Wonderful reading of this early indeterminate classic. It always sounds different due to the way it was composed. 19 short fragments which can be played in any order. After each fragment there are indications of how to play the next chosen fragment; tempo, touch, and dynamics. When any given fragment has been played three times the work comes to a close. I can see that Mr. Aimard made his own sheet music from the score, so he chose the fragments he'd play in advance, and practiced it in that way. A way to interpret the score that is just as valid as choosing fragments on the spur of the moment. Probably a better way to do it, since the selection and ordering of the fragments can be rehearsed ahead of time.
I think Aimard employed the same approach to Boulez' similarly indeterminate Third Piano Sonata, creating his versions beforehand and with the composer's approval. Going about it this way in no way reduces their impact, for both works are actually extremely organized internally, their "spontaneous" aspect being somewhat utopic. The score for Ks. XI being a kind of large poster board which brings its own specialized stand and which you need to look at "randomly" in order to get your next fragment, it seems a rather unwieldly and awkward performance aid. Nowadays you could probably do a better job with a tablet.
I am not sure, when I am listening to the music of S. (something that I have started not a long time ago) if he wrote this "music" just to laugh at all the people who sit in the concert hall with deadly serious face pretending to understand something that was never meant to be serious or music or anything at all. I understand that serialism and some other ideas shaped this music, but to me Stockhausen's music has no musical value at all. But I am working on it :)
@@TempodiPiano no. Snobism is to repeat that it means something when it does not, and pretend that you enjoy this nonsense. A random series of sounds has no meaning and you cannot understand. Maybe this is not the right word, my native language is not English. Let's reformulate this: this is trolling at its best. I think Stockhausen trolled his listeners before this word was invented. But the act itself do existed. Stockhausen was a composer, and he knew how to write music, but he used his knowledge and creativity to make fun of people (maybe not all the time, but still). Don't tell me that this is unfathomable. This is a well known thing in art: make fun of snob people.
The first four sound pretty much alike; they were probably planned that way. After that, they get more different from each other: 5, 7, 8, 9 and 10 are quite distinctive (7 has extreme silences, 8 is an angry scherzo, 9 has a repeated chord that slowly disentangles itself into other material, 10 is an epic battle of chaos at the beginning vs. order later on, finally ending in silence). 12, 13, and 14 are much more tonal and form a set with "sound effects" by the pianist (comical in 12, nightmarish in 13, lighter memories in 14). After that, I've only heard 16 once, and it has electronic voices with the piano, so even if the music were the same, it sounds different from the others.
I must confess that some of Stockhausen's music makes me wonder whether he was actually just having us all on or not, but this piece is making me more of a true believer. It is really fantastic. Plus, that was an amazing bit of pianism from Monsieur Aimard (as one would expect from such a brilliant pianist).
An acquired taste for sure. Guarantee that at least 95% of the audience has no idea what they just heard, but have to applaud it because it's what you do at one of these things.
I assume many would’ve known the kind of music featured in the concert before purchasing tickets, besides anyone going to an Aimard concert knows he specialises in modern music so the applause would’ve been genuine!
C'est comme faire de la vie un jeu. Justement à la mannière de Derrida... Philosophie de vie; philosophie de mort, enfin. Les règles sont calculé avec finesse pour devenir simplement l'écran oppressif du théâtre.
Ce qu'il y a de bien avec ce genre de musique, c'est que quand tu fais une fausse note, ça ne s'entend pas. ...Oui, je sais, je manque de culture, d'ouverture d'esprit voire d'intelligence pour comprendre la démarche.
