Karlheinz Stockhausen, Gruppen - Ensemble intercontemporain
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- Опубликовано: 27 авг 2024
- Karlheinz Stockhausen
Gruppen, pour trois orchestres
Orchestre du Conservatoire de Paris
Ensemble intercontemporain
Matthias Pintscher, direction
Paul Fitzsimon, direction
Bruno Mantovani, direction
Enregistré en direct à la Cité de la musique le 30.01.2016.
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This piece is absolutely the peak of human imagination and this is the best performance of it I've listened.
"This piece is absolutely the peak of human imagination" a bit exaggerated.. I'm not even sure it's the peak of Stockhausen's imagination (a great piece, for sure, but please: remember all music has been made before, around and after this - not to mention all other forms of art)
lmao. Imagine this being the last remnant of humanity.
by far the most perfectly well played Gruppen I've ever heard and the conductors really deserve a big thanks for learning such a difficult work, the polymetre between them must be hard to learn
Il est remarquable qu'après toutes ces années, cette pièce sonne maintenant comme une merveilleuse étendue de pure mélodie.
oui c'est totalement vrai !
It is still the sound of me going insane from the nightmare!
It's remarkable that after all these years this piece now sounds like a wonderful expanse of pure melody.
That's because it's one of the few pieces left which radio stations like KUSC here in Los Angeles hasn't played literally a hundred times in the first six months of this year alone--- and isn't that dreadful "minimalism." Like "In C" ("C" standing for "Cruel and Unusual Punishment"). In case you've ever wondered why "top" musicians love playing In C, now you know. en.wikipedia.org/wiki/In_C
I don't like Serialism but I do enjoy Gruppen. It even moves towards Minimalism later on in the piece with the use of repetition. A marvelous experimental piece.
@@patrickcrosby3824 Surely you don't see Reich's highly developed, syncopated and and melodic music as punishment? His understanding of music is really comprehensive.
As someone very ignorant of Stockhausen other than a few snippets and a bit of reading, I found it very interesting and (surprisingly, at least to me!) listenable. It must be incredibly difficult to orchestrate and rehearse. Very dramatic musically but I'm not sure 'melody' would spring immediately to mind. Can you explain? Thanks.
i know im asking the wrong place but does anybody know of a tool to get back into an Instagram account..?
I stupidly forgot my login password. I love any help you can give me
17:45 that guy in the middle thinks: How tf i got here?!?!
😂😂😂😂
"I thought we were playing Mozart tonight"
😂😂😂😂😂😂
Three cheers for the Ensemble Intercontemporain! And hats off to the memory of Karlheinz Stockhausen. Fantastic work, fantastic performance!
Totally new sounds trigger new cognitive sensations. It is very hard to put those sensations into words. I often feel twelve tone music is sour in an appealing way. That tension grabs the mind and ear with so much more fascination than something sweet and predictable. The fact that it is open and changing yet never resolved to any tonic. Every note feels like a dynamic movement to a new place, spatially, texturally. It's like the harmonic language of Western music is so tied up with certain cultural evocations that it's a language, a set of conventions, an idiom we all share commonly and already speak. We all recognize the same feelings being evoked by a certain melody or chord progression, already recognize the story being told. But with twelve tone music a completely new story is being told. Instead of familiar melodic characters and specific associated emotions we have an open, abstract and complex parade of mental evocations, colors, textures, forms, events, sensations.
“Desde que el hombre existe ha habido música. Pero también los animales, los átomos y las estrellas hacen música." Karlheinz Stockhausen
è vero
Everything vibrates.
I am old enough to remember when Karlheinz was the Man! Those were exciting days, difficult days, filled with challenging music.
Down hill since then.
He was certainly THE MAN if you wanted to proclaim him as the AVANT AUTEUR du jour. Nor sure if it sounds so transgressive now.
Amazing how the photography follows the nuances. And the at the opposite end of the spectrum shows all three orchestras at the same time. And then all the other ways of slicing and dicing. Very creative.
