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Aus den sieben Tagen

February 16, 2024

Aus den sieben Tagen (From the Seven Days) is a collection of 15 text compositions by Karlheinz Stockhausen, composed in May 1968, in reaction to a personal crisis, and characterized as "Intuitive music"—music produced primarily from the intuition rather than the intellect of the performer(s). It is Work Number 26 in the composer's catalog of works.

Karlheinz Stockhausen on 2 September 1972 at the Shiraz-Persepolis Festival of Arts, where parts of Aus den sieben Tagen were performed on 7 September[1]

History edit

The seven days of the title were 7–13 May 1968. Although this coincided with the beginning of the May 1968 protests and general strike in Paris, Stockhausen does not appear to have been aware of them at the time. These texts were written at Stockhausen's home in Kürten during the first five of those days, at night or late in the evening.[2] During daylight hours, including the remaining two days, Stockhausen wrote "many poems," as well as reading Satprem's book on Sri Aurobindo, and experienced "many extraordinary things".[3] Some of the poems appear in Stockhausen's third volume of Texte zur Musik.[4]

The first of the pieces to be officially premiered was Es, performed in Brussels on 15 December 1968 on a concert of the Rencontre de Musique Contemporaine, by the Stockhausen Group, joined by Michel Portal, Jean-Pierre Drouet, and Jean-François Jenny-Clark. Setz die Segel zur Sonne followed, as part of a concert at the Théâtre National Populaire, Palais de Chaillot in Paris, on 30 May 1969.[5] However, an earlier, unofficial performance of both Es and Treffpunkt, by the Arts Laboratory Ensemble with Hugh Davies and trombonist Vinko Globokar with Stockhausen at the potentiometers, took place on 25 November 1968 in London, as part of the Macnaghten Concerts.[6][7]) Unbegrenzt was first given 26 July 1969 during the Nuits de la Fondation Maeght in St Paul de Vence, by Guy Arnaud, Harald Bojé [de], Jean-François Jenny-Clark, Jean-Pierre Drouet, Johannes G. Fritsch, Roy Hart, Diego Masson, Michel Portal, Michael Vetter, and the composer.[8] An "ill-fated" performance of the theatre piece Oben und Unten was attempted in Amsterdam at the Holland Festival on 22 June 1969. The three actors were Sigrid Koetse (woman), Jan Retèl (man), and Keesjan van Deelen (child), with the instrumentalists of the Stockhausen Group and the composer doing the sound projection.[9][10] Goldstaub was only performed for the first time (though without an audience) for the DG recording made at Stockhausen's house in Kürten on 20 August 1972, by Péter Eötvös (electrochord, keisu, and rin), Herbert Henck (voice, sitar, cooking pot with some water, two small bells, ship bell), Michael Vetter (voice, hands, recorder), and the composer (voice, conch horn, large cowbell, keisu, 14 rin, jug and key with water, kandy drum, pellet-bells on a strap).[11]

Stockhausen described as "crucial" an orchestral performance in London of Set sail for the Sun on 14 January 1970, in which the BBC Symphony Orchestra, rehearsed by the composer, was distributed around the audience in four groups, each with a "core player" from the Stockhausen Group.[12] Other notable performances include the 1969 Darmstädter Ferienkurse, when the groups that had just finished the recordings for DG performed eleven of the texts in four public seminars, on 1–4 September in the Städtische Sporthalle am Böllenfalltor,[13][14] many of the texts in multiple daily performances from 14 March to 14 September 1970 in the spherical auditorium of the German pavilion at Expo '70 in Osaka,[15][16] and at the 1972 Shiraz Arts Festival, where a day of "Music in the City" on 7 September featured several component pieces of Aus den sieben Tagen performed at various places in the inner city from dawn to dusk.[17][18]

Content edit

The fifteen constituent pieces are:

  1. Richtige Dauern (Right Durations), for ca. 4 players
  2. Unbegrenzt (Unlimited), for ensemble
  3. Verbindung (Connection), for ensemble
  4. Treffpunkt (Meeting Point), for ensemble
  5. Nachtmusik (Night Music), for ensemble
  6. Abwärts (Downward), for ensemble
  7. Aufwärts (Upward), for ensemble
  8. Oben und Unten (Above and Below), theater piece, for a man, a woman, a child, and 4 instrumentalists
  9. Intensität (Intensity), for ensemble
  10. Setz die Segel zur Sonne (Set Sail for the Sun), for ensemble
  11. Kommunion (Communion), for ensemble
  12. Litanei (Litany), for speaker or choir
  13. Es (It), for ensemble
  14. Goldstaub (Gold Dust), for ensemble
  15. Ankunft (Arrival), for speaker or speaking choir

Often regarded as meditation exercises or prayers,[19][20][21][22] all but two of these texts nonetheless describe in words specific musical events: "I don't want some spiritistic sitting—I want music! I don't mean something mystical, but rather everything completely direct, from concrete experience".[23] Despite the manner of notation, Stockhausen's approach remains essentially serial:

In his cycle FROM THE SEVEN DAYS Stockhausen attempts to find musical answers to such fundamental questions regarding the conditions of a harmonious interplay of spirit and matter, which correspond to his serial process thinking and to the maxims of the experimental production of the sound material by composing temporally ordered pulses. . . . As a composer he wants to mediate between the extremes rather than to just follow the preconception of a linear development from the fragmentary and dissonant to the whole and harmonious.[24]

Each text focuses on one or several of Stockhausen's main artistic concerns, such as extending the listener's perceptions of time and pitch, reconciling opposing tendencies, or shifting awareness from one perceptual area to another. Specific earlier works may be reflected in certain of the texts. Intensität, for example, suggests a passage from Kontakte, and Unbegrenzt recalls large parts of Carré.[25] The influence of performing Prozession and Kurzwellen can be heard in the recordings made by Stockhausen's own ensemble. In addition, pianist Aloys Kontarsky frequently alludes to Stockhausen's Klavierstücke (especially Klavierstück IX in Abwärts) and Harald Bojé sometimes evokes Kontakte with his electronium.[26]

The most detailed text is the central one, Oben und Unten, which gives instructions for three actors and a group of instrumentalists. Twelve of the other pieces describe musical processes or states, in three different general types, and the remaining two, Litanei and Ankunft are more in the nature of manifestos, to be read aloud either by a single speaker or a speaking choir.[27][28] In 1997, Stockhausen made a performing version of the former text, considerably reworked under the title Litanei 97, for a speaking choir with occasional sung interjections. This was given the separate work number 74 in Stockhausen's catalogue of works.