Two aleatory dream-sequence prose-poems, composed from 19 fragments, occur in the book "Fronds" by Steven E. Scribner. Both were inspired by this piece and its manner of open-ended composition. (first version) A red mountain reclining in setting sunglow. Is this where to find ngol-long-grald-weng? No. A high desert suspended in speckled dreams. Is this where to find ngol-long-grald-weng? No. A train like a filament of color, flowing streamlike on tracks of iron. Is this where to find ngol-long-grald-weng? No. A yellow moon creeping though the sky like a stalking tiger. Is this where to find ngol-long-grald-weng? No. A ruined castle, now thin-walled, sleeping and dreaming of its history of centuries. Is this where to find ngol-long-grald-weng? No. A still sea, devoid of waves, retreating as the tide slowly wanes. Is this where to find ngol-long-grald-weng? No. A green river, drawing close and falling away. Is this where to find ngol-long-grald-weng? No. A raindrop folded by the wind, flowering into a splash as it impacts upon a rock. Is this where to find ngol-long-grald-weng? No. A city thick with brick and concrete, undulating in the mid-day heat. Is this where to find ngol-long-grald-weng? No. A cloud, short and cottony next to lofty thunderheads. Is this where to find ngol-long-grald-weng? No. A purple sun, singing out over a planet of imagination. Is this where to find ngol-long-grald-weng? No. A lake, its waters unfolding from stilling waves, clanging with the cries of herons. Is this where to find ngol-long-grald-weng? No. A wind, orange with sunrise, growing into many flurries of storm. Is this where to find ngol-long-grald-weng? No. A singing field, its voice that of wheat in the winds, dancing in waves across a valley. Is this where to find ngol-long-grald-weng? No. A blue tuft of grass, its color from dusk, reciting the words of silence. Is this where to find ngol-long-grald-weng? No. An ancient monastery, its bells a reverberating voice of peace. Is this where to find ngol-long-grald-weng? No. A silent pine, pollen washing over the air. Is this where to find ngol-long-grald-weng? No. A long opera reverberating its tones and tales. Is this where to find ngol-long-grald-weng? No. A bush, clinging on the edge of a rock-strewn mountain, breaking apart in clamorous wind and falling into abyss. Is this where to find ngol-long-grald-weng? No. (second version) A red river, its sunlit waters spinning through gullies. Calm. Slow rise to wakeworld. Also at sunset: orange rain streaming from a red-pink sky. Flowers close for the night. Calm. Slow rise to wakeworld. A field thick with grain, its windsound reverberating through a valley. Calm. Slow rise to wakeworld. A singing moon reclining on the horizon. Kim says, “Listen to the moonsong.” The stars answer with a refrain. Calm. Slow rise to wakeworld. A still pine, retreating into darkness as the light fails. Calm. Slow rise to wakeworld. A green mountain, a dream-castle suspended above mists. Calm. Slow rise to wakeworld. A blue sea, echoing and ending arguments about its nature: it is a sea, it is always a sea, it always has the shimmering of waves, the cries of shorebirds, the tang of salt, and an unseen world in its deep. Calm. Slow rise to wakeworld. A thin line of a train, sleeping in a station, fantasizing of its journey tomorrow. Calm. Slow rise to wakeworld. A little breeze, silent but singing in my mind. It is Kim’s voice. Calm. Slow rise to wakeworld. A bush with long arms, their flapping in the wind is recitations in an ancient language. Friends have gathered: there’s Kim, and Kevin, and Sil, and Tony, and Hiromi, and Howard. Amiable chatting about movies and flowers. Calm. Slow rise to wakeworld. A lake of purple water, saying nothing as it enlarges from a spring. Boats cluster on its mirror surface, gazing at themselves, unfazed by the lake’s color. Four crescent suns swim in the depth. Calm. Slow rise to wakeworld. A low to the ground castle, its ruined walls flowering with red and blue blooms. Calm. Slow rise to wakeworld. Now sunrise, unfolding and undulating in the shimmering orange light. Calm. Slow rise to wakeworld. A tuft of grass: it should be silent but it clamors and clangs with crickets. And laughter. Friends are here too and they brought tacos and ice cream for a picnic. Calm. Slow rise to wakeworld. A short book of poetry, its words flowing into my consciousness. Calm. Slow rise to wakeworld. Filamentous streets, growing a city and culminating over land. Cars pass by in lines, their drivers seeking a way away from the streets. Calm? Calm. The drivers will remake their city. Slow rise to wakeworld. A cloud, yellow in the sparkling light, washing over the air: ocean upon the sky. “Isn’t it beautiful?” asks Kim, embracing me. Calm. Slow rise to wakeworld. A hermitage, high on a mountain, hidden by ages. Calm. Slow rise to wakeworld. A desert of folded dunes, creeping closer as the cultivated fields dry. The sky has filled with green and yellow spheres, drifting on the wind. They are curious about the desert; they smell of cinnamon and they carry no threat. Calm. Slow rise to wakeworld.
What's with the skewed video? This is too much videographer and not enough composer...very poor camera work..very poor...this should be shot as a typical sonata..very very poor camera and editing..terrible.
Stockhausen hat gerne gelacht, aber er hat auch sein Experimentieren sehr ernst genommen. Und viele seiner Werke sind als Experimente zu würdigen, indem sie etwas Neues ausprobieren. Das ist etwas anderes als ein Komponist, der hundertmal das gleiche Stück schreibt, das dann auch noch aus Versatzstücken anderer Künstler besteht.
La musique est de l'eau qui remplit un vase en mal d'amour, sauf ces Klavierstucke. Incarnation de l'état d'âme de l'homme moderne devant sa condition, confronté à son propre rien, cherchant sans espoir à contourner les déserts relationnels. Une manière de contre-musique.
Fast schon erschütternd, dass sich ein so kompetenter Musiker wie Aimard von so einer Scharlatanerie blenden lässt, er versucht ja erkennbar, dem ganzen einen musikalischen Sinn abzugewinnen, aber da ist eben keiner. Musik ohne Struktur ist keine, Stockhausen ist ein Nutznießer der Rückgratlosigkeit der deutschen Musikkritik, in der nicht ein einziger Vertreter mal den Mumm hat aufzustehen und zu sagen: der Kaiser ist nackt. Soll mir niemand erzählen dass das jemand gern aufführt oder gar anhört. Bei Bedarf liefere ich weitere Meisterwerke dieser Art gegen geringes Entgelt (100 €/Seite) frei Haus.
