Complete CD Series |
|||||||
| 1-10 (1950-69) Serial Music: Points to Groups Moment Form Electronic & Tape Music |
11-26 (1967-79) Live Electronics Intuitive Music Formula Form |
||||||
| 27-47 (1977-95) LICHT Pt.1 |
48-66 (1991-2003) LICHT Pt.2 |
67-82 (2002-05) LICHT Pt.3 |
|||||
| 83-106 (2006-15) KLANG (& Text CDs) |
|||||||
The best, most efficient way to hear Stockhausen's works is through his official record label and publishing house. The Stockhausen Edition CDs are meticulously assembled with often voluminous booklets in English and German, filled with sketches and other documentary artifacts. Almost all of the recordings originally released on Deutsche Grammophon, Wergo, Nonesuch and other labels were reacquired by Stockhausen, and then remastered and repackaged under the Stockhausen Edition catalog. Under the control of the Stockhausen Foundation, Stockhausen's recorded works will never go "out of print", making all of them available to the public. The Stockhausen Edition CDs are organized mostly in historical order, although some volumes are focused on particular categories of chamber works (flute, winds, synth, trumpet, percussion, etc...), some concentrate on different renditions of a single composition, and some are new recordings of older works.Brief descriptions of each CD follow with links to the relevant analysis pages on the main site. All performances conducted and mixed by Karlheinz Stockhausen unless otherwise indicated. All of these discs can be purchased online through the Stockhausen official store (which this site has no official affiliation with).
KLANG
Stockhausen Edition CDs 83-106 (see the links in the table above to navigate to the other CD guides, or go to the "complete listing") include works from the KLANG ("Sound") cycle, a series of mostly solo or small group chamber and electro-acoustic pieces, each named after one of the 24 hours of the day (although the last 3 hours were never completed). The first four "hours" (HIMMELFAHRT, FREUDE, NATÜRLICHE DAUERN and HIMMELS-TÜR) are completely unique, free-standing works. This is followed by a series of linked works where parts from Hour 5 (HARMONIEN) are used to generate a series of unique, re-sequenced adaptations, which make up Hours 6 through 11. The monumental electronic work COSMIC PULSES (Hour 12) takes the KLANG "clock" to its midpoint, after which selected layers from COSMIC PULSES support a cycle of vocal and instrumental solo works in Hours 13 through 21.This run also includes important premier recordings of new arrangements for some older pieces (MIXTUR 2003, new orchestral works based on themes from TIERKREIS, versions of EXPO and POLE for vocals and with electronics, etc). Performances recorded on CDs 83-87 were conducted and mixed by Karlheinz Stockhausen unless otherwise indicated. Performances on CDs 88-106 were directed and mixed by Kathinka Pasveer (unless otherwise indicated). All of these discs can be purchased online through the Stockhausen official store. Below is a listing of the CDs covered on this section with quick-access links (some titles are descriptive, not "official").
83 - KLANG: HIMMELFAHRT
84 - KLANG: FREUDE
85 - KLANG: NATÜRLICHE DAUERN
86 - KLANG: HIMMELS-TÜR (and 24 TÜRIN)
87 - KLANG: HARMONIEN and SCHÖNHEIT
88 - KLANG: BALANCE and GLÜCK
89 - KLANG: HOFFNUNG and GLANZ
90 - KLANG: TREUE and ERWACHEN
91 - KLANG: COSMIC PULSES
92 - KLANG: HAVONA
93 - KLANG: ORVONTON
94 - KLANG: UVERSA
95 - KLANG: NEBADON
96 - KLANG: JERUSEM
97 - KLANG: URANTIA
98 - KLANG: EDENTIA
99 - KLANG: PARADIES
100 - JUBILÄUM / FÜNF STERNZEICHEN / FÜNF WEITERE STERNZEICHEN
101 - IN FREUNDSCHAFT (for recorder, bassoon, horn, double bass)
102 - IN FREUNDSCHAFT (for violin, bass clarinet, viola, tuba, cello)
103 - POLE for 2 (2012 Integral version with Vocals)
104 - EXPO for 3 (2013 Integral version with Vocals and Electronics)
105 - Chamber Works (Recordings from 2011-15)
106 - MIXTUR 2003
Text CDs
