StockhausenStockhausen, KarlheinzControversyKarheinz StockhausenStockhausen calling 9/11 a work of artStockhausensStockhausen’sStockhausian
Karlheinz Stockhausen (22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries.wikipedia
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Founding members of Cologne-based experimental band Can, Irmin Schmidt and Holger Czukay, both studied with Stockhausen at the Cologne Courses for New Music.
Schmidt was born in Berlin, began his studies in music at the conservatorium in Dortmund, at the Folkwang Hochschule in Essen, the Mozarteum in Salzburg, and he studied composition in Karlheinz Stockhausen's Cologne Courses for New Music at the Rheinische Musikschule, Cologne.
Arditti String QuartetArdittiDov Scheindlin
The work has also been recorded by the Arditti Quartet.
The focus of the quartet on new music is due to Arditti's interest in it, which began with composing in his childhood and hearing music by Stockhausen, Ligeti and others of the avant garde of the 1960s.
Sugar Plum Fairy
In particular, "A Day in the Life" (1967) and "Revolution 9" (1968) were influenced by Stockhausen's electronic music.
The orchestral portions of "A Day in the Life" reflect Lennon and McCartney's interest in the work of avant-garde composers such as Karlheinz Stockhausen, Luciano Berio and John Cage.
2002 Honorary Patron of the Sonic Arts Network, England;
Its honorary patron was Karlheinz Stockhausen.
Cardew Cornelius CardewCornelius
Cornelius Cardew and Konrad Boehmer denounced their former teacher as a "servant of capitalism".
Having won a scholarship to study at the recently established Studio for Electronic Music in Cologne, Cardew served as an assistant to Karlheinz Stockhausen from 1958 to 1960.
In 1999 he was invited by Walter Fink to be the ninth composer featured in the annual Komponistenporträt of the Rheingau Musik Festival.
Fink was the personal contact to the composers and a sponsor of the concert series, presenting the composers and their music: György Ligeti, Mauricio Kagel, Volker David Kirchner, Wilhelm Killmayer, Wolfgang Rihm, Dieter Schnebel, Aribert Reimann, Helmut Lachenmann, Karlheinz Stockhausen, Hans Werner Henze, Krzysztof Penderecki, Steve Reich, Sofia Gubaidulina, György Kurtág, Arvo Pärt, Henri Dutilleux, Heinz Holliger, Toshio Hosokawa, Rodion Shchedrin, Kaija Saariaho, Hans Zender and Péter Eötvös.
Taken together, these temporal theories suggested that the entire compositional structure could be conceived as "timbre": since "the different experienced components such as colour, harmony and melody, meter and rhythm, dynamics, and form correspond to the different segmental ranges of this unified time" ], 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.…
Proto-spectral composers include Claude Debussy, Edgard Varèse, Giacinto Scelsi, Olivier Messiaen, György Ligeti, Iannis Xenakis, and Karlheinz Stockhausen.
Another French composer, Jean-Claude Éloy, regards Stockhausen as the most important composer of the second half of the 20th century, and cites virtually "all his catalog of works" as "a powerful discoveration [sic], and a true revelation".
During this same period he attended the Darmstädter Ferienkurse in 1957, 1960, and 1961, where he studied with Henri Pousseur, Hermann Scherchen, Olivier Messiaen, Pierre Boulez, and Karlheinz Stockhausen.
Although these include analyses of music by Mozart, Debussy, Bartók, Stravinsky, Goeyvaerts, Boulez, Nono, Johannes Fritsch, Michael von Biel, and, especially, Webern, the items on compositional theory directly related to his own work are regarded as the most important generally.
After finishing school in Canterbury, England, he studied piano, theory, and composition in Toronto (1956–57), Vienna (1958–60), New York (1960, with Morton Feldman, amongst others), London (1961–62, with Cornelius Cardew), and Cologne (with Karlheinz Stockhausen).
Ernst von Siemens Composers' PrizeErnst von Siemens Music Composers' PrizeComposers' Prize
1986 Ernst von Siemens Music Prize
1986 – Karlheinz Stockhausen
Richard D. JamesAFXbraindance
Early in 1995, BBC Radio 3 sent Stockhausen a package of recordings from contemporary artists Aphex Twin, Richie Hawtin (Plastikman), Scanner and Daniel Pemberton, and asked him for his opinion on the music.
During the production of the interview a package of tapes with music from several artists (including Aphex Twin) was sent to Karlheinz Stockhausen, who said:
CageCage, John[John] Cage
Stockhausen, along with John Cage, is one of the few avant-garde composers to have succeeded in penetrating the popular consciousness.
Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, e.g. Karlheinz Stockhausen and Iannis Xenakis.
nōNoh playNoh theater
Stockhausen's conception of opera was based significantly on ceremony and ritual, with influence from the Japanese Noh theatre, as well as Judeo-Christian and Vedic traditions.
