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Refrain (Stockhausen)

January 14, 2023

Refrain for three players (piano with woodblocks, vibraphone with alpine cowbells, and amplified celesta with antique cymbals) is a chamber music composition by Karlheinz Stockhausen, and is number 11 in his catalog of works.

Refrain
Chamber music by Karlheinz Stockhausen
Congresshalle, Berlin, where Refrain was premiered
Catalogue11
Composed1959 (1959)
DedicationErnst Brücher
Performed2 October 1959 (1959-10-02)
Scoring
  • piano
  • percussion
  • amplified celesta

History

Refrain was composed in June and July 1959 on commission from Gerhart von Westerman for the Berlin Festwochen, and is dedicated to Ernst Brücher [de].[1] It was premiered on 2 October 1959 by David Tudor (piano), Cornelius Cardew (celesta), and a percussionist from the WDR Symphony Orchestra, Siegfried Rockstroh (vibraphone), at the Berlin Congresshalle, as part of an all-Stockhausen concert that also included Kreuzspiel, Zeitmaße, Zyklus, and the Klavierstücke I, IV, V, VII, VIII, and XI.[2]

Materials and form

The title refers to the disturbance six times of a placid and wide-rangingly composed sound texture by a short refrain.[1] These refrains are notated on a rotatable transparent plastic strip, superimposed on curved staves which allow the refrain to be repositioned in order to introduce these disturbances in different places.[3]

Each of the three performers plays an accessory instrument in addition to a main instrument. The pianist also plays three woodblocks, the celesta is supplemented with three antique cymbals, and the vibraphonist has three alpine cowbells coupled with three glockenspiel bars. This means that there are six distinct timbres reflecting the pitch structure, which divides the twelve-tone row into two symmetrical six-note cells. This six-element structure is found also in the dynamics, as well as in the durations of both sounds and rests.[4] The three performers also are required to vocalise tongue clicks on five approximate pitches and short, sharp phonetic syllables to be pitched near the sounds they play, in a manner reminiscent of Japanese theatre.[5] The basic structure of the background layer of the piece consists of a series of chords derived from an all-interval twelve-tone row that Stockhausen used in a number of other works.[6]

The work concludes with a coda, in which the elements are merged into a single complex sound.[7]

Critical reception

On the whole, performances of Refrain were well-received by the press and public. At an early performance in Venice, although a skeptical reviewer thought "Stockhausen's Refrain and Kontakte seem determined on the disorganization of all conventional musical factors", he nevertheless reported that the "concert had a tremendous success, far more than the normal events".[8] The work's timbres were especially singled out for praise. In a festival report, Ben Johnston described it as "jewel-like",[9] and a New York Times critic found "its clusters of attractive percussive sounds" to be "fresh".[10] On an all-Stockhausen programme in 1965, the Times critic found Refrain the "most intriguing of all with its blends of keyboard timbre and percussive sound".[11], and a Los Angeles critic admired its "highly refined, luminous percussion" with "pensive strokes of vibraphone, celesta, and piano six times interrupted and reactivated by the only slightly more dynamic refrain of the title" .[12]

Controversy mainly centred on Refrain's unconventional notation and its relation to the resulting music. In a 1962 review of the printed score, Robert Henderson doubted whether "there are people with the energy and enthusiasm to work out in detail the precise significance of all these complex signs and then make from them a performance" and, if there were, whether "the labour involved could ever be justified by the end-product", pronouncing it merely "an amusing musical kaleidescope [sic] for those with unlimited amounts of unoccupied time". [13]

Another critic initially shared Henderson's reservations but, "Having heard both these works performed 'live', … I am moved to add that some of the perplexities mentioned above now seem less puzzling. In fact Refrain seemed a fascinating and lively performance on stage. … I was most pleased to discover that the composition 'projected' most successfully" and "the live performance was brilliant, convincing, stimulating, perhaps even fathomable".[14]

