Content deleted Content added
BauhausFan89 (talk | contribs) m adding this impact on electronic music right beside the intro text first mention of that way of musical performance. |
EIGHTCLOUDS (talk | contribs) new key for Category:Karlheinz Stockhausen: " " using HotCat |
||
| (32 intermediate revisions by 18 users not shown) | |||
Line 5:
{{Use shortened footnotes|date=June 2022}}
<!-- Before adding an infobox, please consult [[Wikipedia:WikiProject Composers#Biographical infoboxes]] and seek consensus on this article's talk page. -->
[[File:Stockhausen 1994 WDR.jpg|thumb|upright=1.3|
'''Karlheinz Stockhausen''' ({{IPA
He was educated at the [[Hochschule für Musik Köln]] and the [[University of Cologne]], later studying with [[Olivier Messiaen]] in Paris and with [[Werner Meyer-Eppler]] at the [[University of Bonn]]. As one of the leading figures of the [[Darmstadt School]], his compositions and theories were and remain widely influential, not only on composers of [[art music]], but also on [[jazz]] and [[popular music]]. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for [[musical box]]es through works for solo instruments, songs, [[chamber music]], [[Choir|choral]] and orchestral music, to a cycle of seven full-length operas. His [[Music theory|theoretical]] and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company.
Line 12:
His notable compositions include the series of nineteen ''[[Klavierstücke (Stockhausen)|Klavierstücke]]'' (Piano Pieces), ''[[Kontra-Punkte]]'' for ten instruments, the electronic/[[musique concrète|musique-concrète]] ''[[Gesang der Jünglinge]]'', ''[[Gruppen]]'' for three orchestras, the percussion solo ''[[Zyklus]]'', ''[[Kontakte]]'', the cantata ''[[Momente]]'', the live-electronic ''[[Mikrophonie (Stockhausen)|Mikrophonie I]]'', ''[[Hymnen]]'', ''[[Stimmung]]'' for six vocalists, ''[[Aus den sieben Tagen]]'', ''[[Mantra (Stockhausen)|Mantra]]'' for two pianos and electronics, ''[[Tierkreis (Stockhausen)|Tierkreis]]'', ''[[Inori (Stockhausen)|Inori]]'' for soloists and orchestra, and the gigantic opera cycle ''[[Licht]]''.
He died
==Biography==
Line 33:
====Family and home====
[[File:St. im Garten Mai 2005 RGB.jpg|thumb|Stockhausen in the garden of his home in Kürten, 2005]]
On 29 December 1951, in Hamburg, Stockhausen married [[Doris Stockhausen|Doris Andreae]].{{sfn|Kurtz|1992|loc=45}}{{sfn|Maconie|2005|loc=47}} Together they had four children: Suja (b. 1953), Christel (b. 1956), [[Markus Stockhausen|Markus]] (b. 1957), and Majella (b. 1961).{{sfn|Kurtz|1992|loc=90}}{{sfn|Tannenbaum|1987|loc=94}} They were divorced in 1965.{{sfn|Rathert|2013}} On 3 April 1967, in San Francisco, he married [[Mary Bauermeister]], with whom he had two children: Julika (b. 22 January 1966) and [[Simon Stockhausen|Simon]] (b. 1967).{{sfn|Kurtz|1992|loc=141, 149}}{{sfn|Tannenbaum|1987|loc=95}} They were divorced in 1972.{{sfn|Rathert|2013}}<ref name=biography />
Four of Stockhausen's children became professional musicians,{{sfn|Kurtz|1992|loc=202}} and he composed some of his works specifically for them. A large number of pieces for the trumpet—from ''[[Sirius (Stockhausen)|Sirius]]'' (1975–77) to the trumpet version of ''[[In Freundschaft]]'' (1997)—were composed for and premièred by his son Markus.{{sfn|Kurtz|1992|loc=208}}{{sfn|M. Stockhausen|1998|loc=13–16}}{{sfn|Tannenbaum|1987|loc=61}} Markus, at the age of 4 years, had performed the part of The Child in the Cologne première of ''[[Originale]]'', alternating performances with his sister Christel.{{sfn|Maconie|2005|loc=220}} ''Klavierstück XII'' and ''Klavierstück XIII'' (and their versions as scenes from the operas ''Donnerstag aus Licht'' and ''[[Samstag aus Licht]]'') were written for his daughter Majella, and were first performed by her at the ages of 16 and 20, respectively.