Karlheinz Stockhausen – The essentially plotless libretto of Stockhausen's grand operatic cycle Licht ("Light") is based on "a mythology drawing on multiple cultural traditions, from Japanese Noh theatre to German folklore".
AurobindoAurobindo GhoshSri Aurobindo Ghosh
In 1968, at the time of the composition of Aus den sieben Tagen, Stockhausen had read a biography by Satprem about the Bengali guru Sri Aurobindo, and subsequently he also read many of the published writings by Aurobindo himself.
Karlheinz Stockhausen was heavily inspired by Satprem's writings about Sri Aurobindo during a week in May 1968, a time at which the composer was undergoing a personal crisis and had found Sri Aurobindo's philosophies were relevant to his feelings.
The first performance of the piece took place in Amsterdam on 26 June 1995, as part of the Holland Festival.
Notable world premieres included Karlheinz Stockhausen's Helicopter String Quartet.
Cornelius Cardew and Konrad Boehmer denounced their former teacher as a "servant of capitalism".
A self-declared member of the Darmstadt School, he studied composition in Cologne with Karlheinz Stockhausen and Gottfried Michael Koenig, and philosophy, sociology, and musicology at the University of Cologne, where he received a PhD in 1966.
DavisMilesMiles Davis Quintet
Jazz musicians such as Miles Davis, Cecil Taylor, Charles Mingus, Herbie Hancock, Yusef Lateef, and Anthony Braxton cite Stockhausen as an influence.
In 1972, composer-arranger Paul Buckmaster introduced Davis to the music of German avant-garde composer Karlheinz Stockhausen, leading to a period of creative exploration.
Christopher Ballantine, while comparing and contrasting the categories of experimental and avant-garde music, concludes that Perhaps more than any other contemporary composer, Stockhausen exists at the point where the dialectic between experimental and avant-garde music becomes manifest; it is in him, more obviously than anywhere else, that these diverse approaches converge.
Nyman opposes experimental music to the European avant-garde of the time (Boulez, Kagel, Xenakis, Birtwistle, Berio, Stockhausen, and Bussotti), for whom "The identity of a composition is of paramount importance".
Kraftwerk (DE)Kraftwerk 3-DQuackwork
German electronic pioneers Kraftwerk also say they studied with Stockhausen, and Icelandic vocalist Björk has acknowledged Stockhausen's influence.
In its early incarnation, the band pursued an avant-garde, experimental rock style inspired by the compositions of Karlheinz Stockhausen.
Frank Zappa acknowledges Stockhausen in the liner notes of Freak Out!, his 1966 debut with The Mothers of Invention.
In 1991, Zappa was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen, and Alexander Knaifel).
Stockhausen – Musik für eine bessere Welt, documentary, Germany, 2009, 56 min., producer and director: Norbert Busè and co-director Thomas von Steinaecker, production: Studio.TV.Film, broadcast: Arte, ZDF.
2009: Karlheinz Stockhausen - Musik für eine bessere Welt [Karlheinz Stockhausen - Music for a Better World] (in co-operation with Thomas von Steinaecker)
Hugh DaviesDaviesDavies, Hugh
* Davies, Hugh.
Shortly after he travelled to Cologne, Germany to work for Karlheinz Stockhausen as his personal assistant.
On hearing about this, conductor Michael Gielen stated: "When he said he knew what was happening at Sirius, I turned away from him in horror. I haven't listened to a note since."
He has demonstrated a mastery of the most complex contemporary scores, and he has given many premieres, including Helmut Lachenmann's Fassade and Klangschatten – mein Saitenspiel, György Ligeti's Requiem, Karlheinz Stockhausen's Carré and Bernd Alois Zimmermann's Die Soldaten.
string quartetsquartetstring ensemble
In it, the four members of a string quartet perform in four helicopters flying independent flight paths over the countryside near the concert hall.
Karlheinz Stockhausen's Helikopter-Streichquartett (1992–93), to be played by the four musicians in four helicopters
ThreniThreni'' Threni'' (Stravinsky)
The influence of his Kontra-Punkte, Zeitmasse and Gruppen may be seen in the work of many composers, including Igor Stravinsky's Threni (1957–58) and Movements for piano and orchestra (1958–59) and other works up to the Variations: Aldous Huxley In Memoriam (1963–64), whose rhythms "are likely to have been inspired, at least in part, by certain passages from Stockhausen's Gruppen" . Though music of Stockhausen's generation may seem an unlikely influence, Stravinsky said in a 1957 conversation: I have all around me the spectacle of composers who, after their generation has had its decade of influence and fashion, seal themselves off from further development and from the next generation (as I say this, exceptions come to mind, Krenek, for instance).
The passage beginning at bars 231 ("NUN: Scrutemur vias nostras") presents a rhythmic texture new to Stravinsky, which strongly resembles the multilayered rhythms of Stockhausen's Zeitmaße, which Robert Craft was rehearsing in Stravinsky's home at precisely the time of composition (16 January to 14 February 1958).