At around this same time, Peter Stadlen had similarly attacked the notation of Refrain in a programme on BBC Television. For this he was scolded by Tim Souster for having an "obsession with notation", while at the same time seeming oblivious of the fact that "Refrain is one of the finest examples of notation in the history of music". Souster concluded that

One cannot stress too often the importance of letting new music, serial, indeterminate, improvised or electronic, speak directly to the ear, uncluttered by preconceptions or by anxiety about the way the score works. How the music is written down is a very minor consideration to the hundreds of people who fill concerts of Stockhausen's and Cage's music. They respond directly to the audible reality of the music, not to written abstractions, in a way which is all too rare in the critical fraternity. If he trusted his ears, Mr. Stadlen would be a happier man.[15]

The highest-profile attack on Refrain, however, was made as part of a political polemic by Cornelius Cardew, who had been Stockhausen's assistant and had played celesta in the world premiere. In 1972 Hans Keller asked him to introduce a broadcast of the work on BBC Radio and Cardew, a recent convert to Marxism, seized on its comparative popularity as an opportunity to condemn the composition as "a part of the cultural superstructure of the largest-scale system of human oppression and exploitation the world has ever known: imperialism".[16] Writing in what has been described as "the most vulgar style of Marxist conventions",[17] Cardew viewed the European avant garde, whose "abstruse, pseudo-scientific tendencies were encouraged in ivory tower conditions" as having been by 1959 "ready to crack from its own internal contradictions". The leading figures of this group, at the head of which stood Stockhausen, were eager to find a broader audience, and achieving this required change. "Refrain was probably the first manifestation of this change in Stockhausen’s work. Since then his work has become quite clearly mystical in character".[18] Because "Mysticism says 'everything that lives is holy', so don’t walk on the grass and above all don't harm a hair on the head of an imperialist",[19] Refrain "is an ally of imperialism and an enemy of the working and oppressed people of the world", and is comparable with other manifestations of imperialism, specifically "the British Army in Ireland and the mass of unemployed, for example. Here the brutal character of imperialism is evident. Any beauty that may be detected in Refrain is merely cosmetic, not even skin-deep".[20]

Publication of the first half of Cardew's lecture in The Listener "provoked a storm in its correspondence columns".[20] and, as a result of this and a similar attack on John Cage, Cardew reported that "I temporarily lost my voice at the BBC". According to his testimony, "Punishments were also meted out inside the BBC on account of the Stockhausen broadcast which by mischance was heard by a high official of the Corporation".[21]

