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MIIKA VAINIO

XX-XXI

Stockhausen

Karlheinz Stockhausen

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STIMMUNG by Karlheinz Stockhausen performed live @ OPENING Festival 2014


STIMMUNG by Karlheinz Stockhausen

http://fancymusic.ru/vladimir-martynov-opus-prenatum/

Владимир Мартынов: "Взаимоотношения сознания с окружающей действительностью, складывающиеся внутри зоны opus prenatum, составляют полную противоположность подобным взаимоотношениям, складывающимся внутри зоны opus posthumum. Если внутри зоны opus posthumum сознание воспринимает еще существующую окружающую действительность как уже не существующую, то внутри зоны opus prenatum уже не существующая окружающая действительность воспринимается сознанием как еще не родившаяся, но явно обозначившая свое рождение новая действительность. Это и есть выход, это и есть то пространство, в котором проступает возможность начала — начала некоего непредставимого нового. Вот почему нельзя говорить о конце самом по себе. Сама мысль о конце практически немыслима и абсурдна вне мысли о начале. Конец и начало представляют собой нерасторжимое диалектическое и алхимическое единство, в котором одно постоянно перетекает в другое и наоборот. И правда: где кончается конец и начинается начало? Где пролегает граница, отделяющая конец от начала? При ближайшем рассмотрении говорить о такой границе становится крайне проблематично. Скорее всего, говорить здесь можно о двух буферных зонах, в пространстве которых конец и начало взаимопроникают друг в друга, и этими буферными зонами являются зона opus posthumum и зона opus prenatum, связанные друг с другом неким алхимическим взаимодействием. Но, с другой стороны, в этом алхимическом взаимодействии, в этом непрерывном перерождении одного в другое вполне возможно возникновение неких критических точек, указав на которые мы можем сказать: «Это конец» — или: «Это начало», — и наличие этих точек крайне полезно и даже крайне спасительно для нас, ибо, не будь их, мы, наверное, думали бы, что на свете вообще ничего не происходит и уж наверняка никогда не догадались бы о существовании алхимического потока перерождений, замедленное течение которого воспринять нашим сознанием так же трудно, как трудно уловить вниманием перемещение часовой стрелки. В нашей жизни эти точки выполняют роль сигналов, посылаемых нам для того, чтобы мы постоянно помнили о конце, о начале и об их неразрывной связи. Одним из таких сигналов, безусловно, явилась недавняя шумиха, связанная с календарем древних майя, и хотя для большинства эта шумиха так и осталась всего лишь шумихой, я отношусь к ней тем более серьезно, чем более несостоятельной она оказалась на поверку. Во всяком случае я точно знаю, что в моей жизни дата 21 декабря 2012 года знаменует окончание времени зоны opus posthumum и начало времени зоны opus prenatum."

Vladimir Martynov - Opus Prenatum

Etude For Piano  No. 5,  composed by Philip Glass in 1994.

Live video: http://youtu.be/2ebI17EIAx0

The instrument is a Clavia Nord Stage 2, using a sampled Bösendorfer upright piano, with some delay and reverb.

Video

Philip Glass - Etude For Piano No. 5

Milana Zarić, harp and voice
Gorana Ćurgus, harp and voice
Richard Barrett, sound mixing and recording production

recorded live at Belgrade Philharmonic Hall, 22nd April 2015

K. Stockhausen 'Freude' for two harps and voices

Computerstück IX (Karlheinz Stockhausen)



In early 2015, Italian electronic producer Fabrizio Mammarella aka Telespazio released an excellent debut full length on Hell Yeah, and now the label offers up four tracks from it remixed by modern greats Kito Jempere, Wolf Muller, Harvey Sutherland and Tempelhof.

In original form the album was a truly unique and idiosyncratic journey into a freaky sound world. Now it has new moods and groves layer into it and becomes just as exciting a proposition as a result.

Up first, Russian Kito Jempere, who has previously released on labels like Freerange, serves up a mid tempo, cosmic work out of ‘Glide Shot’ with smeared synths and loosely jumbled percussion. It’s a perfect early evening track before notoriously weird and eccentric producer jan Schulte aka Wolf Muller, who has released great disco oddities on Themes For Great Cities, then goes slow with his take on ‘Barrier’. Slowly percolating percussion, whistling synths, sci-fi melodies and more all make this a proper freaky curveball.

Echovolt man and melodic deep house craftsmen Harvey Sutherland then layers up globular arps with skyward pads and thin, sheet metal hits to craft something that is propulsive yet beautiful. It’s a patient, spacious remix full of summer soul that really makes you feel good.

Lastly, Tempelhof, who have themselves released excellent ambient works on this label before now, turn ‘Nuvolari’ into a a blissful bit of cosmic and atmospheric chug disco. It will have your head reeling back and your eyes scanning the night sky at the same time as making you dance, and closes out another fantastic package from Hell Yeah.


