In the late 60s, I purchased a Stockhausen LP as a collector's item from one of the record clubs I belonged to. I still have it. It's nice to finally know what he was trying to do. 🙂 pip
In current times it is of significant importance to avoid something that is often referred to as 'boxoffice poison'. With that in mind I would recommend to offer the role of Mr. Stockhausen to the quite honorable gentleman Dwayne 'the rock' Johnson.
Stockhausen was an influence on the Beatles. Paul McCartney introduced Stockhausen’s work to the group, turning John Lennon into a fan; Lennon and Yoko Ono even sent the composer a Christmas card in 1969. He appears on the Sgt. Pepper album cover, 5th from the left in the top row, between Lenny Bruce and W.C. Fields.
None of them read music - so them citing influences seems ingenuous since this musical activity requires very theoretical background - not sound . Stockhausen simply was so famous in the 70's it helped take them seriously . Then again his ideas expand so far out like Cage u wouldnt need to read music but have to understand the concepts . Stockhausen was very much to o much to many about conception unlike Boulez and Ligeti who can be understood without a great deal of science and math .
around 7:10 - aspiring musicians, don't forget that ideas in music are informed by the other arts! make your music (sound-art) in the present moment, informed by everything you experience with all your senses
In the core of his music lie the search of deep seriousness and meaning, structure, balance. This music represent cosmic, natural events and processes, existential questions. Working with this abstract ideas is demanding, and he is very persistent. Sure it will change his psyche in the long run. Your psyche too is very coloured - be sure to stare in the mirror and marvel at your outstanding judging golden eye of true - your biggest achievement so far...
@@TheMikkis100 After working for him in '82 I spent 25 years of my life writing about him. Sample: playlistasartform.com/wp-content/uploads/Section-3.pdf Maybe you think that's pretentious too :o) A lot of people misuse that word. At no point in this lecture do I believe KS is pretending to be anything, or giving himself airs. Not sure how music can be pretentious (bizarre concept) but whatever, Stockhausen's music is just what came out of him - as I think emerges unmistakably here.
On the point about three orchestras, Charles Ives had experimented heavily with polyrhythms/polytonality way back in 1905. The same conclusion arrived at from a different set of questions.
this is driving me CRAZY!!! sounds like Wieser, but the only influential Wieser from a viennese school seems to be f. von Wieser, who was an economist, not a biologist. AAAAHHHHHH!!!!!
Barbara Serena I found him: WOLFGANG WIESER: ORGANISMEN STRUKTUREN MASCHINEN, here's the link for his book www.amazon.de/WOLFGANG-WIESER-ORGANISMEN-STRUKTUREN-MASCHINEN/dp/B002FWKKZ6
I think so as well! Probably because in German there are very specific rules that the language has to follow, in terms of verb conjugation, gender, and word order etc. (another word Stockhausen liked to use, 'et cetera'!) so when he learnt English, he would be speaking it at the very standard/basic level, which can be understood easily by anyone wishing to learn English.
The Papa has a weird accent, he has a strange transatlantic twang, sometimes british sometimes american sounding, along with a subtle frenchness in with his overall german....
Considering he was taught English-English it's pretty good. Grammatically he's more often than not just translating German straight across to English though, which surprises me, as I would've assumed he'd be more fluent.
Yvette Grimaud was a composer and ethnomusicologist (in the latter capacity, specializing in the study of Georgian [that is, Georgia in the Caucasus] and Babinga [Central African] traditional music).
Yes, its a joy to listen to. If you are multilingual you will know that is not easy to speak like this in a second language. He barely stumbles at all. He knows to go slow and steady which if course is the key to public speaking generally.
I believe Stockhausen learned English quite early, as I seem to recall reading that he'd helped out as an interpreter for Allied troops at the end of the Second World War.
he had a broad mind from early years on (and yes he started to help after the war to translate between US soldiers and germans) .. but it got essential when he became the musician he was .. as he (as a lot of collegues) worked very closely with each other and formed various communication groups on an international scale - this kind of collaboration needs multilingual persons .. he spoke italian language too
Why? He spent a lot of time teaching in America in those years. Like most planet-brained musicians - nearly all conductors - he was fluent in several languages. It's part of the job description if you're going to communicate with musicians of many nationalities.
He has many interesting to say but I have to speed the lecture about 1.5 faster to deal with his very overly mannered way of elocution and pacing. I think he was doing it out of an earnest desire to be clearly understood, but for me at the original speed I simply lose patience.