Discography

  • Karlheinz Stockhausen. Zyklus, Refrain. Mauricio Kagel, Transición II. Christoph Caskel (percussion); Aloys Kontarsky (piano); Bernhard Kontarsky (celesta); David Tudor (piano). With LP recording, stereo. Series 2000. Time S 8001. [N.p.]: Time Records, 1961. Reissued, 1970s, LP recording, stereo. Mainstream MS 5003. [N.p.]: Mainstream Records. Reissued on CD as Karlheinz Stockhausen, Mauricio Kagel, Earle Brown; Udo Wüstendörfer; Karlheinz Stockhausen; Mauricio Kagel; Christoph Caskel; Aloys Kontarsky; Bernhard Kontarsky; David Tudor. Mainz: Schott Wergo Music Media, Wergo WER 6929 2. Mainz: Wergo, 2009. Also as part of the 3-disc set, Earle Brown, a Life in Music, Vol. 1. 3-CD set. Earle Brown Contemporary Sound Series. Wergo WER 6928 2, 6929 2, 6930 2. Mainz: Wergo, 2009.
  • Karlheinz Stockhausen. Kontakte for electronic sounds, piano and percussion. Refrain, for three performers. Aloys Kontarsky (piano), Karlheinz Stockhausen (celesta), Christoph Caskel (percussion). Candide CE 31022. New York: Vox Records, 1968. Also issued on LP as Vox Candide Series STGBY 638 (New York: Vox Records, 1969), Vox WARNER H-4403V (Japan), and Vox Fratelli Fabbri Editori mm-1098 LP (Italy). Reissued on CD, together with a recording of Zyklus, Stockhausen Complete Edition CD 6. Kürten: Stockhausen Verlag, 1993.
  • Karlheinz Stockhausen. Zyklus (2 versions), Refrain, Kontakte. Bernhard Wambach (piano), Mircea Ardeleanu (percussion), Fred Rensch (celesta). CD recording. Koch-Schwann Musica Mundi CD 310 020 H1. Austria: Koch-Records GmbH Schwann, 1988.
  • Karlheinz Stockhausen. Zyklus, Refrain, Kontakte. Florent Jodelet (percussion), Gérard Frémy (piano), Jean-Efflam Bavouzet (celesta). CD. Una Corda series. Accord 202742. France: Accord, 1993.
  • Karlheinz Stockhausen. 3 × Refrain 2000. Benjamin Kobler (piano with 3 woodblocks), Antonio Pérez Abellán (sampler-celesta with 3 antique cymbals), Andreas Boettger (vibraphone with 3 cowbells and glockenspiel). CD recording. Two editions, one with a spoken introduction in German, the other in English. Stockhausen Complete Edition CD 62. Kürten: Stockhausen Verlag, 2000.
  • Karlheinz Stockhausen. Kontra-Punkte, Refrain, Zeitmaße, Schlagtrio. The ensemble recherche: Jean-Pierre Collot (piano), Klaus Steffes-Holländer (celesta), Christian Dierstein (percussion). In the other works: Martin Fahlenbock (flute), Jaime González (oboe), Florian Hasel (cor anglais), Shizuyo Oka (clarinet), Uwe Möckel (bass clarinet), Mario Kopf (bassoon), Markus Schwind (trumpet), Andrew Digby (trombone), Mariko Nishioka (percussion), Beate Anton (harp), Melisa Mellinger (violin), Åsa Åkerberg (cello). Rupert Huber (cond., in Kontra-Punkte and Zeitmaße). Wergo CD WER 6717 2. Mainz: Wergo, 2009. Disc reissued as part of Music Of Our Time: 50 Years: 1962–2012. 5-CD set. Wergo 6946. Wergo, a division of Schott Music & Media GmbH, 2012.
  • Karlheinz Stockhausen. Plus-Minus (with Refrain and Kreuzspiel). Ives Ensemble: John Snijders (piano), Reiner van Houdt (celesta), and Arnold Marinissen (percussion) in Refrain, plus Rik Andriessen (flute), Esther Probst (oboe), Hans Petra (bass clarinet), Jan Willem van der Ham (bassoon), Fons Verspaandonk (horn), Jan Bastiani (trombone), Wilbert Grootenboer and Fedor Teunisse (percussion), Josje ter Haar (violin), Ruben Sanderse (viola), Job ter Haar (cello), and Diederik Meijnckens (double bass). Richard Rijvos (cond., in "Kreuzspiel" only). CD recording. Hat Hut hat[now]ART 178. Basel, Switzerland: Hat Hut Records Ltd. Basel: Hat Hut, 2010.
  • Stockhausen: Complete Early Percussion Works. Steven Schick, percussion James Avery, piano; Red Fish, Blue Fish (Ross Karre, Justin DeHart, Matthew Jenkins, Fabio Oliveira, Jonathan Hepfer, Gregory Stuart). CD recording, digital: 2 sound discs, stereo. Mode 274–275. New York: Mode Records, 2014.

Filmography

  • Brandt, Brian, and Michael Hynes (prod.). 2014. Stockhausen: Complete Early Percussion Works. Steven Schick, James Avery, Red Fish Blue Fish. DVD recording, region 0, NTSC, Dolby 5.1 surround/DTS 5.1 surround, aspect ratio 16:9, color. Mode 274. New York: Mode Records.