Lassen Sie uns gern Zeuge eines Ihrer Meisterwerke werden! Kommen Sie schon, wenigstens eine Kostprobe! Ich kann es kaum abwarten, in den Bann Ihrer musikalischen Genialität gezogen zu werden. Da Sie Stockhausens Klavierliteratur schon so fabulös einordnen können, liegen Ihre kompositorischen Fähigkeiten zweifelsohne auf der Hand. Ich warte.
Hey, Musikstücke der seriellen Musik sind bis ins kleinste Detail durchgeplant und es herrscht eine strikte Ordnung. Ich verstehe nicht, wie Sie diese Musik als "Musik ohne Struktur" betiteln können? Ob Ihnen das Stück gefällt, ist eine andere Sache. Diese Musik hat aber sehr wohl Struktur und zwar mehr als Stücke anderer Musikstile....
@@user-dm8nb7zg3k Das mag ja sein, dass diese Musik eine Struktur hat, es ist nur keine musikalische sondern eine von außen an die Musik herangetragene. Auch 12-Ton-Musik hat eine Struktur, sogar eine sehr strenge, trotzdem sind die Ergebnisse furchtbar. Ich habe mir die Wikipedia-Artikel zu dieser Musik angetan und war "beeindruckt" vom analytischen Aufwand, der diesen Werken zuteil wurde, verständlicher als Musik sind sie mir trotzdem nicht geworden. Ich bin übrigens dort auf der Kommentarseite persönlich übel angegangen worden, offensichtlich sind die Anhänger dieser Musik nicht die tolerantesten obwohl doch gerade die Stockhausen-Fans einigen Grund hätten, auf die Toleranz ihrer Mitmenschen zu bauen. Auch Herr Zabulus etwas weiter oben pflegt diesen Stil (seine Zahlung ist bei mir übrigens noch nicht eingegangen).
@@Klimperenie Lassen Sie sich so schnell von musikalischer Komplexität einschüchtern? Meckern Sie auch über die angeblich fehlende Struktur, wenn Sie ein Aquarell Kandinskys betrachten? Erweitern Sie Ihren Horizont. Sich derartig plump über Zwölftonmusik und die Diskussionskultur einiger Wikipedianer zu echauffieren lässt Sie jedenfalls noch lächerlicher dastehen als sowieso schon mit Ihrer kläglich gescheiterten Kritik Stockhausens. Apropos Zahlung: Bei mir ist bedauerlicherweise auch noch kein „Meisterwerk“ eingegangen. Sie hatten genug Zeit. Ich erwarte mindestens ein Werk, dessen Umfang mit Sorabjis „Opus clavicembalisticum“ vergleichbar ist.
Wow then also my 4 years old brother can compose piano pieces 🙃 it’s sad to see piano music comes to this level of silliness , Bach , Beethoven , Rachmaninov , Chopin etc will be very pissed from this nonsense, there is no feelings in this kind of music nothing but random notes and complete nonsense
Eh, les gars, j'ai tenu jusqu'au bout ! Ça c'est ma part de masochisme. Des fois, je m'inflige ce genre de supplice, histoire de voir jusqu'où je peux tenir. Même qu'à la fin, j'ai failli applaudir, trop content que ça s'arrête. D'ailleurs, je me demande si le tonnerre d'applaudissements à la fin de cette exécution - malheureusement pas capitale - n'a pas pour origine le même contentement que le mien. A part peut être pour quelques élitistes casseurs de codes qui ont pour raison d'être là différence qu'ils veulent valoriser envers les êtres archaïques que sont les amateurs de musique basée sur l'émotion et la beauté mélodique. Enfin voilà, maintenant, je m'en vais aller faire la même chose dans mes toilettes.
@@PrAndonuts - Cher Professeur, je ne conteste pas le talent de Mr Stock ni sa notoriété si son passage à la postérité mais si j'avais un peu de talent à consacrer à mes semblables, je ferais tout pour ne pas leur infliger ce genre d'épreuve. C'est juste pour dire que je ne ressens rien à l'écoute de ces choses à part le fait que ça me fait rigoler et c'est peut-être déjà pas mal. Laisser son nom dans l'histoire, est-ce bien important ? Voyez les frères Kouachi...pas mal pour un passage à la postérité.
Why would anyone waste their time writing this nonsense and why would anyone spend time and money to hear it? I'd be ashamed to attach my name to something this pointless.
Maestro T, "I pity the fool who doesn't like this music." -- Mr. T OK, I apologize for taking advantage of your screen name to make a silly joke. You're not a fool, and I don't pity you. But ... Some people like this music, some people don't. That is ALL that can legitimately be said. You have expressed your OPINION , and other people have expressed their OPINION. De gustibus non est disputandum.
