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Für Kommende Zeiten
''Für kommende Zeiten'' (For Times to Come) is a collection of seventeen text compositions by Karlheinz Stockhausen, composed between August 1968 and July 1970. It is a successor to the similar collection titled ''Aus den sieben Tagen'', written in 1968. These compositions are characterized as " Intuitive music"—music produced primarily from the intuition rather than the intellect of the performer(s). It is work number 33 in Stockhausen's catalog of works, and the collection is dedicated to the composer's son Markus. History Unlike the fifteen texts of ''Aus den sieben Tagen'', which were all written in a short span of time, the seventeen components of ''Für kommende Zeiten'' were written in four groups of texts, over a period of two years. The first five pieces were written in August 1968 (the fourth text, ''Über die Grenze'' on 13 August), as examples for the students in Stockhausen’s composition seminar at the Darmstädter Ferienkurse. The sixth text, ''Intervall'', was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shiraz 39
Shiraz (; fa, شیراز, Širâz ) is the fifth-most-populous city of Iran and the capital of Fars Province, which has been historically known as Pars () and Persis. As of the 2016 national census, the population of the city was 1,565,572 people, and its built-up area with Sadra was home to almost 1,800,000 inhabitants. A census in 2021 showed an increase in the city's population to 1,995,500 people. Shiraz is located in southwestern Iran on the () seasonal river. Founded in the early Islamic period, the city has a moderate climate and has been a regional trade center for over a thousand years. The earliest reference to the city, as ''Tiraziš'', is on Elamite clay tablets dated to 2000 BCE. The modern city was restored or founded by the Arab Umayyad Caliphate in 693 CE and grew prominent under the successive Iranian Saffarid and Buyid dynasties in the 9th and 10th–11th centuries, respectively. In the 13th century, Shiraz became a leading center of the arts and letters, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Josef Horák
Josef Horák (24 March 1931 – 23 November 2005) was a Czech bass clarinetist. It was not until the 1950s that classical performers began to adopt the bass clarinet as their primary instrument. Horák is credited as having performed the first ever solo bass clarinet recital on 23 March 1955. In October 2005, the First World Bass Clarinet Convention was held in Rotterdam, Netherlands, at which Horák was the guest of honour. He played his last concert there, together with the pianist Emma Kovárnová (his wife and duo partner for more than 40 years) as "Due Boemi di Praga." See also *Bass clarinet The bass clarinet is a musical instrument of the clarinet family. Like the more common soprano B clarinet, it is usually pitched in B (meaning it is a transposing instrument on which a written C sounds as B), but it plays notes an octave ... External linksJosef Horák official site 1931 births 2005 deaths Bass clarinetists Czech musicians {{Clarinetist-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christoph Von Blumröder
Christoph von Blumröder (born 18 July 1951) is a German musicologist. Career Born in Northeim, Blumröder studied musicology at the Albert-Ludwigs-Universität Freiburg in Breisgau with Hans Heinrich Eggebrecht, philosophy and history of the . After his doctorate in 1979, Blumröder was a research assistant at the ' (1972–2006). From 1980 Blumröder also taught at the university there, where he received his habilitation in 1990. After assistant professorships at the University of Bonn in the winter semester of 1991/92 and at the Saarland University in the summer semester of 1995, he accepted an appointment as professor for contemporary music at the Musicological Institute of the University of Cologne in the winter semester of 1996/97. There he founded the cycles of events ''Composition and Musicology in Dialogue'' (1997) and ''Space Music'' (1998) as well as the publication series ''Signale aus Köln. Beiträge zur Musik der Zeit'' and was elected chairman of the associatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Richard Toop
Richard Toop (1945 – 19 June 2017) was a British-Australian musicologist. Toop was born in Chichester, England, in 1945. He studied at Hull University, where his teachers included Denis Arnold. In 1973 he became Karlheinz Stockhausen's teaching assistant at the Staatliche Hochschule fur Musik in Cologne. In 1975 he moved to Sydney, Australia, where he was head of musicology at the Sydney Conservatorium (University of Sydney). His publications include a monograph on György Ligeti, and the ''New Grove'' entries on Stockhausen and Brian Ferneyhough. Additionally, as a new music pianist, he gave the first documented solo performance of '' Vexations'' by Erik Satie. Toop died on 19 June 2017 at the age of 71."Richard Toop (1945–2017)" |
Jerome Kohl
Jerome Joseph Kohl (November 27, 1946 – August 4, 2020) was an American musicologist, academic journal editor, and recorder teacher. A music theorist at the University of Washington, he became recognized internationally as an authority on the music of Karlheinz Stockhausen. Kohl was also a contributor at Wikipedia (a "Wikipedian"). Life and work Kohl grew up in Lincoln, Nebraska, with three siblings. During high school and college, he played the clarinet in the local symphony orchestra. He received his undergraduate, and in 1971, his master's degree in music from the University of Nebraska. Drafted into the army, he played in an army band during the Vietnam War. Afterwards, he started his doctoral studies in music theory at the University of Washington in Seattle. In the 1970s, Kohl joined the Seattle Recorder Society, attending and running classes at their meetings, as well as teaching privately. In 1976, Kohl co-founded and became the board president of the Early Music Guil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Musical Times
''The Musical Times'' is an academic journal of classical music edited and produced in the United Kingdom and currently the oldest such journal still being published in the country. It was originally created by Joseph Mainzer in 1842 as ''Mainzer's Musical Times and Singing Circular'', but in 1844 he sold it to Joseph Alfred Novello (who also founded '' The Musical World'' in 1836), and it was published monthly by the Novello and Co. (also owned by Alfred Novello at the time).. It first appeared as ''The Musical Times and Singing Class Circular'', a name which was retained until 1903. From the very beginning, every issue - initially just eight pages - contained a simple piece of choral music (alternating secular and sacred), which choral society members subscribed to collectively for the sake of the music. Its title was shortened to its present name from January 1904. Even during World War II it continued to be published regularly, making it the world's oldest continuously publ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Griffiths (writer)
