Karlheinz Stockhausen - Stockhausen Edition 91 - Cosmic Pulses
Жанр: Contemporary
Год выпуска диска: 2007
Производитель диска: Stockhausen-Verlag
Аудио кодек: APE
Тип рипа: tracks
Битрейт аудио: lossless
Продолжительность: 77:00
Трэклист:
[1] Cosmic Pulses (2007)
(13th Hour of Klang)
[2-25] Beginnings (90 seconds) of each of the 24 layers
Loops and synchronisation: Antonio Pérez Abellán
Spatialisation: Joachim Haas, Gregorio Karman, Antonio Pérez Abellán and Karlheinz Stockhausen
Доп. информация:
by Mauro Mariani
Dissonanze, the festival that experiments with the rapport between musical creativity and technology, offered a pre-hearing of two electronic works by Karlheinz Stockhausen, one of which had never been heard before and was commissioned for the event.
What the festival Dissonanze offered as a pre-hearing at the Parco della Musica was something that went beyond not so much the traditional ritual of concert but the very way in which we are accustomed to listening to music. It was the experience of new sounds and above all new systems for organising sounds that created an extraordinary continuously moving sonorous space that plunged the listener into acoustic experiences never felt before. There were two pieces on the programme, both by Karlheinz Stockhausen. The first, Wednesday Greeting (1998), is the elaboration of a scene from Licht, the mammoth cycle dedicated to the seven days of the week that the composer took twenty-seven years to complete. The listener is enveloped, trapped, disoriented, and hypnotised by the slowness with which the sounds change and by their slow meanderings in the space between the four groups of loudspeakers. The most unusual experience is the loss of any sense of time, so that at the end you can not say if it is a few minutes that have gone by or two or three hours. The second piece, Cosmic Pulses, was an absolute first and is part of Klang, a new cycle dedicated to the twenty-four hours of the day. The electronic effects of the previous piece pale in comparison to the virtuoso use of eight groups of loud speakers (although it sounds as though there are more) that transform the sounds, making them race around so that they rebound from one end of the room to another, appearing, disappearing, and then appearing again. If the previous piece had an atmosphere of slowness, in this piece everything occurs quickly and with bewildering complexity: this sonorous hyperactivity is the opposite of the contemplative immobility of the previous piece, yet the result is nevertheless the loss of all sense of time. Seventy-nine-year-old Stockhausen seems to have found renewed youthfulness, and at the end dozens of youngsters – of rock-concert age and dress – surrounded him to ask for explanations on what they had just heard and to express their own feelings to him.
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