Related works edit

Between 1968 and 1971, Stockhausen composed a companion set of 17 text pieces, titled Für kommende Zeiten (For Times to Come). There are two further text compositions, Ylem (1972) and Herbstmusik (1974), though they are not actually described as "intuitive music", and are considerably more detailed "scripts" for what amount to a large "statistical" structure (Ylem) and a theatre piece (Herbstmusik) with certain features of moment form.[29]

Discography edit

In chronological order of recording:

  • Stockhausen: Aus den sieben Tagen (Setz die Segel zur Sonne and Verbindung). Ensemble Musique Vivante (Aloys Kontarsky, Michel Portal, Johannes Fritsch, Alfred Alings, Rolf Gehlhaar, Harald Bojé [de], Jean-Pierre Drouet, Jean-François Jenny-Clark, Karlheinz Stockhausen) directed by Diego Masson. LP recording, stereo, 12-inch, 33⅓ rpm. Recorded June 1969. Harmonia Mundi Musique Vivante 30 889 M. Arles: Harmonia Mundi, 1970. Reissued as Harmonia Mundi Musique D'Abord HMA 55795(LP); Harmonia Mundi HMA 190795 (CD), 1998; Harmonia Mundi HMX 290862.64 (3-CD set). Also released on LP as Stockhausen: Flight Towards The Sun: Liaison. Record Society Edition NO. S/6425 (Australia). Setz die Segel zur Sonne also reissued on Stockhausen: Brief an Heinrich 1969; 2 Interviews 1970. Stockhausen Text-CD 20. Kürten: Stockhausen-Verlag, 2008.
  • Stockhausen: Illimité. (Unbegrenzt). Vinko Globokar, Carlos Roqué Alsina, Jean-François Jenny-Clark, Jean-Pierre Drouet, Michel Portal, Karlheinz Stockhausen. Recorded August 1969. LP recording, stereo, 12 in., 33⅓ rpm. Shandar SR10 002. Paris: Shandar, 1970. Later reissued as part of DGG 7-LP set 2720 073.
  • Stockhausen: Aus den sieben Tagen/From the Seven Days/Venu des sept jours. (Richtige Dauern, Unbegrenzt, Verbindung, Treffpunkt (two versions), Nachtmusik, Abwärts, Aufwärts, Intensität, Setz die Segel zur Sonne, Kommunion, Es, Goldstaub) Cologne Group (Alfred Alings, Harald Bojé, Rolf Gehlhaar, Johannes Fritsch, Aloys Kontarsky, Karlheinz Stockhausen); Paris Group (Carlos Roque Alsina, Jean-Pierre Drouet, Vinko Globokar, Jean-François Jenny-Clark, Michel Portal). All except Goldstaub recorded August 1969. In Goldstaub only: Péter Eötvös, Herbert Henck, Michael Vetter, Karlheinz Stockhausen. Recorded in Kürten, 20 August 1972. LP recording, stereo, 12-inch, 33⅓ rpm, seven-disc set. DG 2720 073. [Hamburg]: Polydor International GmbH, 1974.
    • Es and Aufwärts single-disc issue DG 2530 255. Hamburg: Deutsche Grammophon, 1973.
    • Kommunion and Intensität single-disc issue DG 2530 256. Hamburg: Deutsche Grammophon, 1973.
    • Goldstaub single-disc issue, DG Collector's Series. DG 410935-1. Hamburg: Deutsche Grammophon, 1985.
  • Karlheinz Stockhausen: Aus den sieben Tagen/From the Seven Days. (Richtige Dauern, Unbegrenzt, Verbindung, Treffpunkt (two versions), Nachtmusik, Abwärts (two versions), Aufwärts, Intensität, Setz die Segel zur Sonne, Kommunion, Es (two versions), Goldstaub.) 7-CD set: stereo, 12 cm. Stockhausen Complete Edition CD 14. Reissue of all of the material from the DGG 7-LP set plus second performances of Abwärts and Es. Kürten: Stockhausen-Verlag, 1993.
  • Stockhausen: Short Wave; Set Sail for the Sun. Negative Band (Michael Fink, percussion; Earl Howard, alto saxophone; Denman Maroney, piano; David Simons, percussion; Joseph Paul Taylor, synthesizer; Jonathan Weisberger, sound projection). recording of Setz die Segel zur Sonne. Recorded 29 May 1974 in the Theatre Vanguard, Los Angeles. LP recording, stereo, 12-inch, 33-1/3 rpm. Finnadar SR 9009. [New York]: Finnadar Records, 1975.
  • Zeitgeist: Bowers/DeMars/Stockhausen. Stockhausen: Setz die Segel zur Sonne. Zeitgeist (James DeMars, piano; Joseph Holmquist, marimba, cymbals, gongs, tam-tam; Jay Johnson, vibraphone, piano etc.; Thomas Hubbard, electric bass; Homer Lambrecht, trombone; Patrick Moriarty, alto saxophone). Recorded 1976. LP recording. The Sound Environment Recording Series 37662. Lincoln, Nebraska: Sound Environment Recording Corporation, [1977].
  • Not Much Noise. Stockhausen: Treffpunkt. Mike Zwerin Jazz Trio (Mike Zwerin, trombone; Christian Escoude, guitar; Gus Nemeth, bass). Recorded 31 October – 1 November 1978, Gafinel Studios, Paris. American Artist Series. LP recording. Spotlite SPJLP 19.
  • Karlheinz Stockhausen: Piano Music. Litanei (collage version composed of fragments from piano compositions by Stockhausen put together by Elisabeth Klein). With A One-Page Version of Karlheinz Stockhausen's Plus-Minus (1963) for solo piano by Nils Holger Petersen, Klavierstücke V, IX, and XI (two versions), and Tierkreis. Elisabeth Klein (piano). Recorded 14–15 August 1998 in the Levin Salen at the Norwegian State Academy of Music, Norges Musikkhøgskole. CD recording, stereo, 12 cm. Classico CLASSCD 269. [Frederiksberg]: Olufsen Records, 1999. Reissued 2003 on Membran/Scandinavian Classics 220555.
  • Spielformen der Improvisation. Musik in Deutschland 1950–2000, vol. 124: Konzertmusik: Instrumentale Kammermusik: Moderne Ensembles: Porträt. Karlheinz Stockhausen: Setz die Segel zur Sonne (Ensemble für Intuitive Musik Weimar: Matthias von Hintzenstern, cello; Michael von Hintzenstern, piano; Hans Tutschku, synthesizer/live electronics); Hans Zender: Modelle II, III, VI, X, and XI (Radio-Sinfonie-Orchester Frankfurt; Hans Zender, Burkhard Rempe); Hans-Joachim Hespos: Bigu (Ensemble Zeitkratzer); Hermann Keller: Ex tempore no. 6 (Keller-Schulze-Werkstattorchester: Helmut Saxe, flute; Manfred Hering, alto saxophone; Helmut Forsthoff, tenor saxophone; Manfred Schulze, clarinet, baritone saxophone; Nicolaus Richter de Vroe, violin; Wilfried Staufenbiel, cello; Hermann Keller, piano; Klaus Christian Kaufmann, percussion); Manfred Stahnke: Lumpengalerie (Manfred Stahnke Ensemble Est! Est!! Est!!!); Phosphor (Burkhard Beins, percussion; Alessandro Bosetti, saxophone; Axel Dörner, trumpet/electronics; Robin Hayward, tuba; Annette Krebs, electro-acoustic guitar; Andrea Neumann, inside piano/mixing-desk; Michael Renkel, acoustic guitar; Ignaz Schick, electronics): P I. CD recording: stereo, 12 cm. RCA Read [sic] Seal LC 00316; RCA Red Seal BMG Classics 74321 73664 2. [Munich]: BMG Ariola, 2005.
  • Karlheinz Stockhausen: Litanei 97; Kurzwellen. SWR-Vokalensemble, Rupert Huber (cond.). Recorded 28–30 June 2000at SWR Stuttgart. Harald Bojé, electronium; Alfred Alings and Rolf Gehlhaar, tamtam; Johannes Fritsch, viola; Aloys Kontarsky, piano; Karlheinz Stockhausen, sound projection and filters. CD recording: stereo, 12 cm. Stockhausen Complete Edition CD 61. Kürten: Stockhausen-Verlag, 2000.
  • Old School: Zeitkratzer: Karlheinz Stockhausen. (Unbegrenzt, Verbindung, Nachtmusik, Intensität, and Setz die Segel zur Sonne) Ensemble Zeitkratzer, Reinhold Friedl (dir.), Martin Wurmnest (sound projection). Recorded live 12 April 2011 at Kino Šiška, Ljubljana, Slovenia, and 14 April 2011 at Vatroslav Lisinski Concert Hall, Zagreb, Croatia. CD recording, stereo. Zeitkratzer Records ZKR 0012. [Berlin]: Zeitkratzer Productions, 2011.
  • Stockhausen: Aus den sieben Tagen (Unbegrenzt, Verbindung, Nachtmusik, Intensität, and Setz dieSegel zur Sonne). Ensemble Zeitkratzer, Reinhold Friedl (dir.), with Keiji Haino, voice; recorded and mixed by Martin Wurmnest. Recorded live at the Jahrhunderthalle Bochum during theRuhrtriennale. Zeitkratzer Records ZKR 0019 / LC 18747. [Berlin]: Zeitkratzer Productions, 2016.
  • Karlheinz Stockhausen: Set Sail for the Sun. Salt Lake Electric Ensemble. [Date and venue of recording unknown.] CD Baby 1 90394 14793 8. [Portland, OR]: CD Baby, n.d.