Paul Anthony Griffiths (born 1947) is a British music critic, novelist and librettist. He is particularly noted for his writings on modern classical music and for having written the libretti for two 20th century operas, Tan Dun's ''Marco Polo'' and Elliott Carter's '' What Next?''. Career Paul Griffiths was born on 24 November 1947 in the Welsh town of Bridgend to Fred and Jeanne Griffiths. He received his BA and MSc in biochemistry from University of Oxford, and from 1971 worked as a freelance music critic. He joined the editorial staff of ''The New Grove Dictionary of Music and Musicians'' in 1973 and in 1982 became the chief music critic for ''The Times'', a post which he held for ten years. From 1992 to 1996, he was a music critic for ''The New Yorker'', and from 1997 to 2005, for ''The New York Times''. A collection of his musical criticism for these and other periodicals was published in 2005 as ''The substance of things heard: writings about music'', Volume 31 of ''Ea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ensemble For Intuitive Music Weimar
The Ensemble for Intuitive Music Weimar or Ensemble für Intuitive Musik Weimar (EFIM) is a German music ensemble, which was founded in 1980 during the period of the German Democratic Republic, originally performing music officially tabooed by the communist government. EFIM uses orchestral instruments (trumpet/flügelhorn, violoncello, and piano/organ) and live-electronics. The computer-as-mobile-studio is played as a musical instrument; one which can, through the use of multichannel sound diffusion systems, control the movement of sounds in space. Origins The formative inspiration for the ensemble was composer Karlheinz Stockhausen's method of composition that he called intuitive music. During the time of the German Democratic Republic (East Germany), the ensemble performed officially tabooed and "useless" areas of musical expression. The group's activities began in an unlawful gallery in Erfurt, continued in numerous churches, and even in the Palace of the Republic in Berlin. B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
In Freundschaft
''In Freundschaft'' (In friendship) is a composition by Karlheinz Stockhausen, number 46 in his catalogue of works. It is a serial composition for a solo instrument, first for clarinet, and later arranged by the composer for many other instruments, often in friendship to specific performers. ''In Freundschaft'' was first conceived in 1977 as a birthday present for clarinetist Suzanne Stephens, and was first performed at her birthday party in Aix-en-Provence on 28 July that year in a version for the flute. It was later reprised on other instruments as the composer adapted it to nearly every standard orchestral instrument at the request of performers. The work is an example of formula composition, with a basic motif first being presented and then varied in two contrasting, cyclical layers; interrupted by cadenzas. The work has been recorded multiple times, including under the supervision of its composer. Background The works by the prolific composer Karlheinz Stockhausen have ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tierkreis (Stockhausen)
''Tierkreis'' (1974–75) is a musical composition by the German composer Karlheinz Stockhausen. The title is the German word for Zodiac, and the composition consists of twelve melodies, each representing one sign of the zodiac. History Once described as "melodic naïveté" in the form of "cheerful, empty-headed little tune , who nevertheless soon changed his mind, ''Tierkreis'' has proved to be Stockhausen's most popular composition. ''Tierkreis'' was originally written for music boxes as a component part of a theater piece for percussion sextet titled ''Musik im Bauch'' (Music in the Belly), which has been interpreted variously as "a fairy tale for children" or else as "a ritual played out in Mexican Indian scenery". These twelve melodies (with or without their accompaniments) form an autonomous work which can be played by any suitable instrument, and exist also in versions to be sung. The striking simplicity of the melodies has led some writers to see them (together with other ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zyklus
''Zyklus für einen Schlagzeuger'' (English: Cycle for a Percussionist) is a composition by Karlheinz Stockhausen, assigned Number 9 in the composer's catalog of works. It was composed in 1959 at the request of Wolfgang Steinecke as a test piece for a percussion competition at the Darmstadt Summer Courses, where it was premièred on 25 August 1959 by Christoph Caskel. It quickly became the most frequently played solo percussion work, and "inspired a wave of writing for percussion". Instrumentation The work is written for one percussionist playing a marimba, vibraphone (motor off), 4 tom-toms, snare drum, güiro (one or several, if necessary), 2 African log drums (each producing 2 pitches), 2 suspended cymbals of differing sizes, hi-hat, 4 almglocken (suspended, clappers removed), a suspended "bunch of bells" (preferably Indian bells or tambourine mounted on a stand), at least 2 high pitched triangles, gong (with raised boss in center) and tam-tam. Form The title of ''Zyklus'' is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christoph Caskel
Christoph Caskel (born 12 January 1932) is a German percussionist and teacher. Life Born in Greifswald, Caskel began learning percussion at an early age, taking lessons at the age of five with a military musician and as a schoolboy with a percussionist from the Berlin State Opera. He studied percussion formally from 1949 to 1953 with Wenzel Pricha at the Staatliche Hochschule für Musik in Cologne. During these years, he began taking an interest in contemporary music under the influence of another lecturer at the Hochschule, the cellist Maurits Frank. After completing his conservatory training, he studied musicology from 1953 to 1955 at the University of Cologne. By the beginning of the 1960s Caskel had become known internationally as a performer of chamber music and solo works by contemporary composers, taking part in the premieres of important works such as Karlheinz Stockhausen's '' Zyklus '' (1959) and '' Kontakte'' (1960), Helmut Lachenmann’s ''Intérieur'' (1966), an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
