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Posts: 161

Tue Apr 28, 2015 6:47 am
FREITAG AUS LICHT: PAARE VOM FREITAG reply


PAARE vom FREITAG (Couples of FRIDAY)
with soprano, bass, electronic instruments (tape)
(1992/1999) [65']

PAARE vom FREITAG (Couples of FRIDAY) is the collective title for the "male and female" electroacoustic music comprising the 12 SOUND SCENES (taped interludes) in Stockhausen's opera, FREITAG AUS LICHT (FRIDAY from LIGHT).

Probably the most immediately striking aspect of the COUPLES of FRIDAY are the electronic effects applied to the Soprano and Bass vocals (sung by Kathinka Pasveer and Stockhausen himself), as well as the "sound effects" and field recordings integrated with them. Several electronic processing devices were used, usually in combinations with each other.

Vocoder - this device takes 2 input signals and uses one to modulate the other. In a typical scenario, a voice input modulates a synthesizer timbre to create a "robotic" voice (the vowel sounds are replaced by synth tones, called a "carrier"). These have various filters and noise elements which can also "flatten" an input signal into a monotone pitch. An internal synth timbre can also be used as the carrier instead of a 2nd input (the concrete sounds in this case)
Harmonizer - This device takes an input signal and mixes in a parallel pitch-transposed layer (or layers, if a harmonized chord melody is desired). The original signal can also be left out, leaving only the pitch-transposed layer (which is also robotic-sounding).
Sampler - Typically controlled with a keyboard, a sound (field recording, percussive attack, synth timbre, voice, etc...) is dynamically triggered according to different durations and pitches, and optionally looped. In other words, by playing the keyboard as a trigger, it is possible to create rhythms and melodies using the sampled sounds.

More below:
http://stockhausenspace.blogspot.com/2015/04/paare-vom-freitag.html

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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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