Difference between revisions of "Karlheinz Stockhausen"

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Karlheinz Stockhausen (born in [[Mödrath]], [[Germany]] in 1928) is name-checked on the cover of "[[Freak Out!]]" (1966) under the heading "These People Have Contributed Materially In Many Ways To Make Our Music What It Is. Please Do Not Hold It Against Them". He is also mentioned in "[[The Real Frank Zappa Book]]" (1989). German avant-garde composers of the mid-20th century. He has written orchestral, choral, and instrumental works, including some which combine electronic and normal sonorities, such as [[Kontakte]] (1960), and parts of a huge operatic cycle, "Licht" ("Light").
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[[Karlheinz Stockhausen]] (born in Mödrath, [[Germany]] in 1928)
  
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He studied at [[Cologne]] and [[Bonn]], joined the [[musique concrète]] group in [[Paris]], and experimented with compositions based on electronic sounds. In 1953 Stockhausen helped found Cologne's important [[Electronic Music Studio]], and became director in 1963. His works include the wind quintet [[Time Measure]] (1956); [[Gruppen]] (1955-1957), written for three orchestras; [[Zyklus]] (1961), for solo percussionist; the multimedia work [[Beethausen von Stockhoven]] (1970); and the chamber works [[Ylem]] (1973) and [[Tierkreis]] (1977). [[Youthsong]] (1956) projects a singing boy's voice, mingled with electronic sounds, through five spatially separated loudspeakers. In 1971 he was appointed professor of composition at the [[Hochschule für Musik]] in [[Cologne]].
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German avant-garde composers of the mid-20th century. He has written orchestral, choral, and instrumental works, including some which combine electronic and normal sonorities, such as [[Kontakte]] (1960), and parts of a huge operatic cycle, "Licht" ("Light").
  
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Mentioned in "[[My Favorite Records]]", an FZ penned article in [[Hit Parader]] (1967): ''There's a record by Karlheinz Stockhausen on the Deutsche Gramophon label called "[[Gesang der Jünglinge]]", it's the "Song Of The Youths"; "[[Kontakte]]" ("Contact") is on the other side. Buy that (DGG 138811).''
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He studied at Cologne and Bonn, joined the musique concrète group in Paris, and experimented with compositions based on electronic sounds. In 1953 [[Karlheinz Stockhausen|Stockhausen]] helped found Cologne's important Electronic Music Studio, and became director in 1963. His works include the wind quintet Time Measure (1956), Gruppen (1955-1957), written for three orchestras; Zyklus (1961), for solo percussionist; the multimedia work Beethausen von Stockhoven (1970); and the chamber works Ylem (1973) and Tierkreis (1977). Youthsong (1956) projects a singing boy's voice, mingled with electronic sounds, through five spatially separated loudspeakers. In 1971 he was appointed professor of composition at the Hochschule für Musik in Cologne.
  
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It was the 1956 "plick-plop" piece "[[Gesang der Jünglinge]]" (a boy's voice construed and converted with a panoply of electronic sounds), that inspired [[Paul McCartney]] to utilize his Brennell tape recorders for less conventional purposes, as Stockhausen himself had done. McCartney, an advocate of all things melodious, had undergone a reformation of thought, no longer subscribing to the ingrained belief that rhythm, time signatures and even melody were essential. The cover art of [[Sgt. Pepper's Lonely Hearts Club Band]] depicts Stockhausen, top row, fifth person from left. [[The Beatles]] recycled his "[[Hymnen]]" ("Anthems") in the track "[[Revolution Number 9]]" of "[[The White Album]]".
 