Barrier

Telespazio - Barrier (Wolf Muller Remix)

Gang Gang Dance - Egowar

Karlheinz Stockhausen
PLUS-MINUS
Ives Ensemble

From the sleeve:
"Perhaps more than any other composer of his generation, Stockhausen realised that serialism had an expressive potential which went far beyond the method of twelve-tone composition devised by Schoenberg. In these three key works from the 1950s and early 1960s he found ways of using the serial principle to govern not just pitch, but every aspect of sound-types and their distribution in time and space, culminating in Plus-Minus, a score which specified not sounds but rather a system of organising sounds." Christopher Fox 

KARLHEINZ STOCKHAUSEN (1928-2007)
PLUS-MINUS

1. Refrain No. 11 (1959) 09:53
2. Kreuzspiel No. 1/7 (1951) 11:43
3. Plus-Minus* No. 14 (1963) 51:02
Total time 72:41

First recording* by Ives Ensemble:
Rik Andriessen - flute (3), Esther Probst - Oboe (2, 3), Hans Petra - bass clarinet (2, 3), Jan Willem van der Ham - bassoon (3), Fons Verspaandonk - horn (3), Jan Bastiani - trombone (3), John Snijders - piano (1, 2, 3), Reinier van Houdt - piano/celesta (1, 3), Arnold Marinissen - percussion (1, 2, 3), Wilbert Grootenboer - percussion (2, 3), Fedor Teunisse - percussion 2), Josje ter Haar - violin (3), Ruben Sanderse - viola (3), Job ter Haar - cello (3), Diederik Meijnckens - double bass (3), Richard Rijnvos - conductor (3).

Recorded in Theater Romein, Leeuwarden (Netherlands) 29th June - 2nd July 2002; Sound engineers: Sem de Jongh &amp; Arjan van Asselt; Editing: Sem de Jongh; Recording supervisors: Richard Rijnvos &amp; Christopher Fox; CD-master by Peter Pfister; Liner notes by Christopher Fox; Graphic concept by fuhrer vienna; Produced by Ives Ensemble &amp; Werner X. Uehlinger.

With kind support the Willy A. and Hedwig Bachofen-Henn Foundation.

http://www.ives-ensemble.nl
http://hathut.com



Karlheinz Stockhausen / 1. Refrain No.11 (1959)

Karlheinz Stockhausen
PLUS-MINUS
Ives Ensemble

From the sleeve:
"Perhaps more than any other composer of his generation, Stockhausen realised that serialism had an expressive potential which went far beyond the method of twelve-tone composition devised by Schoenberg. In these three key works from the 1950s and early 1960s he found ways of using the serial principle to govern not just pitch, but every aspect of sound-types and their distribution in time and space, culminating in Plus-Minus, a score which specified not sounds but rather a system of organising sounds." Christopher Fox 

KARLHEINZ STOCKHAUSEN (1928-2007)
PLUS-MINUS

1. Refrain No. 11 (1959) 09:53
2. Kreuzspiel No. 1/7 (1951) 11:43
3. Plus-Minus* No. 14 (1963) 51:02
Total time 72:41

First recording* by Ives Ensemble:
Rik Andriessen - flute (3), Esther Probst - Oboe (2, 3), Hans Petra - bass clarinet (2, 3), Jan Willem van der Ham - bassoon (3), Fons Verspaandonk - horn (3), Jan Bastiani - trombone (3), John Snijders - piano (1, 2, 3), Reinier van Houdt - piano/celesta (1, 3), Arnold Marinissen - percussion (1, 2, 3), Wilbert Grootenboer - percussion (2, 3), Fedor Teunisse - percussion 2), Josje ter Haar - violin (3), Ruben Sanderse - viola (3), Job ter Haar - cello (3), Diederik Meijnckens - double bass (3), Richard Rijnvos - conductor (3).

Recorded in Theater Romein, Leeuwarden (Netherlands) 29th June - 2nd July 2002; Sound engineers: Sem de Jongh &amp; Arjan van Asselt; Editing: Sem de Jongh; Recording supervisors: Richard Rijnvos &amp; Christopher Fox; CD-master by Peter Pfister; Liner notes by Christopher Fox; Graphic concept by fuhrer vienna; Produced by Ives Ensemble &amp; Werner X. Uehlinger.

