Pole (Poles), for two performers with shortwave radio receivers and a sound projectionist, is a composition by Karlheinz Stockhausen, written in 1970. It is Number 30 in the catalogue of the composer's works.
Stockhausen (back, centre) at the Shiraz Arts Festival, September 1972, with several of the Expo '70 performers: front: P. Eötvös, D. von Biel, G. Rodens, W. Fromme, H. Albrecht; second row, second from left: H.-A. Billig; far right: C. Caskel
Pole is the last in a series of works dating from the late 1960s which Stockhausen designated as "process" compositions. These works in effect separate the "form" from the "content" by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Pole and three companion works (Kurzwellen for six performers, Spiral for a soloist, and Expo for three), this material is to be drawn spontaneously during the performance from shortwave radio broadcasts.[1] The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being "the same".[2]
Historyedit
German Pavilion at Expo '70, where Pole was performed in the spherical auditorium (out of view to the right)
Pole was composed in Bali in February 1970, at that time under the working title of Duo.[3] Between 14 March and 14 September 1970, Pole was played and sung over a thousand times at Expo '70 in Osaka, Japan, in daily performances by twenty different musicians including the composer.[4] The score is dedicated to Harald Bojé [de] and Péter Eötvös, who played in the majority of the early performances, and who also made a number of radio recordings and two commercially released recordings of the piece.[3]
Structure and techniqueedit
Graetz Pagino receiver, 1969
Pole consists of a sequence of approximately 200 events, grouped into seven sections divided in the score by wavy barlines. Stockhausen explained that in pieces like this, "the first step is always that of imitating something and the next step is that of transforming what you're able to imitate".[5]
Each plus, minus, or equal sign indicates that, upon repetition of an event, the performer is to increase, decrease, or maintain the same level in one of four musical dimensions (or "parameters"): overall duration of the event, number of internal subdivisions, dynamic level, or pitch register/range. It is up to the performer to decide which of these dimensions is to be affected, except that vertically stacked signs must be applied to different parameters.[6] Despite this indeterminacy, a large number of plus signs (for example) will result in successive events becoming longer, more finely subdivided, louder, and either higher or wider in range; a large number of minus signs will produce the reverse effect.[2] To the signs previously used in Prozession, Kurzwellen, Spiral, and Expo Stockhausen adds some new ones and, for the first time, notated the sound-projectionist part which had been left to improvisation in the earlier pieces. At Expo '70, these movements were accomplished using a "rotation mill"—a small box with a crank on the top, like a small coffee grinder.[7] The spherical auditorium of the German Pavilion literally had poles, one above and the other below the audience platform at the "equator". Boldface plus and minus signs represent the zenith and nadir. The sounds of the two soloists are initially placed at the opposite poles (which may be the front and back of the hall, in ordinary spaces, distributed over eight or more channels). At first these sounds occasionally dip toward each other, and then fan out over their respective axes, followed by stairstepping back and forth over independent paths in three dimensions in a breathtaking spatial experience.[8]
Discographyedit
Harald Bojé (electronium, shortwave radio) and Péter Eötvös (electrochord, schalmai[check spelling], Japanese bamboo flute, shortwave radio). With Wach and Japan (from Für kommende Zeiten), and two versions of Spiral. (Recorded 8–10 December 1971 at No. 2 Studio, Abbey Road, London.) EMI 2-LP set. EMI Electrola C165-02 313/314. Reissued on 2-CD set, EMI Classics 6955982. London: The Gramophone Company Limited, 1973.
Bojé and Eötvös (a different version from the EMI set). Spiral (2 Versionen); Pole. Peter Eötvös, Harald Bojé, Karlheinz Stockhausen. (Recorded 18 April 1971 at WDR, Cologne.) Stockhausen Complete Edition CD 15. Kürten: Stockhausen-Verlag, 1994.
Pole für zwei (Integral Version). Michael Vetter and Natascha Nikeprelevic (voices and auxiliary instruments). Recorded at Sound Studio N, Cologne, on 27 October 2012. Stockhausen Complete Edition CD 103. Kürten: Stockhausen-Verlag, 2013.
Cott, Jonathan. 1973. Stockhausen: Conversations with the Composer. New York: Simon and Schuster. ISBN0-671-21495-0.
Kohl, Jerome. 1981. "Serial and Non-Serial Techniques in the Music of Karlheinz Stockhausen from 1962–1968." Ph.D. diss., Seattle: University of Washington.