  
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FZ in [[Village Voice]], 1968, in [[Sally Kempton]]'s "[[Zappa and the Mothers: Ugly Can Be Beautiful]]": "''Stockhausen isn't really an influence. That is, I have some of his records but I don't play them much. [[John Cage|Cage]] is a big influence. We've done a thing with voices, with talking, that is very like one of his pieces, except that of course in our piece the guys are talking about working in an airplane factory, or their cars.''"
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[[Karlheinz Stockhausen|Stockhausen]] was a contemporary of [[wikipedia:Luciano Berio|Luciano Berio]], [[Pierre Boulez]], [[wikipedia:Karel Goeyvaerts|Karel Goeyvaerts]], [[Mauricio Kagel]], [[wikipedia:György Ligeti|György Ligeti]] and [[Luigi Nono]].
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[[Karlheinz Stockhausen|Stockhausen]] is included in the list of names on the cover of [[Freak Out!]] (1966)
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<blockquote>There's a record by [[Karlheinz Stockhausen]] on the Deutsche Gramophon label called "[[Gesang der Jünglinge]]", it's the "Song Of The Youths"; "[[Kontakte]]" ("Contact") is on the other side. Buy that (DGG 138811).</blockquote>
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<div align=right>[[My Favorite Records]]"by [[Frank Zappa]] in Hit Parader magazine (1967)</div>
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<blockquote>I bought my first [[Pierre Boulez|Boulez]] album when I was in the twelfth grade: a Columbia recording of "Le
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Marteau Sans Maître" (The Hammer Without a Master) conducted by Robert Craft, with "Zeitmasse" (Time-mass) by [[Karlheinz Stockhausen|Stockhausen]] on the other side.</blockquote><div align=right>[[The Real Frank Zappa Book]]</div>
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<blockquote>[[Karlheinz Stockhausen|Stockhausen]] isn't really an influence. That is, I have some of his records but I don't play them much. [[John Cage|Cage]] is a big influence. We've done a thing with voices, with talking, that is very like one of his pieces, except that of course in our piece the guys are talking about working in an airplane factory, or their cars.</blockquote>
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<div align=right>FZ in Village Voice, in Sally Kempton - [[Zappa and the Mothers: Ugly Can Be Beautiful]] (1968)</div>
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<blockquote>I'm still quite fond of [[Pierre Boulez|Boulez]]'s music, but not so much so of [[Karlheinz Stockhausen|Stockhausen]]'s stuff. I like other things in contemporary music, too, particularly [[wikipedia:Tōru Takemitsu|Takemitsu]]. He's one of my favorites.</blockquote>
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<div align=right>Modern Music Is a Sick Puppy - A Conversation with Frank Zappa
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by Steve Birchall - Digital Audio, October/November 1984</div>
  
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[[Luciano Berio]], [[Pierre Boulez]], [[Karel Goeyvaerts]], [[Mauricio Kagel]], [[György Ligeti]], [[Luigi Nono]], and [[Karlheinz Stockhausen]] belong to that handful of composers that provoked a landslide in the music of the ‘50s and ‘60s of the past century, that has remained unparalleled up to now.
 
  
 
[[Category:Supporting Cast|Stockhausen, Karlheinz]]
 
[[Category:Supporting Cast|Stockhausen, Karlheinz]]

Revision as of 02:08, 19 April 2006

Karlheinz Stockhausen (born in Mödrath, Germany in 1928)

German avant-garde composers of the mid-20th century. He has written orchestral, choral, and instrumental works, including some which combine electronic and normal sonorities, such as Kontakte (1960), and parts of a huge operatic cycle, "Licht" ("Light").

He studied at Cologne and Bonn, joined the musique concrète group in Paris, and experimented with compositions based on electronic sounds. In 1953 Stockhausen helped found Cologne's important Electronic Music Studio, and became director in 1963. His works include the wind quintet Time Measure (1956), Gruppen (1955-1957), written for three orchestras; Zyklus (1961), for solo percussionist; the multimedia work Beethausen von Stockhoven (1970); and the chamber works Ylem (1973) and Tierkreis (1977). Youthsong (1956) projects a singing boy's voice, mingled with electronic sounds, through five spatially separated loudspeakers. In 1971 he was appointed professor of composition at the Hochschule für Musik in Cologne.


Stockhausen was a contemporary of Luciano Berio, Pierre Boulez, Karel Goeyvaerts, Mauricio Kagel, György Ligeti and Luigi Nono.

Stockhausen is included in the list of names on the cover of Freak Out! (1966)

There's a record by Karlheinz Stockhausen on the Deutsche Gramophon label called "Gesang der Jünglinge", it's the "Song Of The Youths"; "Kontakte" ("Contact") is on the other side. Buy that (DGG 138811).

My Favorite Records"by Frank Zappa in Hit Parader magazine (1967)

I bought my first Boulez album when I was in the twelfth grade: a Columbia recording of "Le Marteau Sans Maître" (The Hammer Without a Master) conducted by Robert Craft, with "Zeitmasse" (Time-mass) by Stockhausen on the other side.

The Real Frank Zappa Book


Stockhausen isn't really an influence. That is, I have some of his records but I don't play them much. Cage is a big influence. We've done a thing with voices, with talking, that is very like one of his pieces, except that of course in our piece the guys are talking about working in an airplane factory, or their cars.

FZ in Village Voice, in Sally Kempton - Zappa and the Mothers: Ugly Can Be Beautiful (1968)


I'm still quite fond of Boulez's music, but not so much so of Stockhausen's stuff. I like other things in contemporary music, too, particularly Takemitsu. He's one of my favorites.

Modern Music Is a Sick Puppy - A Conversation with Frank Zappa by Steve Birchall - Digital Audio, October/November 1984
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