References edit

  1. ^ Stockhausen 1978, pp. 158–259.
  2. ^ Stockhausen 1978, pp. 149, 529.
  3. ^ Stockhausen 1978, pp. 528–529.
  4. ^ Stockhausen 1971, pp. 368–376.
  5. ^ Stockhausen 1971, p. 123.
  6. ^ Cardew 1969.
  7. ^ Kurtz 1992, p. 169.
  8. ^ Stockhausen 1978, p. 114.
  9. ^ Stockhausen 1978, p. 123.
  10. ^ Kurtz 1992, pp. 171, 253.
  11. ^ Stockhausen 1978, pp. 146, 150.
  12. ^ Stockhausen 1978, p. 126.
  13. ^ Kurtz 1992, p. 173.
  14. ^ Stockhausen 2009, p. 195.
  15. ^ Kurtz 1992, p. 178.
  16. ^ Stockhausen 1971, p. 175–182.
  17. ^ Kurtz 1992, p. 188.
  18. ^ Stockhausen 1978, p. 158.
  19. ^ Griffiths 2011, p. 226.
  20. ^ Hamel 2009, p. 76.
  21. ^ Jungerman 1999, p. 52.
  22. ^ Willson 2004, p. 130.
  23. ^ Stockhausen, quoted in Ritzel 1970, p. 15
  24. ^ Peters 2003, p. 226.
  25. ^ Maconie 1975.
  26. ^ Griffiths 1974, p. 225.
  27. ^ Kohl 1978.
  28. ^ Bergstrøm-Nielsen 1997.
  29. ^ Kohl 1981, p. 232.