{{sfn|Maconie|2005|loc=430, 443}}{{sfn|Stockhausen ''Texte''|loc=5:190, 255, 274}}{{sfn|Stockhausen ''Texte''|loc=6:64, 373}} The saxophone duet in the second act of ''Donnerstag aus Licht'', and a number of synthesizer parts in the ''Licht'' operas, including ''Klavierstück XV'' ("Synthi-Fou") from ''[[Dienstag aus Licht|Dienstag]]'', were composed for his son Simon,{{sfn|Kurtz|1992|loc=222}}{{sfn|Maconie|2005|loc=480, 489}}{{sfn|Stockhausen ''Texte''|loc=5:186, 529}} who also assisted his father in the production of the electronic music from ''[[Freitag aus Licht]]''. His daughter Christel is a flautist who performed and gave a course on interpretation of ''Tierkreis'' in 1977,{{sfn|Stockhausen ''Texte''|loc=5:105}} later published as an article.{{sfn|C. Stockhausen|1978}}
In 1961, Stockhausen acquired a parcel of land in the vicinity of [[Kürten]], a village east of Cologne, near [[Bergisch Gladbach]] in the [[Bergisches Land]]. He had a house built there, which was designed to his specifications by the architect Erich Schneider-Wessling, and he resided there from its completion in the autumn of 1965.{{sfn|Kurtz|1992|loc=116–117, 137–138}}
Line 51:
[[File:Kürten - Waldfriedhof - Stockhausen 01 ies.jpg|thumb|Stockhausen's grave, Waldfriedhof, Kürten]]
[[File:Karlheinz Stockhausens Grab Rückseite.jpg|thumb|Grave monument (rear view)]]
Stockhausen died of sudden heart failure on the morning of 5 December 2007 in [[Kürten]], North Rhine-Westphalia. The night before, he had finished a recently commissioned work for performance by the [[Mozart Orchestra]] of
==Compositions==
Line 79:
===Space music and Expo '70===
[[File:Osaka Expo'70 Korean Pavilion.jpg|thumb|The German Pavilion at Expo '70 (the spherical auditorium is out of view to the right)]]
Since the mid-1950s, Stockhausen had been developing concepts of [[spatial music|spatialization]] in his works, not only in electronic music, such as the 5-channel ''[[Gesang der Jünglinge]]'' (1955–56) and ''[[Telemusik]]'' (1966), and 4-channel ''[[Kontakte]]'' (1958–60) and ''[[Hymnen]]'' (1966–67). Instrumental/vocal works like ''Gruppen'' for three orchestras (1955–57) and ''Carré'' for four orchestras and four choirs (1959–60) also exhibit this trait.{{sfn|Stockhausen ''Texte''|loc=2:71–72, 49–50, 102–103}}{{sfn|Stockhausen|1989a|loc=105–108}}{{sfn|Cott|1973|loc=200–201}} In lectures such as "Music in Space" from 1958,{{sfn|Stockhausen ''Texte''|loc=1:152–175}} he called for new kinds of concert halls to be built, "suited to the requirements of spatial music". His idea was {{Blockquote|a spherical space which is fitted all around with loudspeakers. In the middle of this spherical space a sound-permeable, transparent platform would be suspended for the listeners. They could hear music composed for such standardized spaces coming from above, from below and from all points of the compass.{{sfn|Stockhausen ''Texte''|loc=1:153}}}} In 1968, the [[West Germany|West German]] government invited Stockhausen to collaborate on the German Pavilion at the [[Expo '70|1970 World Fair]] in [[Osaka]] and to create a joint multimedia project for it with artist [[Otto Piene]]. Other collaborators on the project included the pavilion's architect, [[Fritz Bornemann]], Fritz Winckel, director of the Electronic Music Studio at
Although Stockhausen and Piene's planned multimedia project, titled ''Hinab-Hinauf'', was developed in detail,{{sfn|Stockhausen ''Texte''|loc=3:155–174}} the World Fair committee rejected their concept as too extravagant and instead asked Stockhausen to present daily five-hour programs of his music.{{sfn|Kurtz|1992|loc=178}} Stockhausen's works were performed for 5½ hours every day over a period of 183 days to a total audience of about a million listeners.{{sfn|Wörner|1973|loc=256}} According to Stockhausen's biographer, Michael Kurtz, "Many visitors felt the spherical auditorium to be an oasis of calm amidst the general hubbub, and after a while it became one of the main attractions of Expo 1970".{{sfn|Kurtz|1992|loc=179}}
===1970s===
[[File:Shiraz 37.jpg|thumb