References

  1. ^ a b Stockhausen 1964, p. 101.
  2. ^ Kurtz 1992, p. 98.
  3. ^ Maconie 2005, p. 188.
  4. ^ Frisius 2008, p. 128.
  5. ^ Harvey 1975, p. 87.
  6. ^ Frisius 2008, pp. 128–130.
  7. ^ Harvey 1975, p. 87–88.
  8. ^ Smith Brindle 1960.
  9. ^ Johnston 1963, p. 139.
  10. ^ Ericson 1964.
  11. ^ Anon. 1965.
  12. ^ Peterson 1974.
  13. ^ Henderson 1962.
  14. ^ Zimmerman 1963–64, pp. 241–243.
  15. ^ Souster 1969.
  16. ^ Cardew 1974, p. 46.
  17. ^ Deliège 2003, p. 257.
  18. ^ Cardew 1974, p. 48.
  19. ^ Cardew 1974, p. 50.
  20. ^ a b Cardew 1974, p. 55.
  21. ^ Cardew 1974, p. 34.

Cited sources

  • Anon. 1965. "House Full for Karlheinz Stockhausen". The Times, issue 56497 (6 December): 14, col F.
  • Cardew, Cornelius. 1974. "Stockhausen Serves Imperialism". In his Stockhausen Serves Imperialism and Other Articles, 46–55. London: Latimer New Dimensions. Reprinted online UbuWeb, 2004 (Accessed 2 July 2011).
  • Deliège, Célestin. 2003. Cinquante ans de modernité musicale: de Darmstadt à l'IRCAM: contribution historiographiqueà une musicologie critique. Collection Musique, Musicologie. Liège: Editions Mardaga. ISBN 978-2-87009-828-8.
  • Ericson, Raymond. 1964. "Showcase Offers Music of Germany: Town Hall Concert Covers Variety of Composition". The New York Times (30 April): 29.
  • 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.
  • Johnston, Ben. 1963. "Letter from Urbana". Perspectives of New Music 2, no. 1 (Fall–Winter): 137–41.
  • Harvey, Jonathan. 1975. The Music of Stockhausen: An Introduction. Berkeley and Los Angeles: University of California Press.
  • Henderson. Robert. 1962. "Post-Webern Extremes". The Musical Times 103, no. 1433 (July): 485.
  • Kurtz, Michael. 1992. Stockhausen: A Biography, translated by Richard Toop. London and Boston: Faber and Faber. ISBN 0-571-14323-7 (cloth) ISBN 0-571-17146-X (pbk).
  • Maconie, Robin. 2005. Other Planets: The Music of Karlheinz Stockhausen. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press, Inc. ISBN 0-8108-5356-6.
  • Peterson, Melody. 1974. "A Monday Meeting Ground". Los Angeles Times (November 20): F15.
  • Smith Brindle, Reginald. 1960. "Venice Festival". The Musical Times 101, no. 1413 (November): 712.
  • Souster, Tim. 1969. [Letter from Tim Souster] Tempo, New Series, no. 89 (Summer): 29–30.
  • Stockhausen, Karlheinz. 1964. "Nr. 11 Refrain für drei Spieler (1959)". In his Texte zur Musik 2, edited by Dieter Schnebel, 101. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg.
  • Zimmerman, Franklin B. 1963–64. Untitled review of the scores of Stockhausen's Zyklus and Refrain. Notes, Second Series 21, nos. 1 and 2 (Winter–Spring): 241–43.