It's very interesting to hear. In a historic perspective it's on the one hand impressive how serious those composers took their craft. By rethinking the concepts on which musical compositions is historically based they wanted to rethink also the ways of human existence. And with two catastrophic world wars just behind them, you totally understand this impulse of wanting to start from scratch. However, there is also a terrible misconception which crystalizes in Anton von Webern who is repeadedly quoted as reference. Von Webern was a convinced Nazi and the idea of starting with a blank slate was also inherent in Nazi ideology. In hindsight Stockhausen rather appears as a postlude to 20th century megalomanic authorianism than a founder of a new tradition. Especially eletronic music where he was indeed a pioneer was a very short living episode.
By the time Naziism was a popular phenomenon in Germany and Webern latched on to it, his style had long since crystallized. All of Webern's mature style can be traced to the 1910s and 1920s, so connecting it to Naziism is anachronistic.
@@crculver2068 That's an odd argument. His style was as coherent as his convictions. And he wrote some of his most significant works like the Variations for piano and for orchestra at the bloom of naziism in the 30ies. I admire Webern, but you can't deny that there are tendencies of totalitarism in his thinking (as you can read in his letters to Schoenberg) and in his style.
@@MG-ye1hu What are usually considered the main aesthetic concerns found in Webern's Nazi-era pieces, namely 1) ultra-concise writing, and 2) Schoenberg's 12-tone method, are the very same aesthetic concerns found in the pieces from the years predating Nazism. And yes, I have read the Schoenberg-Webern correspondence and lots of biographical material on Webern, and it doesn’t support your claim of some affinity between the music itself and Nazism.
@@crculver2068 It has been a while since I read the correspondence but I remember some bewildering parts about the superiority of German music and about a leading role of the 12-tone esthetic in a world to come. He really believed that Germany with its advanced arts would rule the world.
@@MG-ye1hu Schoenberg boasted that his 12-tone technique would "guarantee the supremacy of German music" for a century to come, are we to think he was a Nazi too? And regardless of what a creator says about the relationship of his work to the society he lives in, that does not make the aesthetic itself inherently partisan. Under any 20th-century dictatorship, its supporters employed a variety of styles, and inversely, the same style can appear under wildly varying political systems.
@@RachManJohn Mein deutsch sollte Ausgezeichnet sein ,da es sich um meine Muttersprache handelt. Ich denke dass ich als Landsmann von Stockhausen durchaus in der Lage bin seinen schweren deutschen Akzent beurteilen zu können. By the way how is YOUR german? 😘
@@RachManJohn Pretty cool that you don't needed translation. I think we both have won... experience in communication... I think Stockhausen would have loved it.
![Lecture 1 [PARTE 2/4] Stockhausen Karlheinz - English Lectures (1972)](http://i.ytimg.com/vi/UMsPzuP8sXU/mqdefault.jpg)
![Lecture 4 [Part 1/2] Karlheinz Stockhausen - Intuitive Music (IT) (1972)](http://i.ytimg.com/vi/ywx49Qf5bW4/mqdefault.jpg)
Stockhausen is one of those individuals who have inspired and still inspire what we can call the weltgeist.
Incredible! I didn't know there are still such jewels here and there. :)
A lot to digest. I am thankful he was lecturing in english, I am too tired to read subtitles. Great upload!
Best pronunciation of “casually” I’ve ever heard
In the late 60s, I purchased a Stockhausen LP as a collector's item from one of the record clubs I belonged to. I still have it. It's nice to finally know what he was trying to do. 🙂 pip
This is GOLD __ Thank you for uploading!
He needs a movie about him - played by John Malkovich.
musoderelict he reminds me of Judd Nelson at times
Haaaaah. I like this comment.
There's too much of a sex offender vibe form Malkovich, though. I'd vote for Ray Stevenson.
In current times it is of significant importance to avoid something that is often referred to as 'boxoffice poison'. With that in mind I would recommend to offer the role of Mr. Stockhausen to the quite honorable gentleman Dwayne 'the rock' Johnson.
Nah, Jim Parsons would be the one for the job
Gracias Tomás. No sabés cuanto hace que busco esto.
we dig his words and meaning.
We are normal and we dig his meaning.
The Maestro.
Stockhausen was an influence on the Beatles. Paul McCartney introduced Stockhausen’s work to the group, turning John Lennon into a fan; Lennon and Yoko Ono even sent the composer a Christmas card in 1969. He appears on the Sgt. Pepper album cover, 5th from the left in the top row, between Lenny Bruce and W.C. Fields.
Who are these "Beatles"...? I hope they know they misspelled the name :P
Apparantly it’s some kind of ”pop music”. (And as such more ”pop” than ”music”.)
