I find his commentary on not thinking and internal silence before playing interesting as it's the same approach to music as the phenomenologist philosophers took to philosophy, many of whom were also German where the philosophical school originated, wonder if there was any influence.
In this series of "compositions," Stockhausen seems to want to remove the composer from the composition. And in Es in particular, he also asks the performers to remove the performers from the composition. Of course, both Stockhausen and the performers are still present in the performance, but at a distance.
Il Genio! The caesuras in the foreground. The space and silence between sounds and events are the true protagonists, the imperishable background to things that flow
I have several recordings of Stockhausen's intuitive music, and, once in Toronto, came across the old Deutsche Grammophon recordings of all of his such pieces, but did not buy it. That Stockhausen moved from his highly notated pieces of the 1950s (the Klavierstucke piano series, for example) to this intuitive music in less than ten years shows the range of his talent.
very glad to see any video performance of this - i taped it from the records when i was an undergraduate. it's an interesting approach - akin more to contemporaries like Pohlwechsel, Radu Malfatti and before them, AMM. interesting though that the entrances are often quite loud but with significant space. more decisive than Cage-inspired improvisation. thanks very much for posting this!
I like Stockhausen's earlier music. I felt like fast forwarding this several times but just as I was about to something prevented me. There is something very German Romantic about it.
@@Markus_Breuss I suppose his whole work. This was an evolution of the music that preceded it; it was a stage I never fully appreciated. I felt it was overly influenced by the countercultural spirit of the times, hippies and such. He was better than all that. Perhaps it is some kind of apotheosis of Romanticism. e.g. the sensibility of Novalis. Licht is something else again. It feels formulaic but I haven't heard a lot of it, due to its limited release (yet it is all available online now so I have no excuse). Thank you for posting this. Just listening to him talk is mesmerising, knowing (as I think) that he is in the league of Bach and Beethoven. We can't appreciate his music yet because most of us haven't come to terms with the horrors and dislocations of our own time.
@@mauditepart I've heard that at one point Stockhausen wanted to work together with Miles Davis - another legendary master of extended group improvisation. That would certainly have been very interesting! Wasn't Aus den Sieben Tagen largely improvised, or a framework for improvisation? It's not strictly annotated music in the normal sense, rather it explores the idea of music as a mental and artistic event which can be looked at from various angles but where performances are largely non-repeatable.
Ever since he was banished, the creature blindly wondered if the dark twigs of the forest, the speckled sunlight guiding him on his way, he engulfed every sunburn in his shimmering throat as if he had never tasted nor seen such beauty. For even with dirty feet, torn by wandering brambles and a halo of hair that has now turned into a mane, he has found his belief in the setting sun. Eventually, however, this journey came to an end. Not distinct, but with one breath, the blind man knew that the immortal world he had known for all his many years had drifted away from his mortal body. The swamp men and their gem-decorated trees echoing in the breeze, the ethereal handmaids of the earth singing seductive melodies, every bird song he was accustomed to had ceased. He had finally gone to the next world. It was dark in here, and it smelled of the wet and shady valley
If Jazz from the 1950's made Khrushchev feel like he needed to pass gas but couldn't, (which he really said) I would love to know how he would have felt about this.
No pienses en nada,espera hasta que se vuelva absolutamente silencioso en ti, cuando al hacer lo q hayas alcanzando ,comienza a jugar,tan pronto como empieces a pensar para,e intenté volver a alcanzar el estado de no pensar. Velocidad del elemento y luego continúe . De la india obvio! Pero en boca de un alemán trascendente , diverso,e investigador no sólo del sonido si no de la vida misma . Es de lo nuestros!
That's correct: Johannes Fritsch (viola), Rolf Gehlhaar (tamtam), Harald Bojé (electronium), Aloys Kontarsky (piano). In the audience you also see artist Mary Bauermeister, who just passed away a few days ago.
I just wish baby boomers of this era had kept the self indulgent destruction of form and beauty to theses experiments instead of generalizing it to the world we now have to live in...
How one can say that, after the explanation by the composer on different notions and uses of time in music its performance and even beyond; btw Duchamp did joke a few times but never missed the poetic stance in a piece or in a proposal of a piece of art - even if contesting status quo.