Further reading

  • Cott, Jonathan. 1973. Stockhausen: Conversations with the Composer. New York: Simon and Schuster. ISBN 0-671-21495-0.
  • Rigoni, Michel. 1998. Stockhausen: ... un vaisseau lancé vers le ciel, second edition, preface by Michaël Levinas. Lillebonne: Millénaire III Editions. ISBN 2-911906-02-0.
  • Stockhausen, Karlheinz. 1963. "Erfindung und Entdeckung". In his Texte zur Musik 1, 222–258. Cologne: Verlag M. DuMont Schauberg.
  • Stockhausen, Karlheinz. 1971. "Refrain für drei Spieler". In his Texte zur Musik 3, edited by Dieter Schnebel, 25–27. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg. ISBN 3-7701-0493-5.
  • Stockhausen, Karlheinz. 1989. "Ratschläge für Schlagzeuger". In his Texte zur Musik 6, edited by Christoph von Blumröder, 10–95. DuMont Dokumente. Cologne: DuMont Buchverlag. ISBN 3-7701-2249-6.

January 14, 2023
refrain, stockhausen, refrain, three, players, piano, with, woodblocks, vibraphone, with, alpine, cowbells, amplified, celesta, with, antique, cymbals, chamber, music, composition, karlheinz, stockhausen, number, catalog, works, refrainchamber, music, karlhein. Refrain for three players piano with woodblocks vibraphone with alpine cowbells and amplified celesta with antique cymbals is a chamber music composition by Karlheinz Stockhausen and is number 11 in his catalog of works RefrainChamber music by Karlheinz StockhausenCongresshalle Berlin where Refrain was premieredCatalogue11Composed1959 1959 DedicationErnst BrucherPerformed2 October 1959 1959 10 02 Scoringpianopercussionamplified celesta Contents 1 History 2 Materials and form 3 Critical reception 4 Discography 5 Filmography 6 References 6 1 Cited sources 7 Further readingHistory EditRefrain was composed in June and July 1959 on commission from Gerhart von Westerman for the Berlin Festwochen and is dedicated to Ernst Brucher de 1 It was premiered on 2 October 1959 by David Tudor piano Cornelius Cardew celesta and a percussionist from the WDR Symphony Orchestra Siegfried Rockstroh vibraphone at the Berlin Congresshalle as part of an all Stockhausen concert that also included Kreuzspiel Zeitmasse Zyklus and the Klavierstucke I IV V VII VIII and XI 2 Materials and form EditThe title refers to the disturbance six times of a placid and wide rangingly composed sound texture by a short refrain 1 These refrains are notated on a rotatable transparent plastic strip superimposed on curved staves which allow the refrain to be repositioned in order to introduce these disturbances in different places 3 Each of the three performers plays an accessory instrument in addition to a main instrument The pianist also plays three woodblocks the celesta is supplemented with three antique cymbals and the vibraphonist has three alpine cowbells coupled with three glockenspiel bars This means that there are six distinct timbres reflecting the pitch structure which divides the twelve tone row into two symmetrical six note cells This six element structure is found also in the dynamics as well as in the durations of both sounds and rests 4 The three performers also are required to vocalise tongue clicks on five approximate pitches and short sharp phonetic syllables to be pitched near the sounds they play in a manner reminiscent of Japanese theatre 5 The basic structure of the background layer of the piece consists of a series of chords derived from an all interval twelve tone row that Stockhausen used in a number of other works 6 The work concludes with a coda in which the elements are merged into a single complex sound 7 Critical reception EditOn the whole performances of Refrain were well received by the press and public At an early performance in Venice although a skeptical reviewer thought Stockhausen s Refrain and Kontakte seem determined on the disorganization of all conventional musical factors he nevertheless reported