@@rfyl Music is really much more than opinion. My strong dislike for this kind of music (and similar "avant-garde" stuff in other arts) is because it's like someone creating their own language--it's all a bunch of gibberish and it only "makes sense" within the context of the other crap the same composer has done, by and large. There are objective measures as to why Bach was a greater composer than, say, Albinoni or why Mozart was greater than von Dittersdorf, but this cabal of 20th century goofballs, among whom Stockhausen counts as but one, are supposed to be "great" by measures which I find to be extremely questionable. Can one "like" it? Sure, I guess. Some people eat worms too and like it.
FWIW, here are the composers whose music I think is the pinnacle of perfection and beauty: Machaut, Dufay, Monteverdi, Bach, Mozart, Beethoven, Debussy, Stravinsky, Schoenberg, and Stockhausen (up to a certain point in his career). And here are some I love almost as much: Gesualdo, Bartok, Takemitsu. Plus some Brahms, some Ravel, and some Ives. I never get tired of listening to their music (or to playing it on the piano, those works which are simple enough for my limited technique). I also love (and have performed) Balinese music. So, for me, that is the company which Stockhausen keeps. I think that Kontakte is one of the great classics of all music, with Gruppen and Carré and some others of his from that period coming close. His language was not private. It was shared by many of his contemporaries, and it even influenced Stravinsky. I have extremely strong opinions about music ... but I couldn't care less whether anyone agrees with me -- it's not a moral issue. And nowadays so many things actually are!
@@orb3796 Those people were wrong. But we're not. If only there were a way to make a bet and come back in two hundred years and find out who was right. We'd be very rich.
Die Noten von so Stücken können teilweise nichtmal Profi Pianisten spielen. Ich bezweifele, dass ihr Patenkind das dann einfach so konnte… Was ich damit eigentlich sagen möchte: es gibt einen unterschied zwischen willkürlichem rumgeklimper eines Kindes und dem spielen von zB Stockhausens Stücken. Wenn sie darüber so urteilen, gehen sie ja davon aus, dass sie ein Intelligenter Mensch sind und alles was ihre Intelligenz nicht vom Spiel eines Kindes unterscheiden kann, ist selber nicht intelligent. Das Urteil über eine Sache benötigt auch das tatsächliche Verständnis der Sache.
iCh FiNde, cette dia tErbawa dEngan EksprEsi wajahnya alEatorisch over the tooth MOUNntains!!!,--:plöööööörkismisticly hän pomppii Kla4:n päällä aber it 恼人的.
Wonderful reading of this early indeterminate classic. It always sounds different due to the way it was composed. 19 short fragments which can be played in any order. After each fragment there are indications of how to play the next chosen fragment; tempo, touch, and dynamics. When any given fragment has been played three times the work comes to a close. I can see that Mr. Aimard made his own sheet music from the score, so he chose the fragments he'd play in advance, and practiced it in that way. A way to interpret the score that is just as valid as choosing fragments on the spur of the moment. Probably a better way to do it, since the selection and ordering of the fragments can be rehearsed ahead of time.
I think Aimard employed the same approach to Boulez' similarly indeterminate Third Piano Sonata, creating his versions beforehand and with the composer's approval. Going about it this way in no way reduces their impact, for both works are actually extremely organized internally, their "spontaneous" aspect being somewhat utopic. The score for Ks. XI being a kind of large poster board which brings its own specialized stand and which you need to look at "randomly" in order to get your next fragment, it seems a rather unwieldly and awkward performance aid. Nowadays you could probably do a better job with a tablet.
Demetris technically, he could choose them at random before the concert and then keep the order 😉
So wonderful ! I love Stockhausen's music and PL Aimard plays so fine, thanks a lot for share !!!
I keep finding myself drawn back to this series of pieces--and Aimard is an amazing interpreter.
Precise and highly intelligent rendition of this challenging masterpiece. Simply awesome!
everyone here is like an intellectual while im here listening for online school and i don't even understand this. im sorry
Same XD
Actually they're all somehow REALLY REALLY into serialism (the style of music Stockhausen composed).
XD.
I am not sure, when I am listening to the music of S. (something that I have started not a long time ago) if he wrote this "music" just to laugh at all the people who sit in the concert hall with deadly serious face pretending to understand something that was never meant to be serious or music or anything at all. I understand that serialism and some other ideas shaped this music, but to me Stockhausen's music has no musical value at all. But I am working on it :)
@@jutaipeter Understand? Understand what? Music doesn't mean anything. Snobism is to repeat "it does not mean anything".
@@TempodiPiano no. Snobism is to repeat that it means something when it does not, and pretend that you enjoy this nonsense. A random series of sounds has no meaning and you cannot understand. Maybe this is not the right word, my native language is not English. Let's reformulate this: this is trolling at its best. I think Stockhausen trolled his listeners before this word was invented. But the act itself do existed. Stockhausen was a composer, and he knew how to write music, but he used his knowledge and creativity to make fun of people (maybe not all the time, but still). Don't tell me that this is unfathomable. This is a well known thing in art: make fun of snob people.