Refreshing to hear music that is so different from pop or even most classical - funny that it reminds me of many movie thematic music scores
To me this piece screams to me as the interplay between grandiosity and intimacy. There are probably well near 200-300 musicians but it also has a feeling of intimacy as well!
It's remarkable that after all these years, this piece now sounds like a wonderful stretch of pure melody
Delightful.
This is revolutionary stuff. I hear the whole of the 20th Century in it, all the politics and violence that happened, the liberation of society and its many consequences. It just captures the end of an era so well. And I write this without irony. Kudos to the musicians who played so wonderfully and the producers for staging the work with such reverence.
But... I'm glad that the avant garde has moved on. It's definitely not easy to play or listen to.
I think it isn't a matter of the avant-garde moving on, it's more that something like this could be seen as a very brilliant dead-end. Even Stockhausen himself after writing this work and also making Kontakte changed! Personally I think this and Kontakte are his two great masterpieces. It's possibly too hard to explain here but the relations of tempos in the piece are harmonic ratios and the "model" of the piece is that of a three part counterpoint but with single pitches replaced by "groups" of pitches: each "group" is one note underneath. One reason why there are long sustained pitches towards the end is that Stockhausen stops articulating them in the way he does at the beginning, so it starts to feel "clearer". Stockhausen added "inserts" into the piece (such as the huge brass climax at 120bpm) which don't follow the model he laboriously constructed - the common idea of "serialism" as some kind of automatism is a complete falsehood by the way, a lot of this music is freely composed on top of an extremely rigorous scheme. I am glad that this piece exists. It is very often purely thrilling at a sonic level, especially when so well played as this. I would prefer this played a hundred times over even one scene of the late operas, which I regard as the biggest wasted effort in the history of music, not least because Stockhausen gave up constructing sound from the ground up when synthesisers became available and he could simply dial up a ready-made sound by the time of the Licht cycle.
Art can only ever reflect/interpret the age it was made in, but kind of parallel to painting having been changed by the revelation of African art... WESTERN painting having been changed... the influence of, say, gamelan on the work of Glass, Reich and others is, to me, undeniable.
But in this case, and it might be something to do with being written in the post war period, the influence of Japanese music seems apparent to me; that move from a piece being effectively a melodic development, a cohesive structure to a "series" of "events" is, to me, an almost zen like way of telling the/a story.
@@porcinet1968 I have read your post twice and find myself in at least broad agreement with you.
I also have this strange idea which I have carried around for some time, that post-WW2 art was in many cases a reaction to the horror of war and more particularly THE BOMB.
"freely composed on top of an extremely rigorous scheme", again TO ME, sounds like a description of a Japanese influence.
I could be wrong; I often am.
Hello Noe. That's the concept of the piece. It's always played like that.
Best
I marvel at the amount of effort that must be put into learning the parts and to bring all of it together in rehearsals and then live performance. As a pianist I know that learning, say, Luciano Berio's "Sequenza IV" is difficult enough just for my one instrument. Performing "Gruppen" and so many other modern works just never stops amazing me. Great performance here, by the way. Thank you for posting this. 😁
Perhaps, but at least with Gruppen, if half of it was in error, the audience would never know.
I'm just amazed all of the effort wasted composing and rehearsing this piece only to have it sound like rubbish.
@@pikachuchujelly7628 It is very interesting or else we wouldn`t do it. And it is great for horror and sci-fi.
@@drivinsouth651 Yes, it can be used to great effect in movies, but listening to a 20 minute piece with nothing but this is not pleasant.
@@pikachuchujelly7628 After you finish laughing, reeling in terror, or both, it stops being interesting and becomes quite annoying. It literally sounds insane and I wonder if I am losing my mind along with the orchestra. , lol!
This is an extraordinary performance and literally gives wings to this amazing piece. How beautiful, delicate and full of colour with surprising and sudden powerful outbursts. Quite transporting and stunningly sophisticated detailing of the forces. The orchestral tutti is disturbing. Wow!!!
I can have the same experience walking into a middle school band room when they are warming up.
Mantovani conducting Stockhausen. Not a sentence I thought I'd ever write.
