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Inori (Stockhausen)

August 29, 2023

Inori (Japanese for "Adorations"), for one or two soloists with orchestra, is a composition by Karlheinz Stockhausen, written in 1973–74 (Nr. 38 in the composer's catalog of works).

Inori
Orchestral music by Karlheinz Stockhausen
Karlheinz Stockhausen standing in front of the form scheme of Inori, March 2005
Catalogue38
Composed1973 (1973)–74
Scoring
  • melodic instrument
  • dancer-mime
  • orchestra

History Edit

Inori is a meditative work. The word inori (祈り) in Japanese means "prayer, invocation, adoration".[1] "It is like an opera with only one character and no singing, only thoughts visible as gesture and audible as reciprocally modulated sound".[2] "The solo part is composed as a melody and is theoretically performable by a melody instrument; however the relationship between solo gesture and orchestra response is so complete that the solo melody is invariably interpreted in silence by a dancer-mime, employing a vocabulary of gestures drawn from a variety of religious practices".[3] The Australian dancer and choreographer Philippa Cullen, who spent some time in Germany working with Stockhausen in 1973, is credited with drawing his attention to choreographic prayer gestures, in particular the mudras of India, which she had been studying.[4]

"Inori is indeed, as the composer insists, a mystical work, but only because there is absolutely no mystification".[5] "Stockhausen recomposed the sign-language of praying, on the basis of chromatic scales of prayer gestures, into a highly differentiated bodily music".[6] Although the score specifies that the soloist part may be performed in any number of ways, including any kind of melodic instrument, to date this has always been performed by mimes, using a set of prayer gestures. Because audiences at early performances were mistakenly perceiving the soloist as improvising to the music, Stockhausen decided to use two parallel soloists in order to make it obvious that the gestures are fully composed.[7]

Stockhausen composed Inori using an Urgestalt or formula, which is "a melodic-rhythmic structure from which the principal characteristics of the work are derived".[8] This melodic formula is divided into five segments, forming a sequence “leading from pure rhythm . . . via dynamics, melody, and harmony, to polyphony:—hence, a progression from the primitive origin of music to a condition of pure intellect. The entire work is a projection of this formula onto a duration of about 70 minutes”.[9] The formula consists of 15 notes, which are

divided into 5 phrases with 5, 3, 2, 1 and 4 pitches respectively. Transferred to the large scale form, these 5 phrases yield the 5 major sections of the work. Each phrase consists . . . of three parts: melody, echo and pause; in the large scale form these become genesis+evolution (=exposition + development)—echo—pause, the echoes being very soft statistical passages, and the 'pauses minimally accompanied solos for the mime. The durations of the melody, measured in crotchets, are converted into minutes to give the lengths of formal divisions and subdivisions.[10]

The most important of the 15 pitches is the G above middle C, which corresponds to the tempo MM = 71 (the "heartbeat" tempo of medieval music theory), to the hand gesture positioned over the heart, and to the syllable "HU", representing the Divine Name.[11]

In addition to these five sections, there is "an unmeasured, transcendental moment".[1]

Stockhausen also composed an introduction to Inori, Vortrag über HU ("Lecture on HU"), Nr. 38½, an hour-long musical analysis of the work, for performance by a singer.[12]

References Edit

  1. ^ a b Stockhausen 1978a, p. 215.
  2. ^ Maconie 1976, p. 310.
  3. ^ Maconie 2005, p. 352.
  4. ^ Jones 2004, p. 70.
  5. ^ Josipovici 1975, p. 16.
  6. ^ Peters 1999, p. 101.
  7. ^ Maconie 1990, p. 236.
  8. ^ Leonardi 1998, p. 66.
  9. ^ Maconie 2005, pp. 353–354.
  10. ^ Toop 1976, pp. 90–91.
  11. ^ Maconie 1974.
  12. ^ Stockhausen 1978b.