Which Stockhausen piano piece is this? they all sound the same.
The first four sound pretty much alike; they were probably planned that way. After that, they get more different from each other: 5, 7, 8, 9 and 10 are quite distinctive (7 has extreme silences, 8 is an angry scherzo, 9 has a repeated chord that slowly disentangles itself into other material, 10 is an epic battle of chaos at the beginning vs. order later on, finally ending in silence). 12, 13, and 14 are much more tonal and form a set with "sound effects" by the pianist (comical in 12, nightmarish in 13, lighter memories in 14). After that, I've only heard 16 once, and it has electronic voices with the piano, so even if the music were the same, it sounds different from the others.
I must confess that some of Stockhausen's music makes me wonder whether he was actually just having us all on or not, but this piece is making me more of a true believer. It is really fantastic. Plus, that was an amazing bit of pianism from Monsieur Aimard (as one would expect from such a brilliant pianist).
Right off the top, the piece is playing him, not him playing it. This helps me believe in it.
The Klavierstuck series features some of Stockhausen's finest, most enduring music, as well as being full of beauty and surprise.
I agree.
Präzise und hoch intelligente Leistung dieses anspruchsvollen Meisterstücks. Einfach genial!
Around the six minute mark it sound's like the music that plays in Legend of Zelda: Breath of the Wild when you begin getting targeted by a Guardian.
Wish I could hear him play the XII
An acquired taste for sure. Guarantee that at least 95% of the audience has no idea what they just heard, but have to applaud it because it's what you do at one of these things.
It's more like at a rock concert, people have no idea what they're listening to because they're so busy staging themselves and flirting with others.
I assume many would’ve known the kind of music featured in the concert before purchasing tickets, besides anyone going to an Aimard concert knows he specialises in modern music so the applause would’ve been genuine!
so good...
Still here
0:30 is the beginning of this masterpiece
Magnifique jeu pianistique! avec une sens des couleurs et un touché inégalable! la musique ne nous agresse jamais!
David Bernard.
La musique, non. Mais là, si !
Désolé.
Effectivement, elle nous endort.
When my cat walks on my piano, it sounds exactly like that
Nonsens. Das gute an "Musik" wie dieser ist die Tatsache, dass das Publikum Fehler des Musikers nicht registriert.
La majoria del públic mai sap els errors del music.
comforting to know if he made a mistake i wouldn't know it....
Cellular development leading into and out of sonority blocks.
C'est comme faire de la vie un jeu. Justement à la mannière de Derrida... Philosophie de vie; philosophie de mort, enfin.
Les règles sont calculé avec finesse pour devenir simplement l'écran oppressif du théâtre.
Ce qu'il y a de bien avec ce genre de musique, c'est que quand tu fais une fausse note, ça ne s'entend pas.
...Oui, je sais, je manque de culture, d'ouverture d'esprit voire d'intelligence pour comprendre la démarche.
Non, non, tu as tout compris
Wow. Not bad honestly.
Two aleatory dream-sequence prose-poems, composed from 19 fragments, occur in the book "Fronds" by Steven E. Scribner. Both were inspired by this piece and its manner of open-ended composition.
(first version)
A red mountain reclining in setting sunglow. Is this where to find ngol-long-grald-weng? No.
A high desert suspended in speckled dreams. Is this where to find ngol-long-grald-weng? No.
A train like a filament of color, flowing streamlike on tracks of iron. Is this where to find ngol-long-grald-weng? No.
A yellow moon creeping though the sky like a stalking tiger. Is this where to find ngol-long-grald-weng? No.
A ruined castle, now thin-walled, sleeping and dreaming of its history of centuries. Is this where to find ngol-long-grald-weng? No.
A still sea, devoid of waves, retreating as the tide slowly wanes. Is this where to find ngol-long-grald-weng? No.
A green river, drawing close and falling away. Is this where to find ngol-long-grald-weng? No.
A raindrop folded by the wind, flowering into a splash as it impacts upon a rock. Is this where to find ngol-long-grald-weng? No.
A city thick with brick and concrete, undulating in the mid-day heat. Is this where to find ngol-long-grald-weng? No.
A cloud, short and cottony next to lofty thunderheads. Is this where to find ngol-long-grald-weng? No.
A purple sun, singing out over a planet of imagination. Is this where to find ngol-long-grald-weng? No.
A lake, its waters unfolding from stilling waves, clanging with the cries of herons. Is this where to find ngol-long-grald-weng? No.
A wind, orange with sunrise, growing into many flurries of storm. Is this where to find ngol-long-grald-weng? No.
A singing field, its voice that of wheat in the winds, dancing in waves across a valley. Is this where to find ngol-long-grald-weng? No.
A blue tuft of grass, its color from dusk, reciting the words of silence. Is this where to find ngol-long-grald-weng? No.
An ancient monastery, its bells a reverberating voice of peace. Is this where to find ngol-long-grald-weng? No.
A silent pine, pollen washing over the air. Is this where to find ngol-long-grald-weng? No.