Maybe he had no choice, as the director of the paris conservatoire, since the orchestra of the conservatoire was performing along with the EIC...;-)
Nor one i thought id ever read.
When it was published, the old Stravinsky declared that it was the best score of the last years.
And Stravinsky thought that anyone could have composed Messiaen's "Turangalila-Symphonie" given enough manuscript paper. The difference is that just about everyone who hears Turangalila loves it, while this Stockhausen piece is completely forgotten 30 seconds after hearing it (and ditto most of late Stravinsky).
docsketchy That's not true whatsoever
I agree with Docsketchy completely...@@davidbrant390 The only reason this piece is remembered is because of it's unorthodox arrangement.
@Boris Sitnikoff Stockhausen was all about the theatre of a performance, you shouldn't need me to tell you that. Half of his piece was the concept, whether helicopters of 3 orchestras... Most people wouldn't pay to see this, it's laboratory music, nothing more, in my opinion. Sure, he won't be forgotten in a hurry, but I believe that's just BECAUSE of the craziness of the music. There are lots of ensembles/conductors that want to keep this music going, but there isn't a large audience for it. Compare that to a philip glass, arvo pärt, nico muhly or max richter concert.
@Boris Sitnikoff Dude i'm not going to be your reading list, go read about the man. I'd suggest 'My musical language' by Messiaen, there's a good section on Stockhausen. Do i really need to spell it out for you when the man was paid to write a piece for helicopters?
This reminds me of a lot of visits to modern art museums
All visual art is shit, doesn't matter who it is. The Mona Liza is lame masturbation
The youtube comment section is truly awful. Just awful.
@@bartyouknowme1699 gr8 b8 m8
@@bartyouknowme1699 yeah dude good point
@@bartyouknowme1699 you seem like a miserable bastard. Maybe you need a vacation.
Remarkable performance of this magnificent piece of avant-garde music. Stockhausen is one of the best XX and early XXI Century composers and educators. This particular piece including three orchestras is extraordinarily difficult. Fascinating !!
Fantastic performance. I can't imagine all the preparation the went into making this happen.
Genius cosmic composer, virtuosic conductors, brilliant performers who get it.
An astonishing production of engaged pure energy. Stronger now than when I heard for the first time 52 years ago. He never stopped!
when I first heard this piece back in 1971 or so, I didn't like it, but wound up really enjoying the original release of Gruppen on Deutsche Grammophone, 1968, never ceases to amaze me each time I hear it, it changes its shape and form. I think I've heard this piece over 500 times at least, over the years.
Transcendental. Thank God for the French and Ensemble InterContemporain.
I feel like I'm summoned to hell and being beaten with hammers and sticks.
@@TheMikkis100 I know. Isn't it great.
I wish I could see all 3 conductors at the same time. I think that would be a great view to see how they communicate with each other and their ensembles.
Not only you can't SEE all conductors at the same time (thanks to the incompetence of the film-maker) but you can't even HEAR that there are three ensembles (grupen) and three conductors, supposedly in interaction with each other, because this coexistence is a pure concept, an abstraction, which defies perception. Someone who does not know the way in which this piece is conceived would never guess that there are 3 ensembles. A perfect exemple of how contemporary music has built itself on a wilful ignorance of physiological parameters of sound perception.
@@jean-francoisbrunet2031 You can see all 3 conductors at 14.07-14.28, 17.50-18.09, 18.19-18.30, 22.44-23.00 and especially at 20.27-20.37. Clearly this is a challenge for stereo recording but if you get closer than what might be your normal listening position, you can hear what a great job the sound engineers have done.
@@jean-francoisbrunet2031 "A perfect exemple of how contemporary music has built itself on a wilful ignorance of physiological parameters of sound perception" a perfect example of a dogmatic generalization (by the way, you can perceive the 3 groups - I can, if I can, you can... - especially in live performance since in whatever recording you have the space is at least "compressed": haveing 3 different souces, one in front, one right and one left separated by several meters would be a pretty different experience. people too often forgets this part of music, often people misunderstand recorded music)
by the way: can you perceive here strong relations with Brunelleschi's work?
ruclips.net/video/hGW2HL35kqY/видео.html
I can't because they are only in the mind of the composer - does this mean the piece is bad? or the technique not legitimate?