Beginning with ''[[Mantra (Stockhausen)|Mantra]]'' for two pianos and electronics (1970), Stockhausen turned to [[formula composition]], a technique which involves the projection and multiplication of a single, double, or triple [[melody|melodic]]-line formula.{{sfn|Kohl|1983–84a}}{{sfn|Kohl|1990}}{{sfn|Kohl|2004}} Sometimes, as in ''Mantra'' and the large orchestral composition with mime soloists, ''Inori'', the simple formula is stated at the outset as an introduction. He continued to use this technique (e.g., in the two related solo-clarinet pieces, ''Harlekin'' [Harlequin] and ''Der kleine Harlekin'' [The Little Harlequin] of 1975, and the orchestral ''[[Jubiläum]]'' [Jubilee] of 1977) through the completion of the opera-cycle ''Licht'' in 2003.{{sfn|Blumröder|1982}}{{sfn|Conen|1991}}{{sfn|Kohl|1983–84a}}{{sfn|Kohl|1990}}{{sfn|Kohl|1993}}{{sfn|Kohl|2004}}{{sfn|Stockhausen-Verlag|2010|loc=10}} Some works from the 1970s did not employ formula technique—e.g., the vocal duet "[[Alphabet für Liège#Indianerlieder|Am Himmel wandre ich]]" (In the Sky I am Walking, one of the 13 components of the multimedia ''Alphabet für Liège'', 1972, which Stockhausen developed in conversation with the British biophysicist and lecturer on mystical aspects of sound vibration [[Jill Purce]]), "Laub und Regen" (Leaves and Rain, from the theatre piece ''Herbstmusik'' (1974), the unaccompanied-clarinet composition ''[[Amour (Stockhausen)|Amour]]'', and the choral opera ''[[Atmen gibt das Leben]]'' (Breathing Gives Life, 1974/77)—but nevertheless share its simpler, melodically oriented style.{{sfn|Conen|1991|loc=57}}{{sfn|Kurtz|1992|loc=192–193}} Two such pieces, ''Tierkreis'' ("Zodiac", 1974–75) and ''[[In Freundschaft]]'' (In Friendship, 1977, a solo piece with versions for virtually every orchestral instrument), have become Stockhausen's most widely performed and recorded compositions.{{sfn|Anon.|2007a}}{{sfn|Deruchie|2007}}{{sfn|Nordin|2004}}
Line 103:
Stockhausen had dreams of flying throughout his life, and these dreams are reflected in the ''[[Helikopter-Streichquartett]]'' (the third scene of ''Mittwoch aus Licht''), completed in 1993. In it, the four members of a [[string quartet]] perform in four [[helicopter]]s flying independent flight paths over the countryside near the concert hall. The sounds they play are mixed together with the sounds of the helicopters and played through speakers to the audience in the hall. Videos of the performers are also transmitted back to the concert hall. The performers are synchronized with the aid of a [[click track]], transmitted to them and heard over headphones.{{sfn|Stockhausen|1996c|loc=215}}
The first performance of the piece took place in Amsterdam on 26 June 1995, as part of the [[Holland Festival]].{{sfn|Stockhausen| 1996c|loc=216}} Despite its extremely unusual nature, the piece has been given several performances, including one on 22 August 2003 as part of the [[Salzburg Festival]] to open the Hangar-7 venue,{{sfn|Stockhausen-Verlag|2010|loc=7}} and the German première on 17 June 2007 in [[Braunschweig]] as part of the Stadt der Wissenschaft 2007 Festival.{{sfn|Stockhausen-Stiftung|2007}} The work has also been recorded by the [[Arditti Quartet]].<ref>{{
In 1999 he was invited by [[Walter Fink]] to be the ninth composer featured in the annual [[Rheingau Musik Festival#Portraits of living composers|Komponistenporträt]] of the [[Rheingau Musik Festival]].{{sfn|Rheingau Musik Festival|2017}}
Line 118:
In the 1950s and early 1960s, Stockhausen published a series of articles that established his importance in the area of music theory. Although these include analyses of music by [[Wolfgang Amadeus Mozart|Mozart]], [[Claude Debussy|Debussy]], [[Béla Bartók|Bartók]], [[Igor Stravinsky|Stravinsky]], [[Karel Goeyvaerts|Goeyvaerts]], [[Pierre Boulez|Boulez]], [[Luigi Nono (composer)|Nono]], [[Johannes Fritsch]], [[Michael von Biel]], and, especially, [[Anton Webern|Webern]],{{sfn|Stockhausen ''Texte''|loc=1:24–31, 39–44, 75–85, 86–98; 2:136–139, 149–166, 170–206; 3:236–238; 4:662–663}} the items on compositional theory directly related to his own work are regarded as the most important generally. "Indeed, the ''Texte'' come closer than anything else currently available to providing a general compositional theory for the postwar period".{{sfn|Morgan|1975|loc=16}} His most celebrated article is "... wie die Zeit vergeht ..." ("... How Time Passes ..."), first published in the third volume of ''[[Die Reihe]]'' (1957). In it, he expounds a number of temporal conceptions underlying his instrumental compositions ''Zeitmaße'', ''Gruppen'', and ''Klavierstück XI''. In particular, this article develops (1) a scale of twelve [[tempo]]s analogous to the chromatic pitch scale, (2) a technique of building progressively smaller, integral subdivisions over a basic (fundamental) duration, analogous to the [[Overtone|overtone series]], (3) musical application of the concept of the partial field (time fields and field sizes) in both successive and simultaneous proportions, (4) methods of projecting large-scale [[Musical form|form]] from a series of proportions, (5) the concept of "statistical" composition, (6) the concept of "action duration" and the associated "variable form", and (7) the notion of the "directionless temporal field" and with it, "polyvalent form".{{sfn|Stockhausen ''Texte''|loc=1:99–139}}
Other important articles from this period include "Elektronische und Instrumentale Musik" ("Electronic and Instrumental Music", 1958),{{sfn|Stockhausen ''Texte''|loc=1:140–151}}{{sfn|Stockhausen|2004}} "Musik im Raum" ("Music in Space", 1958),{{sfn|Stockhausen ''Texte''|loc=1:152–175}} "Musik und Graphik" ("Music and Graphics", 1959),{{sfn|Stockhausen ''Texte''|loc=1:176–188}} "[[Moment form|Momentform]]" (1960),{{sfn|Stockhausen ''Texte''|loc=1:189–210}} "Die Einheit der musikalischen Zeit" ("The Unity of Musical Time", 1961),{{sfn|Stockhausen ''Texte''|loc=1:211–221}}{{sfn|Stockhausen|1962}} and "Erfindung und Entdeckung" ("Invention and Discovery", 1961),{{sfn|Stockhausen ''Texte''|loc=1:222–258}} the last summing up the ideas developed up to 1961.<ref>{{
<div style="text-align: center;">...</div>
Compositionally considered, this produced a change of focus from the individual tone to a whole complex of tones related to one another by virtue of their relation to a "[[Fundamental frequency|fundamental]]"—a change that was probably the most important compositional development of the latter part of the 1950s, not only for Stockhausen's music but for "advanced" music in general.{{sfn|Morgan|1975|loc=6}}</blockquote> Some of these ideas, considered from a purely theoretical point of view (divorced from their context as explanations of particular compositions) drew significant critical fire.{{sfn|Backus|1962}}{{sfn|Fokker|1968}}{{sfn|Perle|1960}} For this reason, Stockhausen ceased publishing such articles for a number of years, as he felt that "many useless polemics" about these texts had arisen, and he preferred to concentrate his attention on composing.{{sfn|Stockhausen ''Texte''|loc=4:13}}
Line 144:
=== Wider cultural renown ===
Stockhausen, along with [[John Cage]], is one of the few avant-garde composers to have succeeded in penetrating the popular consciousness.{{sfn|Anon.|2007b}}{{sfn|Broyles|2004}}{{sfn|Hewett|2007}} [[The Beatles]] included his face on the cover of ''[[Sgt. Pepper's Lonely Hearts Club Band]]''.{{sfn|Guy and Llewelyn-Jones|2004|loc=111
Stockhausen's fame is also reflected in works of literature. For example, he is mentioned in [[Philip K. Dick]]'s 1974 novel ''[[Flow My Tears, the Policeman Said]]'',{{sfn|Dick|1993|loc=101}} and in [[Thomas Pynchon]]'s 1966 novel ''[[The Crying of Lot 49]]''. The Pynchon novel features "The Scope", a bar with "a strict electronic music policy". Protagonist Oedipa Maas asks "a hip graybeard" about a "sudden chorus of whoops and yibbles" coming out of "a kind of jukebox." He replies, "That's by Stockhausen ... the early crowd tends to dig your Radio Cologne sound. Later on we really swing".{{sfn|Pynchon|1999|loc=34}}