A long opera reverberating its tones and tales. Is this where to find ngol-long-grald-weng? No.
A bush, clinging on the edge of a rock-strewn mountain, breaking apart in clamorous wind and falling into abyss. Is this where to find ngol-long-grald-weng? No.
(second version)
A red river, its sunlit waters spinning through gullies. Calm. Slow rise to wakeworld.
Also at sunset: orange rain streaming from a red-pink sky. Flowers close for the night. Calm. Slow rise to wakeworld.
A field thick with grain, its windsound reverberating through a valley. Calm. Slow rise to wakeworld.
A singing moon reclining on the horizon. Kim says, “Listen to the moonsong.” The stars answer with a refrain. Calm. Slow rise to wakeworld.
A still pine, retreating into darkness as the light fails. Calm. Slow rise to wakeworld.
A green mountain, a dream-castle suspended above mists. Calm. Slow rise to wakeworld.
A blue sea, echoing and ending arguments about its nature: it is a sea, it is always a sea, it always has the shimmering of waves, the cries of shorebirds, the tang of salt, and an unseen world in its deep. Calm. Slow rise to wakeworld.
A thin line of a train, sleeping in a station, fantasizing of its journey tomorrow. Calm. Slow rise to wakeworld.
A little breeze, silent but singing in my mind. It is Kim’s voice. Calm. Slow rise to wakeworld.
A bush with long arms, their flapping in the wind is recitations in an ancient language. Friends have gathered: there’s Kim, and Kevin, and Sil, and Tony, and Hiromi, and Howard. Amiable chatting about movies and flowers. Calm. Slow rise to wakeworld.
A lake of purple water, saying nothing as it enlarges from a spring. Boats cluster on its mirror surface, gazing at themselves, unfazed by the lake’s color. Four crescent suns swim in the depth. Calm. Slow rise to wakeworld.
A low to the ground castle, its ruined walls flowering with red and blue blooms. Calm. Slow rise to wakeworld.
Now sunrise, unfolding and undulating in the shimmering orange light. Calm. Slow rise to wakeworld.
A tuft of grass: it should be silent but it clamors and clangs with crickets. And laughter. Friends are here too and they brought tacos and ice cream for a picnic. Calm. Slow rise to wakeworld.
A short book of poetry, its words flowing into my consciousness. Calm. Slow rise to wakeworld.
Filamentous streets, growing a city and culminating over land. Cars pass by in lines, their drivers seeking a way away from the streets. Calm? Calm. The drivers will remake their city. Slow rise to wakeworld.
A cloud, yellow in the sparkling light, washing over the air: ocean upon the sky. “Isn’t it beautiful?” asks Kim, embracing me. Calm. Slow rise to wakeworld.
A hermitage, high on a mountain, hidden by ages. Calm. Slow rise to wakeworld.
A desert of folded dunes, creeping closer as the cultivated fields dry. The sky has filled with green and yellow spheres, drifting on the wind. They are curious about the desert; they smell of cinnamon and they carry no threat. Calm. Slow rise to wakeworld.
When your pals from the business club invite you to a classical concert for some good networking but they overdo it
Listening to this for my classes and wow this looks so hard to interpret! Definitely not good for my ears but quite impressive
What's with the skewed video? This is too much videographer and not enough composer...very poor camera work..very poor...this should be shot as a typical sonata..very very poor camera and editing..terrible.
Même pour du fric, je n'y serai pas allé 🤪
Ich wette, Stockhausen lacht danach noch stundenlang über die Leute ... ;-)
Aber sowas von! Hahahaas
Stockhausen hat gerne gelacht, aber er hat auch sein Experimentieren sehr ernst genommen. Und viele seiner Werke sind als Experimente zu würdigen, indem sie etwas Neues ausprobieren. Das ist etwas anderes als ein Komponist, der hundertmal das gleiche Stück schreibt, das dann auch noch aus Versatzstücken anderer Künstler besteht.
camerawork are crap. please do not change angle many time.
the Dadaist of music
La musique est de l'eau qui remplit un vase en mal d'amour, sauf ces Klavierstucke.
Incarnation de l'état d'âme de l'homme moderne devant sa condition, confronté à son propre rien, cherchant sans espoir à contourner les déserts relationnels. Une manière de contre-musique.
Wenn er meint
Excruiating. Anyone with half a mind could listen to any other genre.
Comme pour la deuxième sonate de Boulez, j'attends de voir un interprète jouer cette musique sans avoir les yeux rivés sur la partition.
C'est censé prouver quoi ?
슈톡하우젠 ,피아노 소품 XI
Fast schon erschütternd, dass sich ein so kompetenter Musiker wie Aimard von so einer Scharlatanerie blenden lässt, er versucht ja erkennbar, dem ganzen einen musikalischen Sinn abzugewinnen, aber da ist eben keiner. Musik ohne Struktur ist keine, Stockhausen ist ein Nutznießer der Rückgratlosigkeit der deutschen Musikkritik, in der nicht ein einziger Vertreter mal den Mumm hat aufzustehen und zu sagen: der Kaiser ist nackt. Soll mir niemand erzählen dass das jemand gern aufführt oder gar anhört. Bei Bedarf liefere ich weitere Meisterwerke dieser Art gegen geringes Entgelt (100 €/Seite) frei Haus.