Sources

  • Bergstrøm-Nielsen, Carl [da; de]. 1997. "Festlegen, Umreißen, Andeuten, Hervorrufen: Analytisches zu den Textkompositionen von Karlheinz Stockhausen." MusikTexte [de]: Zeitschrift für Neue Musik, no. 72 (November): 13-16. . English translation by the author, as "Fixing/Circumscribing/Suggesting/Evoking: An Analysis of Stockhausen's Text Pieces", [www.stockhausensociety.org Stockhausen Society website], 2006. (Accessed 24 February 2010).
  • Cardew, Cornelius. 1969. "Two Trombone Aces". The Musical Times 110, no. 1511 (January): 50–51.
  • Griffiths, Paul. 1974. "Aus den Sieben Tagen by Stockhausen". The Musical Times 115, no. 1573 (March): 225–226.
  • Griffiths, Paul. 2011. Modern Music and After, third edition Oxford and New York: Oxford University Press. ISBN 978-0-19-979228-3.
  • Hamel, Peter Michael. 2009. "Musical Improvisation: Animation for a Flash of Inspiration". In The Fire i' the Flint: Essays on the Creative Imagination, edited by Mary Shine Thompson, 65–76. Seamus Heaney Lectures Series 3. Dublin; Portland, Oregon: Four Courts. ISBN 9781846820731 (cloth).
  • Jungerman, Mary C. 1999. "The Single-Reed Music of Karlheinz Stockhausen: How Does One Begin?". The Clarinet 27, no. 1: 52–57.
  • Kohl, Jerome. 1978. "Intuitive Music and Serial Determinism: An Analysis of Stockhausen's Aus den sieben Tagen." In Theory Only 3, no. 2 (March): 7–19. Revised reprint
  • Kohl, Jerome. 1981. "Serial and Non-Serial Techniques in the Music of Karlheinz Stockhausen from 1962–1968." PhD diss. Seattle: University of Washington.
  • Kurtz, Michael. 1992. Stockhausen: A Biography, translated by Richard Toop. London and Boston: Faber and Faber. ISBN 0-571-17146-X.
  • Maconie, Robin. 1975. "Stockhausen: Aus den Sieben Tagen". Tempo, New Series, no. 112 (March): 48.
  • Peters, Günter. 2003. "Kosmischer Rhythmus: Formprozeß und Philosophie in Karlheinz Stockhausens Intuitiver Musik AUS DEN SIEBEN TAGEN " / "Cosmic Rhythm: Formal Process and Philosophy in the Intuitive Music FROM THE SEVEN DAYS of Karlheinz Stockhausen." In: Günter Peters. Heiliger Ernst im Spiel – Texte zur Musik von Karlheinz Stockhausen / Holy Seriousness in the Play – Essays on the Music of Karlheinz Stockhausen (bilingual edition, German and English), 63–96/199–32.[clarification needed] Kürten: Stockhausen-Stiftung für Musik.
  • Ritzel, Fred. 1970. Musik für ein Haus. Darmstädter Beiträge zur Neuen Musik 12. Mainz: Schott.
  • Stockhausen, Karlheinz. 1971. Texte zur Musik 3. Edited by Dieter Schnebel. Cologne: Verlag M. DuMont Schauberg. ISBN 3-7701-0493-5.
  • Stockhausen, Karlheinz. 1978. Texte zur Musik 4. Edited by Christoph von Blumröder. Cologne: DuMont Buchverlag. ISBN 3-7701-1078-1.
  • Stockhausen, Karlheinz. 2009. Kompositorische Grundlagen Neuer Musik: Sechs Seminare für die Darmstädter Ferienkurse 1970, edited by Imke Misch. Kürten: Stockhausen-Stiftung für Musik. ISBN 978-3-00-027313-1.
  • Willson, Rachel Beckles. 2004. György Kurtág, The Sayings of Péter Bornemisza, Op. 7: A "Concerto" for Soprano and Piano. Landmarks in Music Since 1950. Aldershot, Hants: Ashgate Publishing; Burlington, Vermont: Ashgate Publishing. ISBN 978-0-7546-0809-7.

Further reading edit

  • Bailey, Derek. 1992. Improvisation: Its Nature and Practice in Music, revised edition. [UK]: The British Library National Sound Archive. US edition, supplemented with photographs between pages 58 and 59, New York: Da Capo Press, 1993. ISBN 978-0-306-80528-8.
  • Bergstrøm-Nielsen, Carl. 2008. "Das Bekannte ausschließen: Stockhausens "Intuitive Musik" und ihre Aufführungspraxis". MusikTexte, no. 117:63–66.
  • Boberg, Johan. 2002. "". Translated from Nutida Musik/Tritonus 2002:4 (Archive from 6 February 2012, accessed 13 December 2013).
  • Bojé, Harald. 1978. "Aus den sieben Tagen: 'Text'-Interpretationen". Feedback Papers, no. 16 (August): 10–14.
  • Brinkmann, Reinhold. 1974. "Hören und Denken. Thesen zur Intuitiven Musik". Neue Zeitschrift für Musik 135:555–557.
  • Frisius, Rudolf. 2008. Karlheinz Stockhausen II: Die Werke 1950–1977; Gespräch mit Karlheinz Stockhausen, "Es geht aufwärts". Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International. ISBN 978-3-7957-0249-6.
  • Fritsch, Johannes, and Richard Toop. 2008. "Versuch, eine Grenze zu überschreiten ... Johannes Fritsch im Gespräch über die Aufführungspraxis von Werken Karlheinz Stockhausens". MusikTexte no. 116 (February): 31–40.
  • Hintzenstern, Michael von. 2008. " 'Über die Grenze': Karlheinz Stockhausen und das 'Ensemble für Intuitive Musik Weimar' ". MusikTexte, no. 117:59–60.
  • Kurtz, Michael. 1988. "", translated from the German by Hélène Bernatchez and Vincent Barras. In Karlheinz Stockhausen (programme booklet). Paris: Contrechamps/Festival d'automne à Paris [fr] (Archive from 21 November 2008, accessed 7 December 2013).
  • Lacerda, Victor. 2012. "Aus den sieben Tagen de Stockhausen: Um problema ontológico". Anais de SIMPOM (Simpósio Brasileiro de Pós-Graduandos em Música) 2:1329–1337.
  • Lewis, George E. 1996. "Improvised Music after 1950: Afrological and Eurological Perspectives". Black Music Research Journal 16, no. 1 (Spring): 91–122.
  • Mooney, James. 2016. "Technology, Process and Musical Personality in the Music of Stockhausen, Hugh Davies and Gentle Fire". In The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward, edited by M. J. Grant and Imke Misch, 102–115. Hofheim: Wolke Verlag. ISBN 978-3-95593-068-4.
  • Nakaji, Masatsune. 1994. "Karlheinz Stockhausens Intuitive Musik: c'est Le Dispositif Chaosmique de Transformation". Genesis (The Bulletin of Kyoto University of Art and Design) vol. 1. HTML versions 1995.
  • Popean, Mihai Ioan. 2015. "The Stillness of the Silent Sound: A Tantric Analysis of Karlheinz Stockhausen's Aus den sieben Tagen". DMA diss. Bowling Green: Bowling Green State University.
  • Stockhausen, Karlheinz. 1998. "Freiheit—das Neue—das Geistig-Geistliche". Neue Zeitschrift für Musik 159, no. 4 (July–August): 18–25.
  • Wilms, Holger. 2000. "". A Tempo 6 (June).

