Word: stockhausen
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KARLHEINZ STOCKHAUSEN: GRUPPEN FOR THREE ORCHESTRAS; CARRE FOR FOUR ORCHESTRAS AND FOUR CHOIRS (Deutsche Grammophon). Composed between 1955 and 1959, these scores represent Stockhausen's first space compositions using nonelectronic sounds. Significantly, both works had their premieres in large, barnlike fairground buildings rather than on normal concert stages. In Gruppen, three orchestral groups totaling 109 players curve around three sides of the audience; in Carre, four groups of 20 players each, plus eight to twelve singers, face outward from a central circle. Both compositions fill the air with hard-edged blocks of dissonance that collide, clash and splinter with...
...awarded the W. Alton Jones Chair of Composition at the Peabody Conservatory of Music in Baltimore this year. In Europe, he ranks as one of the most influential American composers, and is admired by such leading musicians as France's Pierre Boulez, Germany's Karlheinz Stockhausen and Italy's Bruno Maderna. Available Forms II, which is Brown's most ambitious work, was performed by the New York Philharmonic in 1964, with Brown conducting one orchestra of 49 players and Leonard Bernstein another. Brown is now putting the finishing touches on a work for 30 instrumentalists that...
...Pictures at an Exhibition, and Bartok's Violin Concerto was not just another variation of the workhorse-standard esoterica-classic modernist admixture. It penetrated the analytic encrustation of ten thousand musicologists, from the turbid intellectualism of Boulez to the ornithological rhapsodizing of Messeian to the volcanic dogmatism of Stockhausen, to reach the foundation of twentieth-century music...
...subway and even on the airplane -as he did last month when he popped across the Atlantic to pick up an honorary degree from Harvard. Much of his inspiration comes from music. "Right now I'm in a Bach mood," he reports. "Tomorrow it could be Stockhausen. I'm very fond of the Beatles, too." Then, after the first spontaneous burst of creation, come the months-and sometimes years-of revision. "A line," says Miró, "has to breathe. If it doesn't, it's dead, and if you see a corpse, you smell...
...called The Election, "you get cured of the lust for money and you want to produce something-well, heavy." Other experimental rock composers seem motivated more by a restlessness to burst out of conventional molds. San Francisco's Steve Miller, who is writing a suite that will combine Stockhausen-influenced elec tronic music with rhythm-and-blues, says simply: "I don't dig three-minute sections." Classical and Jazz Composer Bill Russo, director of Chicago's Center for New Music, puts it even more decisively: "The music had two directions to go-to get decadent...