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Karlheinz Stockhausen
フォロワー数 9,012
• 2 近日開催予定の公演
2 近日開催予定の公演
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Karlheinz Stockhausen について
Karlheinz Stockhausen (August 22, 1928 - December 5, 2007) experienced true horror and carnage as an orphaned teenager on active service near the end of WWII. He then went on seemingly to redefine contemporary music: from Kreuzspiel, the early electronic Kontakte, the intuitive works, the hour-long a-capella Stimmung, to the Licht cycle of seven operas. His influence is widely felt, even in unexpected places within the world of popular music.
After dealing first-hand with the victims of conflict and allied bombing out in the field and in the hospital, he began his post-war musical studies in Europe. He had thoughts of being a writer, and did a stint as a travelling magician's pianist. This life gave way in the early-1950s to the project of redesigning music, from the bottom-up, on his own terms. Melody, regular rhythm, and literal repetition were not to be found, while fearsome serial structures (and philosophical paradigms) underpinned the sparsest surface texture. Stockhausen's frequent cosmic flights of philosophical and moral fancy are important to his works.
The sharp practicality of his musical thinking is in its own league among post-war composers. By the mid-50s Stockhausen was enjoying huge success as leader of the avant garde. Dedicated festivals soon sprung up around the globe, and they continue. For some though, even now, this is one musical emperor who walks unclothed.
Recommended for starters are: the electronic Telemusik, all the early chamber pieces, the erotic ode Stimmung (arguably the finest of all takes on mimimalism), Mantra for two pianos, the epic Hymnen, Trans, Gruppen (for 3 orchestras), Carré (for 4 orchestras and choirs), Unsichtbare Chöre, Mixtur. From 1975 on, his work was centred around the opera cycle, Licht. He may be at his best in quiet moods, but the unprecedented live Stockhausen sound-happening, with overwhelming sonic swirlings in all directions, is something everyone should try at least once before they leave the planet. The composer has issued all his music (pretty much) on his own label.
After dealing first-hand with the victims of conflict and allied bombing out in the field and in the hospital, he began his post-war musical studies in Europe. He had thoughts of being a writer, and did a stint as a travelling magician's pianist. This life gave way in the early-1950s to the project of redesigning music, from the bottom-up, on his own terms. Melody, regular rhythm, and literal repetition were not to be found, while fearsome serial structures (and philosophical paradigms) underpinned the sparsest surface texture. Stockhausen's frequent cosmic flights of philosophical and moral fancy are important to his works.
The sharp practicality of his musical thinking is in its own league among post-war composers. By the mid-50s Stockhausen was enjoying huge success as leader of the avant garde. Dedicated festivals soon sprung up around the globe, and they continue. For some though, even now, this is one musical emperor who walks unclothed.
Recommended for starters are: the electronic Telemusik, all the early chamber pieces, the erotic ode Stimmung (arguably the finest of all takes on mimimalism), Mantra for two pianos, the epic Hymnen, Trans, Gruppen (for 3 orchestras), Carré (for 4 orchestras and choirs), Unsichtbare Chöre, Mixtur. From 1975 on, his work was centred around the opera cycle, Licht. He may be at his best in quiet moods, but the unprecedented live Stockhausen sound-happening, with overwhelming sonic swirlings in all directions, is something everyone should try at least once before they leave the planet. The composer has issued all his music (pretty much) on his own label.
表示を増やす
あなたの都市で近日開催予定の公演はありません
Karlheinz Stockhausen にお住いの地域での公演リクエストを送る
公演をリクエスト
concerts and tour dates
近日予定
過去
すべてのイベントとライブ配信
Karlheinz Stockhausenのツアー
Karlheinz Stockhausen について
Karlheinz Stockhausen (August 22, 1928 - December 5, 2007) experienced true horror and carnage as an orphaned teenager on active service near the end of WWII. He then went on seemingly to redefine contemporary music: from Kreuzspiel, the early electronic Kontakte, the intuitive works, the hour-long a-capella Stimmung, to the Licht cycle of seven operas. His influence is widely felt, even in unexpected places within the world of popular music.
After dealing first-hand with the victims of conflict and allied bombing out in the field and in the hospital, he began his post-war musical studies in Europe. He had thoughts of being a writer, and did a stint as a travelling magician's pianist. This life gave way in the early-1950s to the project of redesigning music, from the bottom-up, on his own terms. Melody, regular rhythm, and literal repetition were not to be found, while fearsome serial structures (and philosophical paradigms) underpinned the sparsest surface texture. Stockhausen's frequent cosmic flights of philosophical and moral fancy are important to his works.
The sharp practicality of his musical thinking is in its own league among post-war composers. By the mid-50s Stockhausen was enjoying huge success as leader of the avant garde. Dedicated festivals soon sprung up around the globe, and they continue. For some though, even now, this is one musical emperor who walks unclothed.
Recommended for starters are: the electronic Telemusik, all the early chamber pieces, the erotic ode Stimmung (arguably the finest of all takes on mimimalism), Mantra for two pianos, the epic Hymnen, Trans, Gruppen (for 3 orchestras), Carré (for 4 orchestras and choirs), Unsichtbare Chöre, Mixtur. From 1975 on, his work was centred around the opera cycle, Licht. He may be at his best in quiet moods, but the unprecedented live Stockhausen sound-happening, with overwhelming sonic swirlings in all directions, is something everyone should try at least once before they leave the planet. The composer has issued all his music (pretty much) on his own label.
After dealing first-hand with the victims of conflict and allied bombing out in the field and in the hospital, he began his post-war musical studies in Europe. He had thoughts of being a writer, and did a stint as a travelling magician's pianist. This life gave way in the early-1950s to the project of redesigning music, from the bottom-up, on his own terms. Melody, regular rhythm, and literal repetition were not to be found, while fearsome serial structures (and philosophical paradigms) underpinned the sparsest surface texture. Stockhausen's frequent cosmic flights of philosophical and moral fancy are important to his works.
The sharp practicality of his musical thinking is in its own league among post-war composers. By the mid-50s Stockhausen was enjoying huge success as leader of the avant garde. Dedicated festivals soon sprung up around the globe, and they continue. For some though, even now, this is one musical emperor who walks unclothed.
Recommended for starters are: the electronic Telemusik, all the early chamber pieces, the erotic ode Stimmung (arguably the finest of all takes on mimimalism), Mantra for two pianos, the epic Hymnen, Trans, Gruppen (for 3 orchestras), Carré (for 4 orchestras and choirs), Unsichtbare Chöre, Mixtur. From 1975 on, his work was centred around the opera cycle, Licht. He may be at his best in quiet moods, but the unprecedented live Stockhausen sound-happening, with overwhelming sonic swirlings in all directions, is something everyone should try at least once before they leave the planet. The composer has issued all his music (pretty much) on his own label.
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