Word: stockhausened
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...famous composers. While it might be rash to say that the musical avant garde has lost touch with the concert-going public, it is certain that this public must be educated in a very thorough manner if it is to get more than a shock from a work by Stockhausen. Last year's New Music concerts in Paine Hall included several works by Stockhausen and members of his school; auditors were left with vivid memories of short bursts of highly involved music, inevitably punctuated by long spells of uncontrollable giggling from the audience...
...Marteau created a mild sensation at its first performance three years ago. After an interval in which Webern's fame has grown tremendously, Boulez' piece has become more accessible, although it remains a rather tough puzzle. Certainly it has far more surface attraction than the Stockhausen recorded here: Boulez call for alto flute, xylorymba, vibraphone, guitar, viola, and several exotic percussion instruments. Four of the nine sections are settings of surrealistic poetry by Rene Char; the contralto Margery MacKay displays here an engagingly warm and sensuous voice. Practically all of the music moves at a furious tempo; this speed, coupled...
...Marteau one recognizes Boulez' individuality; it is far from being merely French Webern played at high speed. Many listeners will be charmed by the piece--few will be charmed by Zeitmasse ("Tempo"), for woodwind quintet (with English horn substituted for horn). Where Boulez is witty and Gallic, Stockhausen is ponderous and Teutonic. The piece is based on an exceedingly complicated schedule of ratios, educations, and formula borrowed from the forbidding world of electronic music. What the uninitiated listener hears is a strange web of sound, frequently frightening and dense as all five instruments sweep from one extreme of their range...
Three Conductors. The complexities of electronic composition are such that Stockhausen, although he works twelve hours a day, has completed only seven electronic compositions. He has also experimented with instrumental music, including his Piano Piece No. 11, which permits the pianist to play fragments in whatever order his eye falls on them but specifies that when he has played one fragment three times, the piece must end. Another Stockhausen experiment: Groups, a 20-minute work which calls for three orchestras playing simultaneously under three separate conductors. His work in progress: a piece for electronic and conventional instruments, which will allow...
...Composer Stockhausen thinks that electronic music has scarcely begun to explore its potentialities. Says he earnestly: "I want to be able to bring sounds from every surface area of the room. Why not loudspeakers on swings overhead or a completely globular room with loudspeakers blanketing the walls and the listeners on a platform suspending in the center...