Kohl, Jerome. 2010. "A Child of the Radio Age". In Cut & Splice: Transmission, edited by Daniela Cascella and Lucia Farinati, 135–139. London: Sound and Music. ISBN978-1-907378-03-4.
Stockhausen, Karlheinz. 1973. Nr 27 Spiral für einen Solisten. (score) UE 14957. Vienna: Universal Edition.
Stockhausen, Karlheinz. 1978. "Pole für 2 (1969–70) und Expo für 3 (1969–70)". In his Texte zur Musik 4, edited by Christoph von Blumröder, 152. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg. ISBN3-7701-0493-5.
Stockhausen, Karlheinz. 2009. Kompositorische Grundlagen Neuer Musik: Sechs Seminare für die Darmstädter Ferienkurse 1970, edited by Imke Misch. Kürten: Stockhausen-Stiftung für Musik. ISBN978-3-00-027313-1.
Further readingedit
Fowler, Michael. 2010. "The Ephemeral Architecture of Stockhausen's Pole für 2". Organised Sound 15, no. 3 (October): 185–197.
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. ISBN978-3-7957-0249-6.
Fritsch, Johannes, and Richard Toop. 2008. "Versuch, eine Grenze zu überschreiten ... Johannes Fritsch im Gespräch über die Aufführungspraxis von Werken Karlheinz Stockhausens". MusikTexte [de] no. 116 (February): 31–40.
Hopp, Winrich. 1998. Kurzwellen von Karlheinz Stockhausen: Konzeption und musikalische Poiesis. Kölner Schriften zur neuen Musik 6. With CD recording. Mainz and New York: Schott. ISBN3-7957-1895-3.
Maconie, Robin. 2005. Other Planets: The Music of Karlheinz Stockhausen. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press. ISBN0-8108-5356-6.
Stockhausen, Karlheinz. 1971. "Ein Abend EXPO 70". In his Texte zur Musik 3, edited by Dieter Schnebel, 229–231. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg. ISBN3-7701-0493-5, 9783770104932.
Wörner, Karl Heinrich [de]. 1973. Stockhausen: Life and Work, translated by Bill Hopkins. Berkeley: University of California Press.
External linksedit
Photos and architectural plans of the auditorium of the Expo '70 West German Pavilion and its sound system, for which Pole was conceived.
pole, stockhausen, pole, poles, performers, with, shortwave, radio, receivers, sound, projectionist, composition, karlheinz, stockhausen, written, 1970, number, catalogue, composer, works, stockhausen, back, centre, shiraz, arts, festival, september, 1972, wit. Pole Poles for two performers with shortwave radio receivers and a sound projectionist is a composition by Karlheinz Stockhausen written in 1970 It is Number 30 in the catalogue of the composer s works Stockhausen back centre at the Shiraz Arts Festival September 1972 with several of the Expo 70 performers front P Eotvos D von Biel G Rodens W Fromme H Albrecht second row second from left H A Billig far right C Caskel Contents 1 Conception 2 History 3 Structure and technique 4 Discography 5 References 5 1 Cited sources 6 Further reading 7 External linksConception editPole is the last in a series of works dating from the late 1960s which Stockhausen designated as process compositions These works in effect separate the form from the content by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next In Pole and three companion works Kurzwellen for six performers Spiral for a soloist and Expo for three this material is to be drawn spontaneously during the performance from shortwave radio broadcasts 1 The processes indicated primarily by plus minus and equal signs constitute the composition and despite the unpredictability of the materials these processes can be heard from one performance to another as being the same 2 History edit nbsp German Pavilion at Expo 70 where Pole was performed in the spherical auditorium out of view to the right Pole was composed in Bali in February 1970 at that time under the working title of Duo 3 Between 14 March and 14 September 1970 Pole was played and sung over a thousand times at Expo 70 in Osaka Japan in daily performances by twenty different musicians including the composer 4 The score is dedicated to Harald Boje de and Peter Eotvos who played in the majority of the early performances and who also made a number of radio recordings and two commercially released recordings of the piece 3 Structure and technique edit nbsp Graetz Pagino receiver 1969 Pole consists of a sequence of approximately 200 events grouped into seven sections divided in the score by wavy barlines Stockhausen explained that in pieces like this the first step is always that of imitating something and the next step is that of transforming what you re able to imitate 5 Each plus minus or equal sign indicates that upon repetition of an event the performer is to