Lassen Sie uns gern Zeuge eines Ihrer Meisterwerke werden! Kommen Sie schon, wenigstens eine Kostprobe! Ich kann es kaum abwarten, in den Bann Ihrer musikalischen Genialität gezogen zu werden. Da Sie Stockhausens Klavierliteratur schon so fabulös einordnen können, liegen Ihre kompositorischen Fähigkeiten zweifelsohne auf der Hand. Ich warte.
Whatevs
Hey, Musikstücke der seriellen Musik sind bis ins kleinste Detail durchgeplant und es herrscht eine strikte Ordnung. Ich verstehe nicht, wie Sie diese Musik als "Musik ohne Struktur" betiteln können? Ob Ihnen das Stück gefällt, ist eine andere Sache. Diese Musik hat aber sehr wohl Struktur und zwar mehr als Stücke anderer Musikstile....
@@user-dm8nb7zg3k Das mag ja sein, dass diese Musik eine Struktur hat, es ist nur keine musikalische sondern eine von außen an die Musik herangetragene. Auch 12-Ton-Musik hat eine Struktur, sogar eine sehr strenge, trotzdem sind die Ergebnisse furchtbar. Ich habe mir die Wikipedia-Artikel zu dieser Musik angetan und war "beeindruckt" vom analytischen Aufwand, der diesen Werken zuteil wurde, verständlicher als Musik sind sie mir trotzdem nicht geworden. Ich bin übrigens dort auf der Kommentarseite persönlich übel angegangen worden, offensichtlich sind die Anhänger dieser Musik nicht die tolerantesten obwohl doch gerade die Stockhausen-Fans einigen Grund hätten, auf die Toleranz ihrer Mitmenschen zu bauen. Auch Herr Zabulus etwas weiter oben pflegt diesen Stil (seine Zahlung ist bei mir übrigens noch nicht eingegangen).
@@Klimperenie Lassen Sie sich so schnell von musikalischer Komplexität einschüchtern? Meckern Sie auch über die angeblich fehlende Struktur, wenn Sie ein Aquarell Kandinskys betrachten? Erweitern Sie Ihren Horizont. Sich derartig plump über Zwölftonmusik und die Diskussionskultur einiger Wikipedianer zu echauffieren lässt Sie jedenfalls noch lächerlicher dastehen als sowieso schon mit Ihrer kläglich gescheiterten Kritik Stockhausens. Apropos Zahlung: Bei mir ist bedauerlicherweise auch noch kein „Meisterwerk“ eingegangen. Sie hatten genug Zeit. Ich erwarte mindestens ein Werk, dessen Umfang mit Sorabjis „Opus clavicembalisticum“ vergleichbar ist.
Nein! Diese musik ist scheise!
Vielleicht ist das ganze menschliche Dasein Scheisse - und dieser Stockhausen hat es lediglich in Töne umgesetzt...?
KlavierScheise !!!!!
Du solltest nicht von dem, was du hörst, auf andere schliessen.
someone call this song a cab
Okay, this song is a cab.
It’s not a song! At least I didn’t hear any singing!
classical gorenoise
True.
classical commentnoise
This is a refined, classical well articulated bullshit
Your comment is bullshit. I don't have to justify this sentence, because you don't do it either.
Wow then also my 4 years old brother can compose piano pieces 🙃 it’s sad to see piano music comes to this level of silliness , Bach , Beethoven , Rachmaninov , Chopin etc will be very pissed from this nonsense, there is no feelings in this kind of music nothing but random notes and complete nonsense
Since the point of the piece was to let chance help decide the structure, you obviously didn't understand that randomness is part of the piece.
This is ridiculous.
this is bullshit
Your comment is ridiculous. I don't have to justify this sentence, because you don't do it either.
So thats the purpouse.
😂
Eh, les gars, j'ai tenu jusqu'au bout !
Ça c'est ma part de masochisme.
Des fois, je m'inflige ce genre de supplice, histoire de voir jusqu'où je peux tenir.
Même qu'à la fin, j'ai failli applaudir, trop content que ça s'arrête.
D'ailleurs, je me demande si le tonnerre d'applaudissements à la fin de cette exécution - malheureusement pas capitale - n'a pas pour origine le même contentement que le mien.
A part peut être pour quelques élitistes casseurs de codes qui ont pour raison d'être là différence qu'ils veulent valoriser envers les êtres archaïques que sont les amateurs de musique basée sur l'émotion et la beauté mélodique.
Enfin voilà, maintenant, je m'en vais aller faire la même chose dans mes toilettes.
Stockhausen à inscrit son nom dans la musicologie et a fait une œuvre qui le survivra
Et toi? :)
Ah bon ?