February 16, 2024
sieben, tagen, from, seven, days, collection, text, compositions, karlheinz, stockhausen, composed, 1968, reaction, personal, crisis, characterized, intuitive, music, music, produced, primarily, from, intuition, rather, than, intellect, performer, work, number. Aus den sieben Tagen From the Seven Days is a collection of 15 text compositions by Karlheinz Stockhausen composed in May 1968 in reaction to a personal crisis and characterized as Intuitive music music produced primarily from the intuition rather than the intellect of the performer s It is Work Number 26 in the composer s catalog of works Karlheinz Stockhausen on 2 September 1972 at the Shiraz Persepolis Festival of Arts where parts of Aus den sieben Tagen were performed on 7 September 1 Contents 1 History 2 Content 3 Related works 4 Discography 5 References 6 Further readingHistory editThe seven days of the title were 7 13 May 1968 Although this coincided with the beginning of the May 1968 protests and general strike in Paris Stockhausen does not appear to have been aware of them at the time These texts were written at Stockhausen s home in Kurten during the first five of those days at night or late in the evening 2 During daylight hours including the remaining two days Stockhausen wrote many poems as well as reading Satprem s book on Sri Aurobindo and experienced many extraordinary things 3 Some of the poems appear in Stockhausen s third volume of Texte zur Musik 4 The first of the pieces to be officially premiered was Es performed in Brussels on 15 December 1968 on a concert of the Rencontre de Musique Contemporaine by the Stockhausen Group joined by Michel Portal Jean Pierre Drouet and Jean Francois Jenny Clark Setz die Segel zur Sonne followed as part of a concert at the Theatre National Populaire Palais de Chaillot in Paris on 30 May 1969 5 However an earlier unofficial performance of both Es and Treffpunkt by the Arts Laboratory Ensemble with Hugh Davies and trombonist Vinko Globokar with Stockhausen at the potentiometers took place on 25 November 1968 in London as part of the Macnaghten Concerts 6 7 Unbegrenzt was first given 26 July 1969 during the Nuits de la Fondation Maeght in St Paul de Vence by Guy Arnaud Harald Boje de Jean Francois Jenny Clark Jean Pierre Drouet Johannes G Fritsch Roy Hart Diego Masson Michel Portal Michael Vetter and the composer 8 An ill fated performance of the theatre piece Oben und Unten was attempted in Amsterdam at the Holland Festival on 22 June 1969 The three actors were Sigrid Koetse woman Jan Retel man and Keesjan van Deelen child with the instrumentalists of the Stockhausen Group and the composer doing the sound projection 9 10 Goldstaub was only performed for the first time though without an audience for the DG recording made at Stockhausen s house in Kurten on 20 August 1972 by Peter Eotvos electrochord keisu and rin Herbert Henck voice sitar cooking pot with some water two small bells ship bell Michael Vetter voice hands recorder and the composer voice conch horn large cowbell keisu 14 rin jug and key with water kandy drum pellet bells on a strap 11 Stockhausen described as crucial an orchestral performance in London of Set sail for the Sun on 14 January 1970 in which the BBC Symphony Orchestra rehearsed by the composer was distributed around the audience in four groups each with a core player from the Stockhausen Group 12 Other notable performances include the 1969 Darmstadter Ferienkurse when the groups that had just finished the recordings for DG performed eleven of the texts in four public seminars on 1 4 September in the Stadtische Sporthalle am Bollenfalltor 13 14 many of the texts in multiple daily performances from 14 March to 14 September 1970 in the spherical auditorium of the German pavilion at Expo 70 in Osaka 15 16 and at the 1972 Shiraz Arts Festival where a day of Music in the City on 7 September featured several component pieces of Aus den sieben Tagen performed at various places in the inner city from dawn to dusk 17 18 Content editThe fifteen constituent pieces are Richtige Dauern Right Durations for ca 4 players Unbegrenzt Unlimited for ensemble Verbindung Connection for ensemble Treffpunkt Meeting Point for ensemble Nachtmusik Night Music for ensemble Abwarts Downward for ensemble Aufwarts Upward for ensemble Oben und Unten Above and Below theater piece for a man a woman a child and 4 instrumentalists Intensitat Intensity for ensemble Setz die Segel zur Sonne Set Sail for the Sun for ensemble Kommunion Communion for ensemble Litanei Litany for speaker or choir Es It for ensemble Goldstaub Gold Dust for ensemble Ankunft Arrival for speaker or speaking choirOften regarded as meditation exercises or prayers 19 20 21 22 all but two of these texts nonetheless describe in words specific musical events I don t want some spiritistic sitting I want music I don t mean something mystical but rather everything completely direct from concrete experience 23 Despite the manner of notation Stockhausen s approach remains essentially serial In his cycle FROM THE SEVEN DAYS Stockhausen attempts to find musical answers to such fundamental