@@emilianoturazzi A more interesting generalization might be to the Codex Chantilly or the 36-voice canon attributed to Ockeghem. But any debate is pointless without first agreeing on a certain fact: for the first time since the beginning of what can be called classical music (the late Middle Ages? The Renaissance?), and for more than half a century now, 99% of music lovers hardly ever listen to contemporary music (whereas before, they practically only listened to contemporary music). Only then can one profitably ask the question of the mechanism behind this strange evolution.
This piece is sensational.
I always connect to my home stereo when I want to listen this music and the sound is amazing.
Very well played, and superbly filmed.
Hi Seawall.
I'm listening in a dairy barn in Illinois at 2:45am. Come have a coffee with me. Live stock seem to have a great appreciation for Stockhausen.
WUNDERBAR. FELICITATION. ENSEMBLE INTERCONTEMPORAINE ET LA ORQ. DE PARIS.
From Memories and Commentaries (1960). Robert Craft: What piece of new music has most attracted you in the last year? Igor Stravinsky: Stockhausen's Gruppen. The title is exact: the music really does consist of groups, and each group is admirably composed according to its plan of volume, instrumentation, rhythmic pattern, tessitura, dynamics, various kinds of highs and lows (though the constant fluctuations of highs and lows, a feature of this kind of music, is its very source of monotony). Also, the music as a whole has a greater sense of movement than any of Stockhausen's other pieces.
el inmenso ego de strawinsky obligó al mundo musical a fingir que esto le gusta.
@@dianamarin3767 Stravinsky supo apreciar la buena música de todos los estilos, aunque no fuera su estética específica. En este aspecto no tenía ego. Deberías aprender una lección de Stravinsky en ese sentido...
listening to this for the first time and it's quite an adventure! really satisfying piece
I really love this piece. It takes me to the whole new dimension .
The dimension is called hell.
@@TheMikkis100 I like your comment . may be so. LOL
What "dimension" is that?
Una esecuzione a dir poco fantastica di un capolavoro assoluto. Certo, per apprezzare appieno esecuzione e composizione bisognava essere lì.
Hard to imagine it being played better...however it's hard to get an idea of the form of the work, or whether you could exchange one bar for any other in the work and it would not be noticed.
Thanks !
You could do the same with entire movements of Mozart works and nobody would be able to tell the difference
Intelligent beings on another planet picked up a radio broadcast of "Gruppen". Their initial reaction to it was pretty much uniform: "This is indeed extraterrestrial music."
I get the feeling that I'm missing much of the effect in a recording. It's very colorful music with nice contrasts, and the use of electric guitar gives a bit of favor, but how much cooler would it sound from the middle of the concert-hall?
As some of you know from my comments, i have had a difficult time embracing Stockhausen. Having finally heard a Boulez orchestral work that captivated me and performed by this ensemble i thought i owed it to myself to check this out. So far so good. The camera work is engaging and helps to isolate the various parts.
What a beautiful rendition of an incredibly technically exacting piece! Kudos to the Ensemble intercontemporain!
I just realized that Stockhausen scored for ELECTRIC GUITAR
mind blown
And, moreover, he composed this piece in 1957, when the electric guitar was still in it's infancy.
Mi mente descansa de tanta tonalidad andando ....me hace mucho bien..gracias
claro, descansaste cuando se terminó. como todo el mundo
A splendid performance!!
That legitimately was one of the most haunting and horrifying pieces of music I've ever heard. There were moments where the music swelled with such a dissonant disharmony that it seemed to embue a sense of existential extermination. It was as if the collective voices of billions and all that we hold as most sacred were ruthlessly executed. Even the breaks in melodies and drawn out silences were terrifying as it gave a sense of the eree silence post total warfare.
Listening to this piece makes me cherish life more. Life is something worth saving and we shouldn't forget that. I know that there are a lot of issues in the world today and it can feel hopeless at times but we can't forget the miracle of existence. More people need to watch this video. Especially the politicians, and autocrats that are willing to declare nuclear war for the purpose of political gain.