Un peu de respect pour ceux qui travaillent ce genre de musique. Porquoi pas au fond ?
@@PrAndonuts - Cher Professeur, je ne conteste pas le talent de Mr Stock ni sa notoriété si son passage à la postérité mais si j'avais un peu de talent à consacrer à mes semblables, je ferais tout pour ne pas leur infliger ce genre d'épreuve.
C'est juste pour dire que je ne ressens rien à l'écoute de ces choses à part le fait que ça me fait rigoler et c'est peut-être déjà pas mal.
Laisser son nom dans l'histoire, est-ce bien important ? Voyez les frères Kouachi...pas mal pour un passage à la postérité.
@@benjaminseppey4034 - C'est sûr qu'ils ont du mérite à défaut d'avoir un sens harmonique irréprochable...
Ya tro de dièse
Crowd looks like a jewish congregation lmao
Classic example of "The Emperor's New Clothes" personified in serial composition.
A l'entrée de la salle de concert, il y a des militaires armés pour empêcher les spectateurs de fuire
...avec des tampons dans les oreilles pour qu'ils ne désertent pas!
Commentaire très constructif; thx bro
charlyfotos
je ne vois pas quel type d'autre commentaire peut inspirer cette...musique.
A part en rire, je ne vois pas.
Rien ne t'oblige à l'écouter... Formidable, non?
J'imagine que vous connaissez la structure de cette pièce pour dire ça, non? :)
Why would anyone waste their time writing this nonsense and why would anyone spend time and money to hear it? I'd be ashamed to attach my name to something this pointless.
Maestro T, "I pity the fool who doesn't like this music." -- Mr. T
OK, I apologize for taking advantage of your screen name to make a silly joke. You're not a fool, and I don't pity you.
But ...
Some people like this music, some people don't. That is ALL that can legitimately be said. You have expressed your OPINION , and other people have expressed their OPINION. De gustibus non est disputandum.
@@rfyl Music is really much more than opinion. My strong dislike for this kind of music (and similar "avant-garde" stuff in other arts) is because it's like someone creating their own language--it's all a bunch of gibberish and it only "makes sense" within the context of the other crap the same composer has done, by and large. There are objective measures as to why Bach was a greater composer than, say, Albinoni or why Mozart was greater than von Dittersdorf, but this cabal of 20th century goofballs, among whom Stockhausen counts as but one, are supposed to be "great" by measures which I find to be extremely questionable. Can one "like" it? Sure, I guess. Some people eat worms too and like it.
FWIW, here are the composers whose music I think is the pinnacle of perfection and beauty: Machaut, Dufay, Monteverdi, Bach, Mozart, Beethoven, Debussy, Stravinsky, Schoenberg, and Stockhausen (up to a certain point in his career). And here are some I love almost as much: Gesualdo, Bartok, Takemitsu. Plus some Brahms, some Ravel, and some Ives. I never get tired of listening to their music (or to playing it on the piano, those works which are simple enough for my limited technique). I also love (and have performed) Balinese music. So, for me, that is the company which Stockhausen keeps. I think that Kontakte is one of the great classics of all music, with Gruppen and Carré and some others of his from that period coming close.
His language was not private. It was shared by many of his contemporaries, and it even influenced Stravinsky.
I have extremely strong opinions about music ... but I couldn't care less whether anyone agrees with me -- it's not a moral issue. And nowadays so many things actually are!
i actually quite enjoy. stockhausen always seems to create an atmosphere that normal tonality cant bring.
Oops! I forgot Mahler, in "almost as much".
Still nonsense. My ears don't change on that.
Try with your ass.
They said the same about Beethoven
@@orb3796 Those people were wrong. But we're not. If only there were a way to make a bet and come back in two hundred years and find out who was right. We'd be very rich.
kind of like it, to one is their own view i guess
@@MaestroTJS try to analyze this.
Ich habe mein dreijähriges Patenkind ans Klavier gesetzt und er spielt praktisch das Gleiche. Was soll soetwas? Mit Intelligenz hat das nichts zu tun.
Die Noten von so Stücken können teilweise nichtmal Profi Pianisten spielen. Ich bezweifele, dass ihr Patenkind das dann einfach so konnte… Was ich damit eigentlich sagen möchte: es gibt einen unterschied zwischen willkürlichem rumgeklimper eines Kindes und dem spielen von zB Stockhausens Stücken. Wenn sie darüber so urteilen, gehen sie ja davon aus, dass sie ein Intelligenter Mensch sind und alles was ihre Intelligenz nicht vom Spiel eines Kindes unterscheiden kann, ist selber nicht intelligent. Das Urteil über eine Sache benötigt auch das tatsächliche Verständnis der Sache.
iCh FiNde, cette dia tErbawa dEngan EksprEsi wajahnya alEatorisch over the tooth MOUNntains!!!,--:plöööööörkismisticly hän pomppii Kla4:n päällä aber it 恼人的.