With kind support the Willy A. and Hedwig Bachofen-Henn Foundation.

http://www.ives-ensemble.nl
http://hathut.com


Karlheinz Stockhausen / 2. Kreuzspiel No.1/7 (1951)

Karlheinz Stockhausen
PLUS-MINUS
Ives Ensemble

From the sleeve:
"Perhaps more than any other composer of his generation, Stockhausen realised that serialism had an expressive potential which went far beyond the method of twelve-tone composition devised by Schoenberg. In these three key works from the 1950s and early 1960s he found ways of using the serial principle to govern not just pitch, but every aspect of sound-types and their distribution in time and space, culminating in Plus-Minus, a score which specified not sounds but rather a system of organising sounds." Christopher Fox 

KARLHEIN STOCKHAUSEN (1928-2007)
PLUS-MINUS

1. Refrain No. 11 (1959) 09:53
2. Kreuzspiel No. 1/7 (1951) 11:43
3. Plus-Minus* No. 14 (1963) 51:02
Total time 72:41

First recording* by Ives Ensemble:
Rik Andriessen - flute (3), Esther Probst - Oboe (2, 3), Hans Petra - bass clarinet (2, 3), Jan Willem van der Ham - bassoon (3), Fons Verspaandonk - horn (3), Jan Bastiani - trombone (3), John Snijders - piano (1, 2, 3), Reinier van Houdt - piano/celesta (1, 3), Arnold Marinissen - percussion (1, 2, 3), Wilbert Grootenboer - percussion (2, 3), Fedor Teunisse - percussion 2), Josje ter Haar - violin (3), Ruben Sanderse - viola (3), Job ter Haar - cello (3), Diederik Meijnckens - double bass (3), Richard Rijnvos - conductor (3).

Recorded in Theater Romein, Leeuwarden (Netherlands) 29th June - 2nd July 2002; Sound engineers: Sem de Jongh &amp; Arjan van Asselt; Editing: Sem de Jongh; Recording supervisors: Richard Rijnvos &amp; Christopher Fox; CD-master by Peter Pfister; Liner notes by Christopher Fox; Graphic concept by fuhrer vienna; Produced by Ives Ensemble &amp; Werner X. Uehlinger.

With kind support the Willy A. and Hedwig Bachofen-Henn Foundation.
http://www.ives-ensemble.nl
http://hathut.com

Karlheinz Stockhausen / 3. Plus-Minus No.14 (1963)

Remix of

http://www.karlheinzstockhausen.org/hymnen_german.htm

>>Hymnen (elektronische und konkrete Musik) ist eine Komposition von Karlheinz Stockhausen, die von 1966 bis 1967 realisiert und 1969 nochmals modifiziert wurde. In Stockhausen-Werkverzeichnis trägt sie die Nummer 22. Das Werk ist von einem weltmusikalischen Charakter geprägt, indem ca. 40 Nationalhymnen als Klangobjekte Verwendung finden, die als Grundlage für elektronische Modulation und Transformation dienen und somit zu einer Einheit verknüpft werden.<<

https://de.wikipedia.org/wiki/Hymnen_%28Stockhausen%29

Karlheinz Stockhausen - Hymnen (DWS (k)aether Remix)

Collaboration with http://soundcloud.com/sorrowgarage

Join me on Patreon! www.patreon.com/owsey

Download full EP: https://owsey.bandcamp.com/album/sweetheart-of-kairi-ep

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iTunes: https://itunes.apple.com/gb/album/album-selected-songs/id1152845304
Download: https://owsey.bandcamp.com/

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Spotify

Sorrow & Owsey - Approaching Farewell

Remix of the GGD song "Chinese High" by the amazing amazing LA duo Nguzunguzu

Nguzunguzu x Gang Gang Dance "Chinese High" Remix

Sax 01 with Branford Marsalis

Sax 02 with Branford Marsalis

All The Right Noises

The Mighty Suns

Fantasy

Believers

Dead Idols

Karl-Heinz Stockhausen - Hymnen (1966/67)

KARLHEINZ STOCKHAUSEN (1928-2007) 
KONTAKTE (1958-1960)
for piano, percussion & tape 35 minutes

L’INSTANT DONNÉ 
Caroline Cren, piano 
Maxime Echardour, percussion

MOTUS
Vincent Laubeuf, sound projection
Olivier Lamarche, sound engineering



Stockhausen | Kontakte | live at La Marbrerie (Montreuil) June 2012

for 6 players, TamTam and Live-Electronics

Karlheinz Stockhausen - Mikrophonie 1 (1964) - Tutti157 Auschnitt

Leonard Cohen & Philip Glass - The Book of Longing

a 1951 piece composed by Karlheinz Stockhausen.
http://en.wikipedia.org/wiki/Karlheinz_Stockhausen
tracked in spring 2010.
All Rights Reserved by... Not Sure.

Conductor: David Medine
David Medine, conductor , oboe , clarinet , piano , percussion
Instruments: Meghann Welsh (Oboe), Dustin Donahue, Brian Archinal, Bonnie Whiting-Smith (Percussions), Kate Lukacs (Piano), and Ariana Lamon-Anderson (Bass Clarinet) 
Sound Engineer: Joey Ma (Recording, Mixing, Mastering)

Karlheinz Stockhausen - Kreuzspiel

sin(thesis) 

sin(thesis) is a MP|vH+ project which came to life with the passion of technical and detailed deconstruction of highly formalized music. 

Computers are the integral part of sin(thesis) music, and with this project we try to understand and explore the possibility of having a solid repertoire for computer as a musical instrument.