I think your comment says a lot more about your psychological state than about the piece. I have rather the sense of enrichment instead of extermination while listening to it.
@@thomaslaubli1886 Lol a funny quip. I like to make bold claims that challenge people's perspectives. I think you're missing the point of my comment though due to either misinterpretation or presumption.
Tell me the point of listening to music that's clearly designed to illicit dark emotional connotations (i.e. compositions by Lili Boulanger, or Bernard Herrmann)?
Don't fall sway to the temptation of trolling due to anonymity, it's inappropriate and too normalized these days. Talk to me and others as if you cared about the human behind the keyboard.
How much acid were you on while listening to this?
Extraordinário! Fabuloso! Divino! Tudo, simultaneamente.
Fabulous dense musical happenings here!
Stockhausen and Edgar Varese were two of Frank Zappa's influencers. It shows on many of his recordings.
I guess if you've come for the tunes and the beatz you've come to the wrong shop. But come on! Pretty obviously everything about this - the playing, the conducting, the writing - is all just virtuosic. Those percussion players are giving it heaps! I was going to say "Needs more cowbell, but Stockhausen anticipated me there.
I actually played this at the RCM many years ago.
I don't recall a single person in the orchestra who found it interesting, fulfilling, enlightening or enjoyable. The three conductors spent the majority of the rehearsals arguing, sorry, discussing their interpretation.
I do recall, at one of the rehearsals, where I had a couple of pressing commissions for pencil drawings, working on these in between the many long rests to alleviate the boredom, putting the artwork down, picking up the violin to play the required single note - somewhere perhaps on the second half of the third beat of the bar, then to continue drawing until the next requirement to play.
I became aware of someone behind me - it was the bursar. His only comment to me was, 'that's quite impressive '... whether he meant my drawing or the fact I had memorised the work sufficiently well to be able to multi-task, I will never know.
I think it is more an audience work. From the audience perspective you are in the middle of an arena where the orchestras are calling to each other and sounds and textures go across your head from one to the other. This was to lead to his explorations of Octaphonic sound projection. It is basically an acoustic arrangement of the kind of sounds he was exploring electronically. The conductors should have worked everything out between themselves prior to rehearsals however.
Its a fairly early work, skeletal compared to where he was going to end up.
To complete your thought, why not tell us what you *do* find "interesting, fulfilling, enlightening, or enjoyable?" Handel perhaps? Dvorak? Tchaikovsky? These are composers whose "best loved" 20 or so works each (e.g. the 'American Quartet" of AD, the Op. 6 of Handel, etc) are played over and over again on KUSC here in Los Angeles. That is to say, when KUSC isn't playing one of the last 8 or so symphonies of Mozart, or one of his worn out violin concertos. None of these are inherently "bad" works, but they've been played to death. This is why I rarely tune into KUSC anymore. BBC3 used to be an alternative, but much less so in the last year. Yesterday, however, BBC3 played a performance of Gruppen. A definite bright spot in their programming this week. Gruppen as performed here? Absolutely spell bound by it. More than that, it gives me hope that maybe the joy of music which I used to so frequently experience (before KUSC and like stations were "dumbed down" a few decades ago--- likewise today's major orchestra concert schedules) may still fill a few moments yet ahead of me.
well done well done! Well Done by the way really well done
I studied at the RCM too. One of the more depressing features there was the conservatism of many (good) players, who were not interested in expanding their horizons in the slightest, but only learning notes. Watching wind players moan about Stravinsky's 'Symphonies of Wind Instruments' was only one particularly idiotic example. So your attitude doesn't surprise me in the slightest.
I cannot help but think there is a sort of pretentiousness in the composers who write this stuff. When ADales writes about being required to "play the required single note - somewhere perhaps on the second half of the third beat of the bar", he/she is referring to the prospect of having to put the years of music training and time sacrifices into playing that single note which few would even hear or appreciate. It`s actually kind of insulting. Composers must keep the musicians in mind when writing music; after all they are the ones who have to perform it. That`s why a lot of jazz is so much fun because it`s written by jazz people for jazz people (Rob McConnell`s music is a total blast for musicians and audiences alike!) I bet pieces like Scales (also by this ensemble) was written with musicians in mind, too. So, why on earth did I click on Gruppen? I thought I`d give it another shot; I did....for about 5 minutes. I got bored.