questions regarding the conditions of a harmonious interplay of spirit and matter which correspond to his serial process thinking and to the maxims of the experimental production of the sound material by composing temporally ordered pulses As a composer he wants to mediate between the extremes rather than to just follow the preconception of a linear development from the fragmentary and dissonant to the whole and harmonious 24 Each text focuses on one or several of Stockhausen s main artistic concerns such as extending the listener s perceptions of time and pitch reconciling opposing tendencies or shifting awareness from one perceptual area to another Specific earlier works may be reflected in certain of the texts Intensitat for example suggests a passage from Kontakte and Unbegrenzt recalls large parts of Carre 25 The influence of performing Prozession and Kurzwellen can be heard in the recordings made by Stockhausen s own ensemble In addition pianist Aloys Kontarsky frequently alludes to Stockhausen s Klavierstucke especially Klavierstuck IX in Abwarts and Harald Boje sometimes evokes Kontakte with his electronium 26 The most detailed text is the central one Oben und Unten which gives instructions for three actors and a group of instrumentalists Twelve of the other pieces describe musical processes or states in three different general types and the remaining two Litanei and Ankunft are more in the nature of manifestos to be read aloud either by a single speaker or a speaking choir 27 28 In 1997 Stockhausen made a performing version of the former text considerably reworked under the title Litanei 97 for a speaking choir with occasional sung interjections This was given the separate work number 74 in Stockhausen s catalogue of works Related works editBetween 1968 and 1971 Stockhausen composed a companion set of 17 text pieces titled Fur kommende Zeiten For Times to Come There are two further text compositions Ylem 1972 and Herbstmusik 1974 though they are not actually described as intuitive music and are considerably more detailed scripts for what amount to a large statistical structure Ylem and a theatre piece Herbstmusik with certain features of moment form 29 Discography editIn chronological order of recording Stockhausen Aus den sieben Tagen Setz die Segel zur Sonne and Verbindung Ensemble Musique Vivante Aloys Kontarsky Michel Portal Johannes Fritsch Alfred Alings Rolf Gehlhaar Harald Boje de Jean Pierre Drouet Jean Francois Jenny Clark Karlheinz Stockhausen directed by Diego Masson LP recording stereo 12 inch 33 rpm Recorded June 1969 Harmonia Mundi Musique Vivante 30 889 M Arles Harmonia Mundi 1970 Reissued as Harmonia Mundi Musique D Abord HMA 55795 LP Harmonia Mundi HMA 190795 CD 1998 Harmonia Mundi HMX 290862 64 3 CD set Also released on LP as Stockhausen Flight Towards The Sun Liaison Record Society Edition NO S 6425 Australia Setz die Segel zur Sonne also reissued on Stockhausen Brief an Heinrich 1969 2 Interviews 1970 Stockhausen Text CD 20 Kurten Stockhausen Verlag 2008 Stockhausen Illimite Unbegrenzt Vinko Globokar Carlos Roque Alsina Jean Francois Jenny Clark Jean Pierre Drouet Michel Portal Karlheinz Stockhausen Recorded August 1969 LP recording stereo 12 in 33 rpm Shandar SR10 002 Paris Shandar 1970 Later reissued as part of DGG 7 LP set 2720 073 Stockhausen Aus den sieben Tagen From the Seven Days Venu des sept jours Richtige Dauern Unbegrenzt Verbindung Treffpunkt two versions Nachtmusik Abwarts Aufwarts Intensitat Setz die Segel zur Sonne Kommunion Es Goldstaub Cologne Group Alfred Alings Harald Boje Rolf Gehlhaar Johannes Fritsch Aloys Kontarsky Karlheinz Stockhausen Paris Group Carlos Roque Alsina Jean Pierre Drouet Vinko Globokar Jean Francois Jenny Clark Michel Portal All except Goldstaub recorded August 1969 In Goldstaub only Peter Eotvos Herbert Henck Michael Vetter Karlheinz Stockhausen Recorded in Kurten 20 August 1972 LP recording stereo 12 inch 33 rpm seven disc set DG 2720 073 Hamburg Polydor International GmbH 1974 Es and Aufwarts single disc issue DG 2530 255 Hamburg Deutsche Grammophon 1973 Kommunion and Intensitat single disc issue DG 2530 256 Hamburg Deutsche Grammophon 1973 Goldstaub single disc issue DG Collector s Series DG 410935 1 Hamburg Deutsche Grammophon 1985 Karlheinz Stockhausen Aus den sieben Tagen From the Seven Days Richtige Dauern Unbegrenzt Verbindung Treffpunkt two versions Nachtmusik Abwarts two versions Aufwarts Intensitat Setz die Segel zur Sonne Kommunion Es two versions Goldstaub 7 CD set stereo 12 cm Stockhausen Complete Edition CD 14 Reissue of all of the material from the DGG 7 LP set plus second performances of Abwarts and Es Kurten Stockhausen Verlag 1993 Stockhausen Short Wave Set Sail for the Sun Negative Band Michael Fink percussion Earl Howard alto saxophone Denman Maroney piano David Simons percussion Joseph Paul Taylor synthesizer Jonathan Weisberger sound projection recording of Setz die Segel zur Sonne Recorded 29 May 1974 in the Theatre Vanguard Los Angeles LP recording stereo 12 inch 33 1 3 rpm Finnadar SR 9009 New York Finnadar Records 1975 Zeitgeist Bowers DeMars Stockhausen