increase decrease or maintain the same level in one of four musical dimensions or parameters overall duration of the event number of internal subdivisions dynamic level or pitch register range It is up to the performer to decide which of these dimensions is to be affected except that vertically stacked signs must be applied to different parameters 6 Despite this indeterminacy a large number of plus signs for example will result in successive events becoming longer more finely subdivided louder and either higher or wider in range a large number of minus signs will produce the reverse effect 2 To the signs previously used in Prozession Kurzwellen Spiral and Expo Stockhausen adds some new ones and for the first time notated the sound projectionist part which had been left to improvisation in the earlier pieces At Expo 70 these movements were accomplished using a rotation mill a small box with a crank on the top like a small coffee grinder 7 The spherical auditorium of the German Pavilion literally had poles one above and the other below the audience platform at the equator Boldface plus and minus signs represent the zenith and nadir The sounds of the two soloists are initially placed at the opposite poles which may be the front and back of the hall in ordinary spaces distributed over eight or more channels At first these sounds occasionally dip toward each other and then fan out over their respective axes followed by stairstepping back and forth over independent paths in three dimensions in a breathtaking spatial experience 8 Discography editHarald Boje electronium shortwave radio and Peter Eotvos electrochord schalmai check spelling Japanese bamboo flute shortwave radio With Wach and Japan from Fur kommende Zeiten and two versions of Spiral Recorded 8 10 December 1971 at No 2 Studio Abbey Road London EMI 2 LP set EMI Electrola C165 02 313 314 Reissued on 2 CD set EMI Classics 6955982 London The Gramophone Company Limited 1973 Boje and Eotvos a different version from the EMI set Spiral 2 Versionen Pole Peter Eotvos Harald Boje Karlheinz Stockhausen Recorded 18 April 1971 at WDR Cologne Stockhausen Complete Edition CD 15 Kurten Stockhausen Verlag 1994 Pole fur zwei Integral Version Michael Vetter and Natascha Nikeprelevic voices and auxiliary instruments Recorded at Sound Studio N Cologne on 27 October 2012 Stockhausen Complete Edition CD 103 Kurten Stockhausen Verlag 2013 References edit Kohl 1981 pp 192 193 a b Kohl 2010 p 137 a b Stockhausen 1978 p 152 Stockhausen 2009 p 260 Cott 1973 p 33 Stockhausen 1973 pp 1 11 21 Stockhausen 2009 p 262 Kohl 2010 p 138 Cited sources edit Cott Jonathan 1973 Stockhausen Conversations with the Composer New York Simon and Schuster ISBN 0 671 21495 0 Kohl Jerome 1981 Serial and Non Serial Techniques in the Music of Karlheinz Stockhausen from 1962 1968 Ph D diss Seattle University of Washington Kohl Jerome 2010 A Child of the Radio Age In Cut amp Splice Transmission edited by Daniela Cascella and Lucia Farinati 135 139 London Sound and Music ISBN 978 1 907378 03 4 Stockhausen Karlheinz 1973 Nr 27 Spiral fur einen Solisten score UE 14957 Vienna Universal Edition Stockhausen Karlheinz 1978 Pole fur 2 1969 70 und Expo fur 3 1969 70 In his Texte zur Musik 4 edited by Christoph von Blumroder 152 DuMont Dokumente Cologne Verlag M DuMont Schauberg ISBN 3 7701 0493 5 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 Further reading editFowler Michael 2010 The Ephemeral Architecture of Stockhausen s Pole fur 2 Organised Sound 15 no 3 October 185 197 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 de no 116 February 31 40 Hopp Winrich 1998 Kurzwellen von Karlheinz Stockhausen Konzeption und musikalische Poiesis Kolner Schriften zur neuen Musik 6 With CD recording Mainz and New York Schott ISBN 3 7957 1895 3 Maconie Robin 2005 Other Planets The Music of Karlheinz Stockhausen Lanham Maryland Toronto Oxford The Scarecrow Press ISBN 0 8108 5356 6 Stockhausen Karlheinz 1971 Ein Abend EXPO 70 In his Texte zur Musik 3 edited by Dieter Schnebel 229 231 DuMont Dokumente Cologne Verlag M DuMont Schauberg ISBN 3 7701 0493 5 9783770104932 Worner Karl Heinrich de 1973 Stockhausen Life and Work translated by Bill Hopkins Berkeley University of California Press External links editPhotos and architectural plans of the auditorium of the Expo 70 West German Pavilion and its sound system for which Pole was conceived Portal nbsp Classical music Retrieved from https en wikipedia org w index php title Pole Stockhausen amp oldid 1113803658, wikipedia, wiki, book, books, library,