In addition to the 106 releases in the Complete Edition, Stockhausen's label has also put out a series of "Text CDs", which are primarily historical recordings of lectures that Stockhausen gave circa 1950-80. These are unfortunately all given in German, so they have limited value for English-speakers (a couple have transcribed translations). However, several of these Text CDs also include important recordings of contemporaneous works which are not found on the Complete Edition. I personally don't have access to all of these releases, so I'll merely provide a brief listing below (the version of KONTAKTE on T-CD 11 is of course a favorite, and images of the Wergo releases can be found on the Introduction page).- 2: Klavierstück I (Marcelle Mercenier, 1954)
- 4: Zeitmasze (Meyer Quintet (WDR Quintet), 1956)
- 6: Klavierstück XI (David Tudor, 1st and 2nd recording, 1959)
- (also on hat ART CD 6142)
- 8: Refrain (Kobler, Abellán, Boettger)
- 11: Kontakte (w David Tudor, Cristoph Caskel, 1960)
- (also on Wergo WER 60009)
- 14: Mikrophonie I (world premiere w Aloys Kontarsky, Caskell, Fritsch, Bernhard Kontarsky, Stockhausen, Davies, 1964)
- 16: Telemusik (“New Mastering from original 6-track, 2007”)
- 20: Setz Die Segel Zur Sonne ("Fais Voile Vers Le Solei", w Kontarsky, Portal, Fritsch, Alings & Gehlhaar, Bojé, Drouet, Jenny-Clark, Stockhausen, 1969)
- (also on Harmonia Mundi HMX 290862.64 3CD)
- 21: Kurzwellen (Eötvös, Bojé, Gelhaar, Mesias Maiguashca rec. April, Osaka 1970, 2nd part only)
- 22: Für Kommende Zeiten: Zugvogel “Bird of Passage” (Bojé, Eötvös, Kontarsky, John Miller, K.Stockhausen, 1975)
- (also on Chrysalis 6037 573 (LP))
- 23: Beethoven Opus 1970 / Opus 1970: “Stockhoven-Beethausen” (Kontarsky, Bojé, Alings & Gehlhaar, Fritsch, Stockhausen, 1969)
- (also on DG 139 461 (LP))
HIMMELFAHRT (ASCENSION, 1st Hour from KLANG, for synthesizer, soprano and tenor (and some percussion) (2004/05): This work (originally for church organ) primarily features the polyphonic/polytimbral synthesizer of Antonio Pérez Abellán, with added sung text by Hubert Mayer (tenor) and Barbara Zanichelli (soprano). Abellán did the synthesizer programming and also provides the intermittently-occurring percussion parts (bamboo chimes, metal bowl, gong percussion). As a bonus, the 48 timbres employed (blended synthesizer patches) are each demonstrated in isolation as well. This is enjoyable because each of Abellán's synth patches have at least 3 pitched elements (some of them dynamic) and these layers really can't be appreciated in the composition itself (Stockhausen introduces each sound personally). Rec. 2006.
FREUDE (JOY, 2nd Hour from KLANG) for 2 harps (2005) consists of 24 "moments", each linked with a liturgical verse sung by one or both harpists during performance. This piece is one of Stockhausen's most lyrical pieces in the "traditional sense", although it is still based on a chromatic tonality. Feat. Marianne Smit and Esther Kooi, rec. 2006.
NATÜRLICHE DAUERN (NATURAL DURATIONS, 3rd Hour from KLANG) for piano (2005/06) is presented in a 2 CD set. Some of these short piano etudes (24 in all) are predicated on the decay times of sustained, pianistic attacks, while others are fascinating explorations of melodic and rhythmic contrast. These final, late-era piano pieces are truly beautiful "postcards" of shape and color. Feat. solo piano performances from Frank Gutschmidt, Benjamin Kobler and Antonio Pérez Abellán, rec. 2007.
HIMMELS-TÜR (HEAVEN’S DOOR, 4th Hour from KLANG) for a "percussionist and a little girl" (2005) is essentially performed on a hand-made door, with panels constructed from different types of wood in order to obtain a broad range of timbral colors. The piece consists primarily of 15 "moods", followed by a final theatrical event involving cymbals and sirens (the little girl element is not aural). This piece could be considered a kind of microtonal, "neo-marimba" piece performed on "found percussion". Feat. Stuart Gerber, rec. 2006.