that the concert had a tremendous success far more than the normal events 8 The work s timbres were especially singled out for praise In a festival report Ben Johnston described it as jewel like 9 and a New York Times critic found its clusters of attractive percussive sounds to be fresh 10 On an all Stockhausen programme in 1965 the Times critic found Refrain the most intriguing of all with its blends of keyboard timbre and percussive sound 11 and a Los Angeles critic admired its highly refined luminous percussion with pensive strokes of vibraphone celesta and piano six times interrupted and reactivated by the only slightly more dynamic refrain of the title 12 Controversy mainly centred on Refrain s unconventional notation and its relation to the resulting music In a 1962 review of the printed score Robert Henderson doubted whether there are people with the energy and enthusiasm to work out in detail the precise significance of all these complex signs and then make from them a performance and if there were whether the labour involved could ever be justified by the end product pronouncing it merely an amusing musical kaleidescope sic for those with unlimited amounts of unoccupied time 13 Another critic initially shared Henderson s reservations but Having heard both these works performed live I am moved to add that some of the perplexities mentioned above now seem less puzzling In fact Refrain seemed a fascinating and lively performance on stage I was most pleased to discover that the composition projected most successfully and the live performance was brilliant convincing stimulating perhaps even fathomable 14 At around this same time Peter Stadlen had similarly attacked the notation of Refrain in a programme on BBC Television For this he was scolded by Tim Souster for having an obsession with notation while at the same time seeming oblivious of the fact that Refrain is one of the finest examples of notation in the history of music Souster concluded thatOne cannot stress too often the importance of letting new music serial indeterminate improvised or electronic speak directly to the ear uncluttered by preconceptions or by anxiety about the way the score works How the music is written down is a very minor consideration to the hundreds of people who fill concerts of Stockhausen s and Cage s music They respond directly to the audible reality of the music not to written abstractions in a way which is all too rare in the critical fraternity If he trusted his ears Mr Stadlen would be a happier man 15 The highest profile attack on Refrain however was made as part of a political polemic by Cornelius Cardew who had been Stockhausen s assistant and had played celesta in the world premiere In 1972 Hans Keller asked him to introduce a broadcast of the work on BBC Radio and Cardew a recent convert to Marxism seized on its comparative popularity as an opportunity to condemn the composition as a part of the cultural superstructure of the largest scale system of human oppression and exploitation the world has ever known imperialism 16 Writing in what has been described as the most vulgar style of Marxist conventions 17 Cardew viewed the European avant garde whose abstruse pseudo scientific tendencies were encouraged in ivory tower conditions as having been by 1959 ready to crack from its own internal contradictions The leading figures of this group at the head of which stood Stockhausen were eager to find a broader audience and achieving this required change Refrain was probably the first manifestation of this change in Stockhausen s work Since then his work has become quite clearly mystical in character 18 Because Mysticism says everything that lives is holy so don t walk on the grass and above all don t harm a hair on the head of an imperialist 19 Refrain is an ally of imperialism and an enemy of the working and