Line 155:
===Criticism===
[[Robin Maconie]] finds that, "Compared to the work of his contemporaries, Stockhausen's music has a depth and rational integrity that is quite outstanding... His researches, initially guided by Meyer-Eppler, have a coherence unlike any other composer then or since".{{sfn|Maconie|1989|loc=177–178}} Maconie also compares Stockhausen to [[Ludwig van Beethoven|Beethoven]]: "If a genius is someone whose ideas survive all attempts at explanation, then by that definition Stockhausen is the nearest thing to Beethoven this century has produced. Reason? His music lasts",{{sfn|Maconie|1988}} and "As Stravinsky said, one never thinks of Beethoven as a superb orchestrator because the quality of invention transcends mere craftsmanship. It is the same with Stockhausen: the intensity of imagination gives rise to musical impressions of an elemental and seemingly unfathomable beauty, arising from necessity rather than conscious design".{{sfn|Maconie|1989|loc=178}}
Christopher Ballantine, comparing the categories of [[Experimental music|experimental]] and [[avant-garde music]], concludes that <blockquote>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. This alone would seem to suggest his remarkable significance.{{sfn|Ballantine|1977|loc=244}}</blockquote>
Line 206:
* 1993 Patron of the European Flute Festival; Diapason d'or for ''Klavierstücke I–XI'' and ''Mikrophonie I'' and ''II'';{{sfn|Akademie der Künste|n.d.}}
* 1994 German Music Publishers Society Award for the score ''Jahreslauf'' (Act 1 of ''Tuesday from Light'');{{sfn|Akademie der Künste|n.d.}}
* 1995 Honorary Member of the German Society for Electro-Acoustic Music; [[Bach
* 1996 Honorary doctorate (Dr. phil. h. c.) of the [[Free University of Berlin]]; Composer of the European Cultural Capital Copenhagen; Edison Prize (Netherlands) for ''Mantra'';{{sfn|Akademie der Künste|n.d.}} Member of the Free Academy of the Arts Leipzig;<ref name=biography /> Honorary Member of the Leipzig Opera;<ref name=biography /> Cologne Culture Prize;{{sfn|Akademie der Künste|n.d.}}
* 1997 German Music Publishers Society Award for the score of ''Weltparlament'' (first scene of ''Wednesday from Light'');{{sfn|Akademie der Künste|n.d.}} Honorary member of the music ensemble LIM (Laboratorio de Interpretación Musical), Madrid;<ref name=biography />
Line 501:
* Wolfson, Richard. 5 March 2001. "[https://www.telegraph.co.uk/culture/4722023/Hit-and-mismatch.html Hit and mismatch]" ''[[The Daily Telegraph|The Telegraph]]'', London.
* Welsh, Tom. 2019. "Ballad for a Child: The Discovery of an Unknown Song by Karlheinz Stockhausen Provides a Humanising Footnote to His Barnstorming 1958 Lecture Tour of the US". ''[[The Wire (magazine)|The Wire]]'', no. 425 (July): 20–21.
* Woodward, Roger (2014). "Karlheinz Stockhausen". ''Beyond Black and White''. HarperCollins. pp. 419-437. [[ISBN (identifier)|ISBN]] [[Special:BookSources/9780733323034|<bdi>9780733323034</bdi>]]
{{refend}}
{{div col end}}
Line 532 ⟶ 533:
{{Ernst von Siemens Music Prize}}
{{Polar Music Prize}}
{{Bach Prize of the Free and Hanseatic City of Hamburg}}
}}
{{Navboxes
Line 543 ⟶ 545:
}}
{{Portal bar|Classical music|Opera|Biography|Germany|Music}}
{{Good article}}▼
{{Authority control}}
▲{{Good article}}
{{DEFAULTSORT:Stockhausen, Karlheinz}}
[[Category:Karlheinz Stockhausen| ]]
[[Category:1928 births]]
[[Category:2007 deaths]]
Line 555 ⟶ 558:
[[Category:Musicians from the Rhine Province]]
[[Category:University of Bonn alumni]]
[[Category:German opera composers]]
[[Category:
[[Category:Experimental composers]]
[[Category:Members of the Royal Swedish Academy of Music]]
[[Category:Honorary
[[Category:Microtonal composers]]
[[Category:Deutsche Grammophon artists]]
Line 586 ⟶ 588:
[[Category:German magazine founders]]
[[Category:Electronic composers]]
[[Category:Webern scholars]]
[[Category:Schoenberg scholars]]
[[Category:Stravinsky scholars]]
| |||