None of them read music - so them citing influences seems ingenuous since this musical activity requires very theoretical background - not sound . Stockhausen simply was so famous in the 70's it helped take them seriously . Then again his ideas expand so far out like Cage u wouldnt need to read music but have to understand the concepts . Stockhausen was very much to o much to many about conception unlike Boulez and Ligeti who can be understood without a great deal of science and math .
around 7:10 - aspiring musicians, don't forget that ideas in music are informed by the other arts! make your music (sound-art) in the present moment, informed by everything you experience with all your senses
Does anyone know the medical specialist quoted at 9:00? The things are not in the time but the time in the things
+stephen kerr the biologist is Viktor Von Weizäker (see Stockhausen on Music/4 criterion of electronic music/page 96 in my copy)
Thank you so much! Wasnt expecting a relpy to this one :)
I remembered your comment when I stumbled upon the quote while reading
thanks! happy studying
Thanks for sharing !
He talks the way his music sounds
Annoyingly and pretentiously, yes.
In the core of his music lie the search of deep seriousness and meaning, structure, balance.
This music represent cosmic, natural events and processes, existential questions.
Working with this abstract ideas is demanding, and he is very persistent.
Sure it will change his psyche in the long run.
Your psyche too is very coloured - be sure to stare in the mirror and marvel at your outstanding judging golden eye of true - your biggest achievement so far...
@@TheMikkis100 Really? That's what you think?
@@finosuilleabhain7781 Yea. Have you listened to his music?
@@TheMikkis100 After working for him in '82 I spent 25 years of my life writing about him. Sample: playlistasartform.com/wp-content/uploads/Section-3.pdf Maybe you think that's pretentious too :o) A lot of people misuse that word. At no point in this lecture do I believe KS is pretending to be anything, or giving himself airs. Not sure how music can be pretentious (bizarre concept) but whatever, Stockhausen's music is just what came out of him - as I think emerges unmistakably here.
Thank you very much for posting this.
His English is quite great!
On the point about three orchestras, Charles Ives had experimented heavily with polyrhythms/polytonality way back in 1905. The same conclusion arrived at from a different set of questions.
great upload
Wow, actual intelligent speech about music...
4:44 ". . . having all been . . . students of Messiaen . . . during that time . . ."
does anyone on earth know what's the name of the biologist mentioned at 7:46 ?
this is driving me CRAZY!!! sounds like Wieser, but the only influential Wieser from a viennese school seems to be f. von Wieser, who was an economist, not a biologist. AAAAHHHHHH!!!!!
Barbara Serena I found him: WOLFGANG WIESER: ORGANISMEN STRUKTUREN MASCHINEN, here's the link for his book
www.amazon.de/WOLFGANG-WIESER-ORGANISMEN-STRUKTUREN-MASCHINEN/dp/B002FWKKZ6
+mansour aoun the biologist is Viktor Von Weizäker (see Stockhausen on Music/4 criterion of electronic music/page 96 in my copy)
this guy is GOD ! OF ! MODERN ! MUSIC ! , well a John Cage Stravinsky Hybrid.
"tempos ah tempi" is a good name for a band.
English spoken by German is easy to understand.
I think so as well! Probably because in German there are very specific rules that the language has to follow, in terms of verb conjugation, gender, and word order etc. (another word Stockhausen liked to use, 'et cetera'!) so when he learnt English, he would be speaking it at the very standard/basic level, which can be understood easily by anyone wishing to learn English.
Tks, SO MUCH!!
Does anyone know the name of the composers mentioned at 4:31 ? Boulez, Barraqué, Philippot, (...) (...) Goeyvaerts
Great! Thanks.
and Karel Goeyvaerts, of course.
He seems to say something like "Fano" after Philippot - perhaps he said "Méfano"?
@@ftumschk Michel Fano
@@Ana-tf2tm Thank you, Ana. I'd not heard of Michel Fano, so (Paul) Méfano was my best guess!
He mentions a book "Man and Machine," but I could not make out the author. Anybody know?
Norbert Wiener
Thank you
Has this lecture been transcribed?
K W yes, in Robin MacConies “Stockhausen on Music” - titled as it is on this video
intuitivemusic.dk/iima/sh_qa.pdf
I like the cute little 'oops' he says at 7:40
at the beginning he mentions a name with fire island, who and what is he referencing?
+Dante C He refers to "Île de feu", two of the movements from Olivier Messiaen's "Quatre études de rhythme" for piano.
Grandioso, se podría usar para meditar o es demasiado fuerte?
El volumen (la intensidad) es sólo un parámetro del sonido. Deberías probar, de la experiencia se aprende.
Tomás Agustín Olano Gacias, por su respuesta
The Papa has a weird accent, he has a strange transatlantic twang, sometimes british sometimes american sounding, along with a subtle frenchness in with his overall german....
Considering he was taught English-English it's pretty good. Grammatically he's more often than not just translating German straight across to English though, which surprises me, as I would've assumed he'd be more fluent.
star music...
All of the students of Messiaen he names are famous but who is this Yvette Grimau ?