Sources Edit

  • Jones, Stephen. 2004. "Philippa Cullen: Dancing the Music". Leonardo Music Journal 14 (Composers Inside Electronics: Music After David Tudor): 64–73.
  • Josipovici, Gabriel. 1975. "The Importance of Stockhausen's Inori", Radical Philosophy, no. 11: 15–17. Reprinted 1977 in Josipovici's The Lessons of Modernism and Other Essays, 195–200. London: Macmillan ISBN 0-333-21440-4; Totowa, New Jersey: Rowman and Littlefield ISBN 0-87471-957-7 Second ed. 1987, Basingstoke: Macmillan. ISBN 0-333-44094-3 (cased); ISBN 0-333-44095-1 (pbk).
  • Leonardi, Gerson. 1998. "Inori: Microcosm/Macrocosm Relationships and a Logic of Perception". Perspectives of New Music 36, no. 2 (Summer): 63–90.
  • Maconie, Robin. 1974. "Stockhausen's Inori". Tempo, new series, no. 111 (December): 32–33.
  • Maconie, Robin. 1976. The Works of Karlheinz Stockhausen. London: Oxford University Press. ISBN 0-19-315429-3.
  • Maconie, Robin. 1990. The Works of Karlheinz Stockhausen, second edition. Oxford: Clarendon Press. ISBN 0-19-315477-3.
  • Maconie, Robin. 2005. Other Planets: The Music of Karlheinz Stockhausen. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press, Inc. ISBN 0-8108-5356-6.
  • Peters, Günter. 1999. " '...How Creation Is Composed': Spirituality in the Music of Karlheinz Stockhausen". Translated by Mark Schreiber and the author. Perspectives of New Music 37, no. 1 (Winter): 96–131.
  • Stockhausen, Karlheinz. 1978a. "Inori: Anbetungen für 1 oder 2 Solisten und Orchester (1973–74)", in his Texte zur Musik 4, edited by Christoph von Blumröder, 214–236. Cologne: DuMont Buchverlag.
  • Stockhausen, Karlheinz. 1978b. "Vortrag über HU", in his Texte zur Musik 4, edited by Christoph von Blumröder, 241–242. Cologne: DuMont Buchverlag.
  • Toop, Richard. 1976. " 'O alter Duft': Stockhausen and the Return to Melody". Studies in Music 10:79–97.

Further reading Edit

  • Conen, Hermann. 1991. Formel-Komposition: zu Karlheinz Stockhausens Musik der siebziger Jahre. Kölner Schriften zur Neuen Musik, Bd. 1. Mainz and New York: Schott. ISBN 3-7957-1890-2.
  • Frisius, Rudolf. 1999. "Musik als Ritual: Karlheinz Stockhausens Komposition Inori". In Musik und Ritual: Fünf Kongreßbeiträge, zwei freie Beiträge und ein Seminarbericht. Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt 39, edited by Barbara Barthelmes and Helga de la Motte-Haber. Mainz: Schott. ISBN 3-7957-1779-5.
  • Riethmüller, Albrecht. 1995. "Stockhausens Diagramm zu Inori". In Töne, Farben, Formen: Über Musik und die Bildenden Künste—Festschrift Elmar Budde zum 60. Geburtstag, edited by Susanne Fontaine, Matthias Brzoska, Elisabeth Schmierer, and Werner Grünzweig, 229–242. Laaber: Laaber-Verlag.
  • Stockhausen, Karlheinz, in conversation with Rudolph Frisius. 1998. "Es geht aufwärts", in his Texte zur Musik 9, edited by Christoph von Blumröder, 391–512. Kürten: Stockhausen-Verlag.
  • Stuke, Franz R. 2003. "". Opernnetz.de (accessed 21 August 2019).

External links Edit

  • Introduction to Inori by Al Moritz
  • Review of Inori by Ingvar Loco Nordin
  • Vortrag über HU (English version, excerpt)

