper)
Date: April 30, 2009
Publisher: The Register Guard
Page: E32

Distributed by Gale, a part of Cengage Learning ... Read more

Product Description
This digital document is an article from Artforum International, published by Artforum International Magazine, Inc. on March 1, 2008. The length of the article is 11255 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available immediately after purchase. You can view it with any web browser.

Citation Details
Title: Music of the spheres: Karlheinz Stockhausen (1928-2007).(Obituary)
Author: Gale Reference Team
Publication: Artforum International (Magazine/Journal)
Date: March 1, 2008
Publisher: Artforum International Magazine, Inc.
Volume: 46Issue: 7Page: 302(18)

Article Type: Obituary

Distributed by Gale, a part of Cengage Learning ... Read more

Customer Reviews (1)

Symbolistic Stockhausen
No other author has ever examined Stockhausen's mysticism and myths, probably because in the past they have been deemed extramusical. This symbology can also be difficult to fathom if one doesn't know what to look for. This helpful guide shows how symbols penetrate the listener on many levels and sheds light on the creative world of this composer's 50 years of output. ... Read more