This piece is genius and beautiful. I know it sounds as just noise for the vast majority of the public.
But there's racionalism in everything writen. I'd love to be there watching or even conducting it!
(No, I am not mad. Or perhaps I am, who knows... hahahahahhaahah)
This is just gorgeous. The way bursts of pleasure coalesce out of nowhere and vanish, exquisite.
La belleza de la audacia y el riesgo. Por otra parte, encantador el detalle del músico tapándose los oídos en el 9:53
de hecho habria que taparselos 24 minutos es increible lo que la gente afirma con tal de parecer inteligente
@@dianamarin3767unfortunately I think you're right.
Impresionante. Una experiencia fantástica. Fresca, renovadora!!! Gracias por permitirme asombrarme creativamente de nuevo!!
Did anybody else notice the missing note?
amateurs.
Wasn't that an indeterminate note?
Everything in the piece is an object. Probably why Stravinsky liked it. It's a 24 minute collection of musical objects.
Ahhh the nostalgia! Just like watching a Tom & Jerry episode.
Scott Bradley (composer for the Tom & Jerry shorts) actually incorporated Schoenberg's 12-tone-serialism in his scores for a few episodes.
Merci infiniment
It's remarkable that after all these years this piece now sounds like a wonderful parody on a pure melody.
Une mise en place complexe... Impressionnant !
Love love love it
The unheimlich attempt to approach the dark core of the element of lostness in the "radically mysterious dispensation of Fate" (Strauss' formulation of Historicism) remains imperfectly creepy.
Masterpiece! 🎼💎
As Ralph Vaughan-Williams said, after reviewing one of his composition student's scores: "It's interesting, but if a TUNE should ever occur to you my boy, don't hesitate to write it down."
Ha ha
which stockhausen did, in mantra - which doesn't in the least lessen the value in the present piece
Grande Ralph!
@@musik350 And, by the way, in his Zodiac pieces.
I wish it were on three separate videos and I could hear it on three separate computers surrounding me. (And a fourth one if I listen to Carré too.)
Amazing - thank you.
Thought I saw Sophie Cherrier in there... that girl has done it ALL... THREE TIMES... with a smile!
In many parts of the score, the rhythm consists of one instrument playing one note per beat, another playing two notes per beat, others three, four, five, six, seven, etc. notes per beat -- like overtones of the beat. I wonder if anyone has ever taken a recording an sped it up to where even the slowest tempo is, say, 16 beats per second, so that all of those beats and rhythms are instead heard as pitches and timbres. Or has taken the score and done the same thing electronically or on the computer.
I did exactly this with a piece by Gerard Grisey that uses percussion to outline those "harmonic rhythms" and it literally sounded like speech when sped up to a fraction of its actual length
@@porcinet1968 I need video demonstrations of that, sounds incredible
It's remarkable that after all these years this piece still sounds like crap. It is timeless crap. Now, as then, the piece evokes imagery of constipation punctuated by staccata of projectile diarrhea.
The beauty of crap music is that the players can make mistakes -- many mistakes -- and no one would know. Heck, someone could mistakenly drop an instrument and people would think it's part of the composition. You can skip a page or even play it backward and the poseur audience will still applaud. I bet the composer himself wouldn't even know.
😂😂😂
🤣🤣🤣🤣
19:05 the expressions of the audience...
Not that different from an audience at a Mozart concerto
Nadie entiende nada y todos fingen que les gusta
@@dianamarin3767If you don't like, why you don't give a damn and go to hell?
fantastique !
Gave me the chills.
Wow, it was all over a long time ago.
Stupendo, e difficilissimo da eseguire!
so good...
-- La musique de Stockhausen a la faculté de transporter loin à l'intérieur de soi. --
so they've been warming up for 20 minutes. do they play after this?