oppressed people of the world and is comparable with other manifestations of imperialism specifically the British Army in Ireland and the mass of unemployed for example Here the brutal character of imperialism is evident Any beauty that may be detected in Refrain is merely cosmetic not even skin deep 20 Publication of the first half of Cardew s lecture in The Listener provoked a storm in its correspondence columns 20 and as a result of this and a similar attack on John Cage Cardew reported that I temporarily lost my voice at the BBC According to his testimony Punishments were also meted out inside the BBC on account of the Stockhausen broadcast which by mischance was heard by a high official of the Corporation 21 Discography EditKarlheinz Stockhausen Zyklus Refrain Mauricio Kagel Transicion II Christoph Caskel percussion Aloys Kontarsky piano Bernhard Kontarsky celesta David Tudor piano With LP recording stereo Series 2000 Time S 8001 N p Time Records 1961 Reissued 1970s LP recording stereo Mainstream MS 5003 N p Mainstream Records Reissued on CD as Karlheinz Stockhausen Mauricio Kagel Earle Brown Udo Wustendorfer Karlheinz Stockhausen Mauricio Kagel Christoph Caskel Aloys Kontarsky Bernhard Kontarsky David Tudor Mainz Schott Wergo Music Media Wergo WER 6929 2 Mainz Wergo 2009 Also as part of the 3 disc set Earle Brown a Life in Music Vol 1 3 CD set Earle Brown Contemporary Sound Series Wergo WER 6928 2 6929 2 6930 2 Mainz Wergo 2009 Karlheinz Stockhausen Kontakte for electronic sounds piano and percussion Refrain for three performers Aloys Kontarsky piano Karlheinz Stockhausen celesta Christoph Caskel percussion Candide CE 31022 New York Vox Records 1968 Also issued on LP as Vox Candide Series STGBY 638 New York Vox Records 1969 Vox WARNER H 4403V Japan and Vox Fratelli Fabbri Editori mm 1098 LP Italy Reissued on CD together with a recording of Zyklus Stockhausen Complete Edition CD 6 Kurten Stockhausen Verlag 1993 Karlheinz Stockhausen Zyklus 2 versions Refrain Kontakte Bernhard Wambach piano Mircea Ardeleanu percussion Fred Rensch celesta CD recording Koch Schwann Musica Mundi CD 310 020 H1 Austria Koch Records GmbH Schwann 1988 Karlheinz Stockhausen Zyklus Refrain Kontakte Florent Jodelet percussion Gerard Fremy piano Jean Efflam Bavouzet celesta CD Una Corda series Accord 202742 France Accord 1993 Karlheinz Stockhausen 3 Refrain 2000 Benjamin Kobler piano with 3 woodblocks Antonio Perez Abellan sampler celesta with 3 antique cymbals Andreas Boettger vibraphone with 3 cowbells and glockenspiel CD recording Two editions one with a spoken introduction in German the other in English Stockhausen Complete Edition CD 62 Kurten Stockhausen Verlag 2000 Karlheinz Stockhausen Kontra Punkte Refrain Zeitmasse Schlagtrio The ensemble recherche Jean Pierre Collot piano Klaus Steffes Hollander celesta Christian Dierstein percussion In the other works Martin Fahlenbock flute Jaime Gonzalez oboe Florian Hasel cor anglais Shizuyo Oka clarinet Uwe Mockel bass clarinet Mario Kopf bassoon Markus Schwind trumpet Andrew Digby trombone Mariko Nishioka percussion Beate Anton harp Melisa Mellinger violin Asa Akerberg cello Rupert Huber cond in Kontra Punkte and Zeitmasse Wergo CD WER 6717 2 Mainz Wergo 2009 Disc reissued as part of Music Of Our Time 50 Years 1962 2012 5 CD set Wergo 6946 Wergo a division of Schott Music amp Media GmbH 2012 Karlheinz Stockhausen Plus Minus with Refrain and Kreuzspiel Ives Ensemble John Snijders piano Reiner van Houdt celesta and Arnold Marinissen percussion in Refrain plus Rik Andriessen flute Esther Probst oboe Hans Petra bass clarinet Jan Willem van der Ham bassoon Fons Verspaandonk horn Jan Bastiani trombone Wilbert Grootenboer and Fedor Teunisse percussion Josje ter Haar violin Ruben Sanderse viola Job ter Haar cello and Diederik Meijnckens double bass Richard Rijvos cond in Kreuzspiel