The "playing-when-not thinking-thing" is at least extremely difficult, if possible at all. And the fact that everyone then goes on stage and almost immediately stops thinking and plays seems a bit questionable to me. But it's still a big step from trying to joking...
@Markus_Breuss I agree. The playing in this video made me think of free jazz - though I 'm not a frequent listener of - mainly because of moments of reaction almost answers between players. But the composer himself seems to succeed in the 'mind-erasing' attitude in his harmonica playing, we can see he puts a strong effort in achieving it; i presume something 'easier' for him (to do) than to the others, since he who imagined the process. Fascinating this video when one think of the context in western music at the time!
@@fernandoa8140justamente... estos lunaticos son parte de una conspiracion para destruir el arte... aunque parezca que no tiene nada que ver, la consecuencia moderna de esto es el reggaetón... entre otras basuras...
the only idiotic thing I see here is your comment. And learn some english if you want to debate with people outside your village.@@tiempoveganoprovida2247
A good definition of texture in music. A genius at work.
lieber stockhausen, vielen danke
Bitte sehr!
I find his commentary on not thinking and internal silence before playing interesting as it's the same approach to music as the phenomenologist philosophers took to philosophy, many of whom were also German where the philosophical school originated, wonder if there was any influence.
Upload some more, it's fantastic, pure genius
ua-cam.com/video/uZ_2HNIJ4_o/v-deo.html
In this series of "compositions," Stockhausen seems to want to remove the composer from the composition. And in Es in particular, he also asks the performers to remove the performers from the composition. Of course, both Stockhausen and the performers are still present in the performance, but at a distance.
This is the ultimate form of music as abstract art.
Il Genio! The caesuras in the foreground. The space and silence between sounds and events are the true protagonists, the imperishable background to things that flow
Thank you so much for uploading this! :))
I have several recordings of Stockhausen's intuitive music, and, once in Toronto, came across the old Deutsche Grammophon recordings of all of his such pieces, but did not buy it. That Stockhausen moved from his highly notated pieces of the 1950s (the Klavierstucke piano series, for example) to this intuitive music in less than ten years shows the range of his talent.
Thank you
very glad to see any video performance of this - i taped it from the records when i was an undergraduate. it's an interesting approach - akin more to contemporaries like Pohlwechsel, Radu Malfatti and before them, AMM. interesting though that the entrances are often quite loud but with significant space. more decisive than Cage-inspired improvisation. thanks very much for posting this!
I like Stockhausen's earlier music. I felt like fast forwarding this several times but just as I was about to something prevented me. There is something very German Romantic about it.
about this or the earlier music?
@@Markus_Breuss I suppose his whole work. This was an evolution of the music that preceded it; it was a stage I never fully appreciated. I felt it was overly influenced by the countercultural spirit of the times, hippies and such. He was better than all that. Perhaps it is some kind of apotheosis of Romanticism. e.g. the sensibility of Novalis. Licht is something else again. It feels formulaic but I haven't heard a lot of it, due to its limited release (yet it is all available online now so I have no excuse). Thank you for posting this. Just listening to him talk is mesmerising, knowing (as I think) that he is in the league of Bach and Beethoven. We can't appreciate his music yet because most of us haven't come to terms with the horrors and dislocations of our own time.
@@mauditepart I've heard that at one point Stockhausen wanted to work together with Miles Davis - another legendary master of extended group improvisation. That would certainly have been very interesting!
Wasn't Aus den Sieben Tagen largely improvised, or a framework for improvisation? It's not strictly annotated music in the normal sense, rather it explores the idea of music as a mental and artistic event which can be looked at from various angles but where performances are largely non-repeatable.
Ever since he was banished, the creature blindly wondered if the dark twigs of the forest, the speckled sunlight guiding him on his way, he engulfed every sunburn in his shimmering throat as if he had never tasted nor seen such beauty. For even with dirty feet, torn by wandering brambles and a halo of hair that has now turned into a mane, he has found his belief in the setting sun. Eventually, however, this journey came to an end. Not distinct, but with one breath, the blind man knew that the immortal world he had known for all his many years had drifted away from his mortal body. The swamp men and their gem-decorated trees echoing in the breeze, the ethereal handmaids of the earth singing seductive melodies, every bird song he was accustomed to had ceased. He had finally gone to the next world. It was dark in here, and it smelled of the wet and shady valley
What is this from? Interesting
🧙♂🦹♂@@derrickcox6883
thx a lot! for upload
If Jazz from the 1950's made Khrushchev feel like he needed to pass gas but couldn't, (which he really said) I would love to know how he would have felt about this.