Someone please tell me why the orchestra is configured into the 3 groups, aside from that being Stockhausen's instructions. Is this piece ever performed with all the musicians seated contiguously? Is it because this piece is impossible for one person to conduct, hence the physical separation?
spatiality.
+Garrett -- thanks for that answer. I can interpret that several ways. I suppose it is similar to having Quadraphonic stereo speakers instead of just 2?
In a proper performance the ochestras are placed so the audience is in the middle and all the interplay between is shooting back and forth across the auditorium.
It is also written out as different tempos for the different orchestras
Bravoo! Bravooo!!!!!
A gift to humanity
Uhm, I don't get it. And I can't pretend to either...
0:48 is a good place to start.
Precise and very articulate. Tres Bon.
I've been listening to a lot of "avant-garde" music lately. I'm really taken with Boulez's music, but I'm not convinced that Stockhausen wasn't just having everybody on.
On the contrary, Stockhausen was probably the only one who was seriously following a line of thinking throughout his career. This idea of moving sound through space around an audience was to lead to Octaphonic sound projection in "Licht" and developing technologies to be able to make that possible.
docsketchy wait till you hear Mozart, you'll be like "WTF is this bullshit, this is not a masterpiece, it's just a bunch of obligatory cadences. Mozart was a charlatan"
Hmm, I prefer this piece/performance to Boulez'' "Repons" I just heard. Just more to my taste for some reason.
@@webkahmik Repons is probably my least favorite Boulez piece. However, I can't get enough of Derive (1 and 2) and Sur Incises. The latter especially creates a totally new soundscape with the use of unconventional instrumentation (three pianos, three harps, and three mallet instruments). It is definitely more than the sum of its parts, which I can't really say about this hot mess, Gruppen.
I once half-asked S this question. He wasn't It's a kind of mild Asperger thing. His perpetual abilities, discrimination, precision etc, are legendary. From my close experiences with Kontakte, and my 50 plus years of listening to this piece, I feel quite assured that he heard every note of this, and all his pieces.
OUTSTANDING.
Oh wow and OMG - I get to Watch Gruppen !!
this my weekend jam yo
Excelente !!!!!
Does anyone have a recommendation of a similarly excellent recording of Carré?
Ce qui est cool, c'est que tu peux te tromper, personne ne s'en rend compte
One of those groundbreaking pieces, like Boulez's "Repons", that probably doesn't get played vary much, due to needing an unusual staging and an unusually constituted ensemble.
The Ensemble Intercontemporain is one of the few groups who can do it, owing to having their own especially-constructed facility.
It must be an incredible experience to sit in the middle, and hear the music happening all around you.
What I'd like to know is how he set about creating this piece of aural art. It holds me but I can't work out how it does so.
crazy stuff but well done....chapeau bas!
Happy too!!
Terrifying stodgy old symphony board members to this day.
Haven't heard all of Stockhausen, by any means-some of it is downright silly and feels like S is just trolling pretty much everyone. But this if freaking brilliant.
Agree!
yay! :)) im so happy
Is this what people refer to as dubstep?
Brilliant.!
Én nagyon nem értek a zenéhez, viszont nagyon szeretem Ligeti György műveit. Persze, azokat melyeket még itthon írt. Roman concerto, Három lakodalmas, Dalok Weöres verseire stb.. Úgy vélem, ott bicsaklott meg tehetsége, mikor Darmstadtba került és Karlheinz Stockhausent próbálta utánozni. Nem kellett volna.
É uma pena ter que, somente, ouvir esta peça através de um vídeo em uma plataforma de internet que nos limita às duas únicas possíveis dimensões (2d) da tela, e uma só fonte de som, quando a intenção do autor era envolver o ouvinte em todas as dimensões, daí o uso de três orquestras ao redor da plateia. Aqui perde-se toda a experiência sensorial que a música pode possibilitar.
Q massa cara.
I couldn't hear the words! How do you expect me to dance to that?
Mikhail Baryshnikov, definitely not John Travolta.
青学の audio room に僕が注文した現代音楽コンピがあったけど、まだあるかな。これも入ってるよ。