Word: stockhausen
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Dates: during 1980-1989
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...four separate meters, freewheeling modulations and titillating tonal trappings, showed that the Beatles had flowered as musicians. They learned to bend and stretch the pop-song mold, enriched their harmonic palette with modal colors, mixed in cross-rhythms, and pinched the classical devices of composers from Bach to Stockhausen. They supplemented their guitar sound with strings, baroque trumpets, even a calliope. With the help of their engineer, arranger and record producer, George Martin, they plugged into a galaxy of space-age electronic effects, achieved partly through a mixture of tapes run backward and at various speeds...
Lintgen also draws the line at certain contemporary works, such as those of John Cage and Karlheinz Stockhausen. "That," says the doctor, "is not music." But he can spot such forbidding or lesser known compositions as Messiaen's Turangalila-Symphonie or Alan Hovhaness's Floating World "Ukiyo." "Those two were my best accomplishments," he says, "unless you count the time I recognized a recording of Beethoven's Fifth from across the room...
...apartments, not New Mexico. I assumed that because of the opera and the chamber festival, the audience would be sophisticated. When I talked to people about what they wanted to see, everybody, but absolutely everybody, said Neil Simon. I found we had an audience that knew about Hindemith and Stockhausen but nothing about the theater. The Front Page was as close to Neil Simon as we could get with an American classic...
...McCartney wrote for the Beatles, separately and together, brought more people up against the joy and boldness of rock music than anything else ever has. It wasn't just that Aaron Copland and Leonard Bernstein were taking the Beatles as seriously-and a good deal more affectionately-than Stockhausen. The worldwide appeal of the Beatles had to do with their perceived innocence, their restless idealism that stayed a step...
...pianist of comparable stature can match Pollini as an exponent of contemporary music. His programs feature the works of Webern, Schoenberg, Boulez, Stockhausen and his friend Luigi Nono, alongside more standard offerings. "The music of today is a mirror of our time, of its problems," he says. "Why is it normal to be interested in Picasso and Joyce and not in Schoenberg and Stockhausen?" He has sometimes paid for this conviction by being booed at performances, an experience that he shrugs off: "No response at all would be worse." Once, in Vienna, a Stockhausen score called for him to strike...