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uatu Offline




Posts: 161

Wed Dec 31, 2014 5:00 am
KATHINKAs GESANG als LUZIFERs REQUIEM reply

It took me years before I finally realized that these 11 tones in the booklet were actually the LUCIFER Nuclear tones. Of course, 20 years ago how many people had ever heard of the LICHT Nuclear tones? So that's my excuse...

KATHINKAs GESANG als LUZIFERs REQUIEM

http://stockhausenspace.blogspot.com/2014/12/opus-52-kathinkas-gesang.html

ipar1306 Offline



Posts: 138

Wed Dec 31, 2014 6:31 am
#2 RE: KATHINKAs GESANG als LUZIFERs REQUIEM reply

Another really helpful analysis here, Ed. It's very hard to find commentary on Stockhausen's works that brings together so much of its musical and historical details into one place, especially in English and especially in an accessible format. Your sound impressions at the end are, as always, enlightening.

Jerry Offline



Posts: 146

Sun Jan 04, 2015 3:51 am
#3 RE: KATHINKAs GESANG als LUZIFERs REQUIEM reply

Very nice job. One important thing you do not point out, and that is the Exchange of the Senses involves adding one sound plate to the original eleven, and re-ordering them, which transforms the Lucifer pitches into the Eve nuclear formula. I pointed this out in my review of the Milan premiere of Samstag, published in Perspectives of New Music vol. 22, but I'm fairly certain that Richard Toop also mentions this in his Six Lectures.

uatu Offline




Posts: 161

Sun Jan 04, 2015 4:18 am
#4 RE: KATHINKAs GESANG als LUZIFERs REQUIEM reply

Oh I thanks Jerry - I will add that soon - I remember seeing the diagram to what you mention but didn;t quite "get it" due to kind of experiencing a little bit of information overload by the time I got to that part (prior to that I had just read the Stockhausen text about the EM of KATHINKAS GESANG in PoNM...)

Thanks for the catch!

Ed

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I feel that it could be useful to have a discussion-forum on the music of Stockhausen. There are so many people from all over the world, young and old, learned and eager to get into contact with this musical world: musicologists, composers, musicians, music lovers; people who plan concerts - who write books or have to give lectures and so on. So there should be much stuff, many ideas that we can share. And when we have open questions, there may be people who studied just that and could give a hint or a stimulus. A problem might be the English language, but i feel that is the only possibility that many people who are interested can participate. And we can exercise tolerance to mistakes! Thomas Ulrich
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