Какая прелесть!!!
sodelicious............................
Agree!
No pienses en nada,espera hasta que se vuelva absolutamente silencioso en ti, cuando al hacer lo q hayas alcanzando ,comienza a jugar,tan pronto como empieces a pensar para,e intenté volver a alcanzar el estado de no pensar.
Velocidad del elemento y luego continúe .
De la india obvio!
Pero en boca de un alemán trascendente , diverso,e investigador no sólo del sonido si no de la vida misma .
Es de lo nuestros!
Did not realize he was so handsome! I see he died aged 79 in 2007.
Superstar ❗
😅
And Mary Bauermeister in the audience was also a dashing woman if you ask me. 😊
Leave him alone he’s doing his best!
I really don't know what he's talking about, and neither does he, but that was the 60s... :)
😅
This is music “of the past” not in terms of innovation, but in terms of musical values for a personal inner life.
Agree. Ancient and vital.
the violin -- is it Johannes Fritsch?
that's possible...
viola, no?
ah yes, viola. my error.
Thank you for the upload. This type of performance reflects time's it was created?
Do you know who's playing, besides Stockhausen and Aloys Kontarsky? Fritsch and Gelhaar?
Ya, probably Johannes Fritsch (viola) and Rolf Gehlhaar (tam-tam) but I am not sure at all, as I know this musicians only a little from recordings...
Harald Bojé (Electronium)?
That's correct: Johannes Fritsch (viola), Rolf Gehlhaar (tamtam), Harald Bojé (electronium), Aloys Kontarsky (piano). In the audience you also see artist Mary Bauermeister, who just passed away a few days ago.
i always wanted to know who the 'trombonist who wishes to remain anonymous' was - Vinko Globokar maybe?
@mauditepart where do you see Kagel?
What type of harmonica is that? This performance is awesome!
🤔
6:12 someone stepped on a puppy!
I think honest.
Joko ono time
I just wish baby boomers of this era had kept the self indulgent destruction of form and beauty to theses experiments instead of generalizing it to the world we now have to live in...
The generalisers and the creators are not the same people Sir.
I prefer this to Adele anytime
@@DavidSmith-lu7xv 😂👍🏽
Musical sociopathy.
заниматься хернёй на таких серьёзных щах! ))))))))))
This is a joke. Im an open minded listener, but this is the same as Marcel Duchamp's "art". 😂.
I think Stockhausen wasn't about joking...
How one can say that, after the explanation by the composer on different notions and uses of time in music its performance and even beyond; btw Duchamp did joke a few times but never missed the poetic stance in a piece or in a proposal of a piece of art - even if contesting status quo.
The "playing-when-not thinking-thing" is at least extremely difficult, if possible at all. And the fact that everyone then goes on stage and almost immediately stops thinking and plays seems a bit questionable to me.
But it's still a big step from trying to joking...
@Markus_Breuss I agree. The playing in this video made me think of free jazz - though I 'm not a frequent listener of - mainly because of moments of reaction almost answers between players. But the composer himself seems to succeed in the 'mind-erasing' attitude in his harmonica playing, we can see he puts a strong effort in achieving it; i presume something 'easier' for him (to do) than to the others, since he who imagined the process. Fascinating this video when one think of the context in western music at the time!
@@fernandoa8140justamente... estos lunaticos son parte de una conspiracion para destruir el arte... aunque parezca que no tiene nada que ver, la consecuencia moderna de esto es el reggaetón... entre otras basuras...
This is idiotic.
why?
@@Markus_Breuss... porque es la clase de cosas que solo un idiota puede hacer... y encima creer que es arte... algunos hasta creen que es musica...
Estoy de acuerdo...
@@tiempoveganoprovida2247 😕
the only idiotic thing I see here is your comment. And learn some english if you want to debate with people outside your village.@@tiempoveganoprovida2247