only CD recording Hat Hut hat now ART 178 Basel Switzerland Hat Hut Records Ltd Basel Hat Hut 2010 Stockhausen Complete Early Percussion Works Steven Schick percussion James Avery piano Red Fish Blue Fish Ross Karre Justin DeHart Matthew Jenkins Fabio Oliveira Jonathan Hepfer Gregory Stuart CD recording digital 2 sound discs stereo Mode 274 275 New York Mode Records 2014 Filmography EditBrandt Brian and Michael Hynes prod 2014 Stockhausen Complete Early Percussion Works Steven Schick James Avery Red Fish Blue Fish DVD recording region 0 NTSC Dolby 5 1 surround DTS 5 1 surround aspect ratio 16 9 color Mode 274 New York Mode Records References Edit a b Stockhausen 1964 p 101 Kurtz 1992 p 98 Maconie 2005 p 188 Frisius 2008 p 128 Harvey 1975 p 87 Frisius 2008 pp 128 130 Harvey 1975 p 87 88 Smith Brindle 1960 Johnston 1963 p 139 Ericson 1964 Anon 1965 Peterson 1974 Henderson 1962 Zimmerman 1963 64 pp 241 243 Souster 1969 Cardew 1974 p 46 Deliege 2003 p 257 Cardew 1974 p 48 Cardew 1974 p 50 a b Cardew 1974 p 55 Cardew 1974 p 34 Cited sources Edit Anon 1965 House Full for Karlheinz Stockhausen The Times issue 56497 6 December 14 col F Cardew Cornelius 1974 Stockhausen Serves Imperialism In his Stockhausen Serves Imperialism and Other Articles 46 55 London Latimer New Dimensions Reprinted online UbuWeb 2004 Accessed 2 July 2011 Deliege Celestin 2003 Cinquante ans de modernite musicale de Darmstadt a l IRCAM contribution historiographiquea une musicologie critique Collection Musique Musicologie Liege Editions Mardaga ISBN 978 2 87009 828 8 Ericson Raymond 1964 Showcase Offers Music of Germany Town Hall Concert Covers Variety of Composition The New York Times 30 April 29 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 Johnston Ben 1963 Letter from Urbana Perspectives of New Music 2 no 1 Fall Winter 137 41 Harvey Jonathan 1975 The Music of Stockhausen An Introduction Berkeley and Los Angeles University of California Press Henderson Robert 1962 Post Webern Extremes The Musical Times 103 no 1433 July 485 Kurtz Michael 1992 Stockhausen A Biography translated by Richard Toop London and Boston Faber and Faber ISBN 0 571 14323 7 cloth ISBN 0 571 17146 X pbk Maconie Robin 2005 Other Planets The Music of Karlheinz Stockhausen Lanham Maryland Toronto Oxford The Scarecrow Press Inc ISBN 0 8108 5356 6 Peterson Melody 1974 A Monday Meeting Ground Los Angeles Times November 20 F15 Smith Brindle Reginald 1960 Venice Festival The Musical Times 101 no 1413 November 712 Souster Tim 1969 Letter from Tim Souster Tempo New Series no 89 Summer 29 30 Stockhausen Karlheinz 1964 Nr 11 Refrain fur drei Spieler 1959 In his Texte zur Musik 2 edited by Dieter Schnebel 101 DuMont Dokumente Cologne Verlag M DuMont Schauberg Zimmerman Franklin B 1963 64 Untitled review of the scores of Stockhausen s Zyklus and Refrain Notes Second Series 21 nos 1 and 2 Winter Spring 241 43 Further reading EditCott Jonathan 1973 Stockhausen Conversations with the Composer New York Simon and Schuster ISBN 0 671 21495 0 Rigoni Michel 1998 Stockhausen un vaisseau lance vers le ciel second edition preface by Michael Levinas Lillebonne Millenaire III Editions ISBN 2 911906 02 0 Stockhausen Karlheinz 1963 Erfindung und Entdeckung In his Texte zur Musik 1 222 258 Cologne Verlag M DuMont Schauberg Stockhausen Karlheinz 1971 Refrain fur drei Spieler In his Texte zur Musik 3 edited by Dieter Schnebel 25 27 DuMont Dokumente Cologne Verlag M DuMont Schauberg ISBN 3 7701 0493 5 Stockhausen Karlheinz 1989 Ratschlage fur Schlagzeuger In his Texte zur Musik 6 edited by Christoph von Blumroder 10 95 DuMont Dokumente Cologne DuMont Buchverlag ISBN 3 7701 2249 6 Portal Classical music Retrieved from https en wikipedia org w index php title Refrain Stockhausen amp oldid 1088973889, wikipedia, wiki, book, books, library,

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