August 29, 2023
inori, stockhausen, inori, japanese, adorations, soloists, with, orchestra, composition, karlheinz, stockhausen, written, 1973, composer, catalog, works, inoriorchestral, music, karlheinz, stockhausenkarlheinz, stockhausen, standing, front, form, scheme, inori. Inori Japanese for Adorations for one or two soloists with orchestra is a composition by Karlheinz Stockhausen written in 1973 74 Nr 38 in the composer s catalog of works InoriOrchestral music by Karlheinz StockhausenKarlheinz Stockhausen standing in front of the form scheme of Inori March 2005Catalogue38Composed1973 1973 74Scoringmelodic instrumentdancer mimeorchestra Contents 1 History 2 References 3 Sources 4 Further reading 5 External linksHistory EditInori is a meditative work The word inori 祈り in Japanese means prayer invocation adoration 1 It is like an opera with only one character and no singing only thoughts visible as gesture and audible as reciprocally modulated sound 2 The solo part is composed as a melody and is theoretically performable by a melody instrument however the relationship between solo gesture and orchestra response is so complete that the solo melody is invariably interpreted in silence by a dancer mime employing a vocabulary of gestures drawn from a variety of religious practices 3 The Australian dancer and choreographer Philippa Cullen who spent some time in Germany working with Stockhausen in 1973 is credited with drawing his attention to choreographic prayer gestures in particular the mudras of India which she had been studying 4 Inori is indeed as the composer insists a mystical work but only because there is absolutely no mystification 5 Stockhausen recomposed the sign language of praying on the basis of chromatic scales of prayer gestures into a highly differentiated bodily music 6 Although the score specifies that the soloist part may be performed in any number of ways including any kind of melodic instrument to date this has always been performed by mimes using a set of prayer gestures Because audiences at early performances were mistakenly perceiving the soloist as improvising to the music Stockhausen decided to use two parallel soloists in order to make it obvious that the gestures are fully composed 7 Stockhausen composed Inori using an Urgestalt or formula which is a melodic rhythmic structure from which the principal characteristics of the work are derived 8 This melodic formula is divided into five segments forming a sequence leading from pure rhythm via dynamics melody and harmony to polyphony hence a progression from the primitive origin of music to a condition of pure intellect The entire work is a projection of this formula onto a duration of about 70 minutes 9 The formula consists of 15 notes which aredivided into 5 phrases with 5 3 2 1 and 4 pitches respectively Transferred to the large scale form these 5 phrases yield the 5 major sections of the work Each phrase consists of three parts melody echo and pause in the large scale form these become genesis evolution exposition development echo pause the echoes being very soft statistical passages and the pauses minimally accompanied solos for the mime The durations of the melody measured in crotchets are converted into minutes to give the lengths of formal divisions and subdivisions 10 The most important of the 15 pitches is the G above middle C which corresponds to the tempo MM 71 the heartbeat tempo of medieval music theory to the hand gesture positioned over the heart and to the syllable HU representing the Divine Name 11 In addition to these five sections there is an unmeasured transcendental moment 1 Stockhausen also composed an introduction to Inori Vortrag uber HU Lecture on HU Nr 38 an hour long musical analysis of the work for performance by a singer 12 References Edit a b Stockhausen 1978a p 215 Maconie 1976 p 310 Maconie 2005 p 352 Jones 2004 p 70 Josipovici 1975 p 16 Peters 1999 p 101 Maconie 1990 p 236 Leonardi 1998 p 66 Maconie 2005 pp 353 354 Toop 1976 pp 90 91 Maconie 1974 Stockhausen 1978b Sources EditJones Stephen 2004 Philippa Cullen Dancing the Music Leonardo Music Journal 14 Composers Inside Electronics Music After David Tudor 64 73 Josipovici Gabriel 1975 The Importance of Stockhausen s Inori Radical Philosophy no 11 15 17 Reprinted 1977 in Josipovici s The Lessons of Modernism and Other Essays 195 200 London Macmillan ISBN 0 333 21440 4 Totowa New Jersey Rowman and Littlefield ISBN 0 87471 957 7 Second ed 1987 Basingstoke Macmillan ISBN 0 333 44094 3 cased ISBN 0 333 44095 1 pbk Leonardi Gerson 1998 Inori Microcosm Macrocosm Relationships and a Logic of Perception Perspectives of New Music 36 no 2 Summer 63 90 Maconie Robin 1974 Stockhausen s Inori Tempo new series no 111 December 32 33 Maconie Robin 1976 The Works of Karlheinz Stockhausen London Oxford University Press ISBN 0 19 315429 3 Maconie Robin 1990 The Works of Karlheinz Stockhausen second edition Oxford Clarendon Press ISBN 0 19 315477 3 Maconie Robin 2005 Other Planets The Music of Karlheinz Stockhausen Lanham Maryland Toronto Oxford The Scarecrow Press Inc ISBN 0 8108 5356 6 Peters Gunter 1999 How Creation Is Composed Spirituality in the Music of Karlheinz Stockhausen Translated by Mark Schreiber and the author Perspectives of New Music 37 no 1 Winter 96 131 Stockhausen Karlheinz 1978a Inori Anbetungen fur 1 oder 2 Solisten und Orchester 1973 74 in his Texte zur Musik 4 edited by Christoph von Blumroder 214 236 Cologne DuMont Buchverlag Stockhausen Karlheinz 1978b Vortrag uber HU in his Texte zur Musik 4 edited by Christoph von Blumroder 241 242 Cologne DuMont Buchverlag Toop Richard 1976 O alter Duft Stockhausen and the Return to Melody Studies in Music 10 79 97 Further reading EditConen Hermann 1991 Formel Komposition zu Karlheinz Stockhausens Musik der siebziger Jahre Kolner Schriften zur Neuen Musik Bd 1 Mainz and New York Schott ISBN 3 7957 1890 2 Frisius Rudolf 1999 Musik als Ritual Karlheinz Stockhausens Komposition Inori In Musik und Ritual Funf Kongressbeitrage zwei freie Beitrage und ein Seminarbericht Veroffentlichungen des Instituts fur Neue Musik und Musikerziehung Darmstadt 39 edited by Barbara Barthelmes and Helga de la Motte Haber Mainz Schott ISBN 3 7957 1779 5 Riethmuller Albrecht 1995 Stockhausens Diagramm zu Inori In Tone Farben Formen Uber Musik und die Bildenden Kunste Festschrift Elmar Budde zum 60 Geburtstag edited by Susanne Fontaine Matthias Brzoska Elisabeth Schmierer and Werner Grunzweig 229 242 Laaber Laaber Verlag Stockhausen Karlheinz in conversation with Rudolph Frisius 1998 Es geht aufwarts in his Texte zur Musik 9 edited by Christoph von Blumroder 391 512 Kurten Stockhausen Verlag Stuke Franz R 2003 Magie der Klange INORI Karlheinz Stockhausen 4 November 2003 Konzerthaus Dortmund Opernnetz de accessed 21 August 2019 External links EditIntroduction to Inori by Al Moritz Review of Inori by Ingvar Loco Nordin Vortrag uber HU English version excerpt Retrieved from https en wikipedia org w index php title Inori Stockhausen amp oldid 1087224383, wikipedia, wiki, book, books, library,

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