Stockhausen Setz die Segel zur Sonne Zeitgeist James DeMars piano Joseph Holmquist marimba cymbals gongs tam tam Jay Johnson vibraphone piano etc Thomas Hubbard electric bass Homer Lambrecht trombone Patrick Moriarty alto saxophone Recorded 1976 LP recording The Sound Environment Recording Series 37662 Lincoln Nebraska Sound Environment Recording Corporation 1977 Not Much Noise Stockhausen Treffpunkt Mike Zwerin Jazz Trio Mike Zwerin trombone Christian Escoude guitar Gus Nemeth bass Recorded 31 October 1 November 1978 Gafinel Studios Paris American Artist Series LP recording Spotlite SPJLP 19 Karlheinz Stockhausen Piano Music Litanei collage version composed of fragments from piano compositions by Stockhausen put together by Elisabeth Klein With A One Page Version of Karlheinz Stockhausen s Plus Minus 1963 for solo piano by Nils Holger Petersen Klavierstucke V IX and XI two versions and Tierkreis Elisabeth Klein piano Recorded 14 15 August 1998 in the Levin Salen at the Norwegian State Academy of Music Norges Musikkhogskole CD recording stereo 12 cm Classico CLASSCD 269 Frederiksberg Olufsen Records 1999 Reissued 2003 on Membran Scandinavian Classics 220555 Spielformen der Improvisation Musik in Deutschland 1950 2000 vol 124 Konzertmusik Instrumentale Kammermusik Moderne Ensembles Portrat Karlheinz Stockhausen Setz die Segel zur Sonne Ensemble fur Intuitive Musik Weimar Matthias von Hintzenstern cello Michael von Hintzenstern piano Hans Tutschku synthesizer live electronics Hans Zender Modelle II III VI X and XI Radio Sinfonie Orchester Frankfurt Hans Zender Burkhard Rempe Hans Joachim Hespos Bigu Ensemble Zeitkratzer Hermann Keller Ex tempore no 6 Keller Schulze Werkstattorchester Helmut Saxe flute Manfred Hering alto saxophone Helmut Forsthoff tenor saxophone Manfred Schulze clarinet baritone saxophone Nicolaus Richter de Vroe violin Wilfried Staufenbiel cello Hermann Keller piano Klaus Christian Kaufmann percussion Manfred Stahnke Lumpengalerie Manfred Stahnke Ensemble Est Est Est Phosphor Burkhard Beins percussion Alessandro Bosetti saxophone Axel Dorner trumpet electronics Robin Hayward tuba Annette Krebs electro acoustic guitar Andrea Neumann inside piano mixing desk Michael Renkel acoustic guitar Ignaz Schick electronics P I CD recording stereo 12 cm RCA Read sic Seal LC 00316 RCA Red Seal BMG Classics 74321 73664 2 Munich BMG Ariola 2005 Karlheinz Stockhausen Litanei 97 Kurzwellen SWR Vokalensemble Rupert Huber cond Recorded 28 30 June 2000at SWR Stuttgart Harald Boje electronium Alfred Alings and Rolf Gehlhaar tamtam Johannes Fritsch viola Aloys Kontarsky piano Karlheinz Stockhausen sound projection and filters CD recording stereo 12 cm Stockhausen Complete Edition CD 61 Kurten Stockhausen Verlag 2000 Old School Zeitkratzer Karlheinz Stockhausen Unbegrenzt Verbindung Nachtmusik Intensitat and Setz die Segel zur Sonne Ensemble Zeitkratzer Reinhold Friedl dir Martin Wurmnest sound projection Recorded live 12 April 2011 at Kino Siska Ljubljana Slovenia and 14 April 2011 at Vatroslav Lisinski Concert Hall Zagreb Croatia CD recording stereo Zeitkratzer Records ZKR 0012 Berlin Zeitkratzer Productions 2011 Stockhausen Aus den sieben Tagen Unbegrenzt Verbindung Nachtmusik Intensitat and Setz dieSegel zur Sonne Ensemble Zeitkratzer Reinhold Friedl dir with Keiji Haino voice recorded and mixed by Martin Wurmnest Recorded live at the Jahrhunderthalle Bochum during theRuhrtriennale Zeitkratzer Records ZKR 0019 LC 18747 Berlin Zeitkratzer Productions 2016 Karlheinz Stockhausen Set Sail for the Sun Salt Lake Electric Ensemble Date and venue of recording unknown CD Baby 1 90394 14793 8 Portland OR CD Baby n d References edit Stockhausen 1978 pp 158 259 Stockhausen 1978 pp 149 529 Stockhausen 1978 pp 528 529 Stockhausen 1971 pp 368 376 Stockhausen 1971 p 123 Cardew 1969 Kurtz 1992 p 169 Stockhausen 1978 p 114 Stockhausen 1978 p 123 Kurtz 1992 pp 171 253 Stockhausen 1978 pp 146 150 Stockhausen 1978 p 126 Kurtz 1992 p 173 Stockhausen 2009 p 195 Kurtz 1992 p 178 Stockhausen 1971 p 175 182 Kurtz 1992 p 188 Stockhausen 1978 p 158 Griffiths 2011 p 226 Hamel 2009 p 76 Jungerman 1999 p 52 Willson 2004 p 130 Stockhausen quoted in Ritzel 1970 p 15 Peters 2003 p 226 Maconie 1975 Griffiths 1974 p 225 Kohl 1978 Bergstrom Nielsen 1997 Kohl 1981 p 232 Sources Bergstrom Nielsen Carl da de 1997 Festlegen Umreissen Andeuten Hervorrufen Analytisches zu den Textkompositionen von Karlheinz Stockhausen MusikTexte de Zeitschrift fur Neue Musik no 72 November 13 16 Reprint English translation by the author as Fixing Circumscribing Suggesting Evoking An Analysis of Stockhausen s Text Pieces www stockhausensociety org Stockhausen Society website 2006 Accessed 24 February 2010 Cardew Cornelius 1969 Two Trombone Aces The Musical Times 110 no 1511 January 50 51 Griffiths Paul 1974 Aus den Sieben Tagen by Stockhausen The Musical Times 115 no 1573 March 225 226 Griffiths Paul 2011 Modern Music and After third edition Oxford and New York Oxford University Press ISBN 978 0 19 979228 3 Hamel Peter Michael 2009 Musical Improvisation Animation for a Flash of Inspiration In The Fire i the Flint Essays on