Yvette Grimaud was a composer and ethnomusicologist (in the latter capacity, specializing in the study of Georgian [that is, Georgia in the Caucasus] and Babinga [Central African] traditional music).
Does he wear the same outfit for every lecture on here?!
Look at pictures of him from this period--this is the only outfit he wore anywhere.
How to use and understand a DAW with Karlheinz Stockhausen
Alright, Mr smarty pants, whatre you on about....?
I am 11 yers old and I listen to Stockhausen Karlbeans. I was born in the wrong generation.
If its True You Probably From Srius
Your Playlist says your just a wannabe comedian.
amazed he speaks such excellent English. Why? It was hardly necessary for him.
Yes, its a joy to listen to. If you are multilingual you will know that is not easy to speak like this in a second language. He barely stumbles at all. He knows to go slow and steady which if course is the key to public speaking generally.
I believe Stockhausen learned English quite early, as I seem to recall reading that he'd helped out as an interpreter for Allied troops at the end of the Second World War.
he had a broad mind from early years on (and yes he started to help after the war to translate between US soldiers and germans) .. but it got essential when he became the musician he was .. as he (as a lot of collegues) worked very closely with each other and formed various communication groups on an international scale - this kind of collaboration needs multilingual persons .. he spoke italian language too
Yes, his Italian was very good, and his French was excellent.
Why? He spent a lot of time teaching in America in those years. Like most planet-brained musicians - nearly all conductors - he was fluent in several languages. It's part of the job description if you're going to communicate with musicians of many nationalities.
I am really interested in Stockhausen, but I just can´t stand that marker screeching!!! ouch!!!
it’s as if he already knew midi
thought. fullstop.
He has many interesting to say but I have to speed the lecture about 1.5 faster to deal with his very overly mannered way of elocution and pacing. I think he was doing it out of an earnest desire to be clearly understood, but for me at the original speed I simply lose patience.
It's very interesting to hear. In a historic perspective it's on the one hand impressive how serious those composers took their craft. By rethinking the concepts on which musical compositions is historically based they wanted to rethink also the ways of human existence. And with two catastrophic world wars just behind them, you totally understand this impulse of wanting to start from scratch.
However, there is also a terrible misconception which crystalizes in Anton von Webern who is repeadedly quoted as reference. Von Webern was a convinced Nazi and the idea of starting with a blank slate was also inherent in Nazi ideology.
In hindsight Stockhausen rather appears as a postlude to 20th century megalomanic authorianism than a founder of a new tradition. Especially eletronic music where he was indeed a pioneer was a very short living episode.
By the time Naziism was a popular phenomenon in Germany and Webern latched on to it, his style had long since crystallized. All of Webern's mature style can be traced to the 1910s and 1920s, so connecting it to Naziism is anachronistic.
@@crculver2068 That's an odd argument. His style was as coherent as his convictions. And he wrote some of his most significant works like the Variations for piano and for orchestra at the bloom of naziism in the 30ies.
I admire Webern, but you can't deny that there are tendencies of totalitarism in his thinking (as you can read in his letters to Schoenberg) and in his style.
@@MG-ye1hu What are usually considered the main aesthetic concerns found in Webern's Nazi-era pieces, namely 1) ultra-concise writing, and 2) Schoenberg's 12-tone method, are the very same aesthetic concerns found in the pieces from the years predating Nazism. And yes, I have read the Schoenberg-Webern correspondence and lots of biographical material on Webern, and it doesn’t support your claim of some affinity between the music itself and Nazism.
@@crculver2068 It has been a while since I read the correspondence but I remember some bewildering parts about the superiority of German music and about a leading role of the 12-tone esthetic in a world to come. He really believed that Germany with its advanced arts would rule the world.
@@MG-ye1hu Schoenberg boasted that his 12-tone technique would "guarantee the supremacy of German music" for a century to come, are we to think he was a Nazi too? And regardless of what a creator says about the relationship of his work to the society he lives in, that does not make the aesthetic itself inherently partisan. Under any 20th-century dictatorship, its supporters employed a variety of styles, and inversely, the same style can appear under wildly varying political systems.
His English language is terrible and he is not a good speaker. But he had a Vision and just for that i could listen to him for days.
Hows your german?
@@RachManJohn Mein deutsch sollte Ausgezeichnet sein ,da es sich um meine Muttersprache handelt. Ich denke dass ich als Landsmann von Stockhausen durchaus in der Lage bin seinen schweren deutschen Akzent beurteilen zu können. By the way how is YOUR german? 😘
@@rainerkornmusic good enough to understand without having to translate it, but I'm only B1 haha! Well played, my friend, and you win this one :)
@@RachManJohn Pretty cool that you don't needed translation. I think we both have won... experience in communication... I think Stockhausen would have loved it.
@@rainerkornmusic gg my friend, gg!