the Creative Imagination edited by Mary Shine Thompson 65 76 Seamus Heaney Lectures Series 3 Dublin Portland Oregon Four Courts ISBN 9781846820731 cloth Jungerman Mary C 1999 The Single Reed Music of Karlheinz Stockhausen How Does One Begin The Clarinet 27 no 1 52 57 Kohl Jerome 1978 Intuitive Music and Serial Determinism An Analysis of Stockhausen s Aus den sieben Tagen In Theory Only 3 no 2 March 7 19 Revised reprint Kohl Jerome 1981 Serial and Non Serial Techniques in the Music of Karlheinz Stockhausen from 1962 1968 PhD diss Seattle University of Washington Kurtz Michael 1992 Stockhausen A Biography translated by Richard Toop London and Boston Faber and Faber ISBN 0 571 17146 X Maconie Robin 1975 Stockhausen Aus den Sieben Tagen Tempo New Series no 112 March 48 Peters Gunter 2003 Kosmischer Rhythmus Formprozess und Philosophie in Karlheinz Stockhausens Intuitiver Musik AUS DEN SIEBEN TAGEN Cosmic Rhythm Formal Process and Philosophy in the Intuitive Music FROM THE SEVEN DAYS of Karlheinz Stockhausen In Gunter Peters Heiliger Ernst im Spiel Texte zur Musik von Karlheinz Stockhausen Holy Seriousness in the Play Essays on the Music of Karlheinz Stockhausen bilingual edition German and English 63 96 199 32 clarification needed Kurten Stockhausen Stiftung fur Musik Ritzel Fred 1970 Musik fur ein Haus Darmstadter Beitrage zur Neuen Musik 12 Mainz Schott Stockhausen Karlheinz 1971 Texte zur Musik 3 Edited by Dieter Schnebel Cologne Verlag M DuMont Schauberg ISBN 3 7701 0493 5 Stockhausen Karlheinz 1978 Texte zur Musik 4 Edited by Christoph von Blumroder Cologne DuMont Buchverlag ISBN 3 7701 1078 1 Stockhausen Karlheinz 2009 Kompositorische Grundlagen Neuer Musik Sechs Seminare fur die Darmstadter Ferienkurse 1970 edited by Imke Misch Kurten Stockhausen Stiftung fur Musik ISBN 978 3 00 027313 1 Willson Rachel Beckles 2004 Gyorgy Kurtag The Sayings of Peter Bornemisza Op 7 A Concerto for Soprano and Piano Landmarks in Music Since 1950 Aldershot Hants Ashgate Publishing Burlington Vermont Ashgate Publishing ISBN 978 0 7546 0809 7 Further reading editBailey Derek 1992 Improvisation Its Nature and Practice in Music revised edition UK The British Library National Sound Archive US edition supplemented with photographs between pages 58 and 59 New York Da Capo Press 1993 ISBN 978 0 306 80528 8 Bergstrom Nielsen Carl 2008 Das Bekannte ausschliessen Stockhausens Intuitive Musik und ihre Auffuhrungspraxis MusikTexte no 117 63 66 Boberg Johan 2002 Through the Eye of the Golden Needle Personal Experiences of Stockhausen s GOLDSTAUB Translated from Nutida Musik Tritonus 2002 4 Archive from 6 February 2012 accessed 13 December 2013 Boje Harald 1978 Aus den sieben Tagen Text Interpretationen Feedback Papers no 16 August 10 14 Brinkmann Reinhold 1974 Horen und Denken Thesen zur Intuitiven Musik Neue Zeitschrift fur Musik 135 555 557 Frisius Rudolf 2008 Karlheinz Stockhausen II Die Werke 1950 1977 Gesprach mit Karlheinz Stockhausen Es geht aufwarts Mainz London Berlin Madrid New York Paris Prague Tokyo Toronto Schott Musik International ISBN 978 3 7957 0249 6 Fritsch Johannes and Richard Toop 2008 Versuch eine Grenze zu uberschreiten Johannes Fritsch im Gesprach uber die Auffuhrungspraxis von Werken Karlheinz Stockhausens MusikTexte no 116 February 31 40 Hintzenstern Michael von 2008 Uber die Grenze Karlheinz Stockhausen und das Ensemble fur Intuitive Musik Weimar MusikTexte no 117 59 60 Kurtz Michael 1988 Aus den Sieben Tagen Points de vue biographique et historique sur les compositions textes de mai 1968 translated from the German by Helene Bernatchez and Vincent Barras In Karlheinz Stockhausen programme booklet Paris Contrechamps Festival d automne a Paris fr Archive from 21 November 2008 accessed 7 December 2013 Lacerda Victor 2012 Aus den sieben Tagen de Stockhausen Um problema ontologico Anais de SIMPOM Simposio Brasileiro de Pos Graduandos em Musica 2 1329 1337 Lewis George E 1996 Improvised Music after 1950 Afrological and Eurological Perspectives Black Music Research Journal 16 no 1 Spring 91 122 Mooney James 2016 Technology Process and Musical Personality in the Music of Stockhausen Hugh Davies and Gentle Fire In The Musical Legacy of Karlheinz Stockhausen Looking Back and Forward edited by M J Grant and Imke Misch 102 115 Hofheim Wolke Verlag ISBN 978 3 95593 068 4 Nakaji Masatsune 1994 Karlheinz Stockhausens Intuitive Musik c est Le Dispositif Chaosmique de Transformation Genesis The Bulletin of Kyoto University of Art and Design vol 1 HTML versions 1995 Popean Mihai Ioan 2015 The Stillness of the Silent Sound A Tantric Analysis of Karlheinz Stockhausen s Aus den sieben Tagen DMA diss Bowling Green Bowling Green State University Stockhausen Karlheinz 1998 Freiheit das Neue das Geistig Geistliche Neue Zeitschrift fur Musik 159 no 4 July August 18 25 Wilms Holger 2000 Wie kommt der Kosmos in den Konzertsaal Karlheinz Stockhausen im Gesprach A Tempo 6 June Portal nbsp Classical music Retrieved from https en wikipedia org w index php title Aus den sieben Tagen amp oldid 1088809486, wikipedia, wiki, book, books, library,

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