24 TÜRIN (for door, rin and speaker) is a meditative electro-acoustic piece created from electronically-stretched-out wooden door accents, with added metal bowl percussion (tuned) and male recitation (Stockhausen, in both German and English versions). Rec. 2006.
HARMONIEN (HARMONIES, 5th Hour from KLANG, 2006) consists of three adaptations (for bass clarinet, flute, trumpet) of a composition for a solo melody instrument, in which broad melodic fragments are "answered" by brisk cycles of related arpeggio figures (or "broken chords"). These ostinato figures are modulated dynamically so that they subtly "approach and recede". In SCHÖNHEIT (BEAUTY, 6th Hour from KLANG, 2006) the material from the three arrangements of HARMONIEN are layered and synchronized for a trio.
These solo and chamber ensemble works really show off Stockhausen's ability write in a more traditionally lyrical style, and wind up being possibly some of his most accessibly poetic writing since his chamber arrangements for TIERKREIS. At the same time, the juxtapositions of these "looping" phrases with the expanding/contracting melodic fragments provide for some amazingly witty and complex contrapuntal shapes.
- HARMONIEN
- For Bass Clarinet, feat. Suzanne Stephens, rec. 2007.
- For Flute, feat. Kathinka Pasveer, rec. 2007.
- For Trumpet, feat. Marco Blaauw, rec. 2008 (under Kathinka Pasveer's direction).
- SCHÖNHEIT for bass clarinet, flute and trumpet, feat. as above, rec. 2010 (under Kathinka Pasveer's direction).
BALANCE (7th Hour from KLANG, 2007) and GLÜCK (BLISS, Eighth Hour from KLANG, 2007) are both wind trios which adapt and re-sequence melodic and rhythmic material from SCHÖNHEIT (CD 87) to create a similarly hypnotic web of lyrical polyphony, approaching and receding from the listener.
- BALANCE features bass clarinet (Shizuyo Oka), English horn (Jaime Gonzalez), and flute (Martin Fahlenbock), rec. 2008. This arrangement also features a trio interlude and two English horn "cadenzas", ending with a Coda.
- GLÜCK features bassoon (Edurne Santos), English horn (Piet van Bockstal), and oboe (Peter Veale), rec. 2010. This arrangement includes a Coda section.
HOFFNUNG (HOPE, 9th Hour from KLANG, for string trio, 2007) and GLANZ (BRILLIANCE, 10th Hour from KLANG, for septet, 2007) both adapt and re-sequence melodic and rhythmic material from SCHÖNHEIT (CD 87) to create a similarly hypnotic web of lyrical polyphony, approaching and receding from the listener.
- HOFFNUNG features violoncello (Dirk Wietheger), viola (Axel Porath), violin (Judith Haeberlin), rec. 2009. This arrangement includes a Coda section.
- GLANZ features bassoon (Heidi Mockert), viola (Axel Porath), clarinet (Richard Haynes), oboe (Peter Veale), trumpet (Marco Blaauw), trombone (Bruce Collings), and tuba (Melvyn Poore), rec. 2010. This enlarged septet arrangement can be somewhat regarded as a clarinet-bassoon-viola trio with four guest instruments included in "insert" material added to the ends of some sections. It also includes both the Intro and Coda sequences.
TREUE (FIDELITY, 11th Hour from KLANG, for wind trio, 2007) and ERWACHEN (AWAKENING, 12th Hour from KLANG, for trio, 2007) both adapt and re-sequence melodic and rhythmic material from SCHÖNHEIT (CD 87) to create a similarly hypnotic web of lyrical polyphony, approaching and receding from the listener.
- TREUE features bass clarinet (Petra Stump), basset-horn (Rumi Sota-Klemm) and Eb-clarinet (Roberta Gottardi), rec. 2010. This arrangement includes a Coda section.
- ERWACHEN features violoncello (Dirk Wietheger), trumpet (Marco Blaauw), soprano saxophone (Marcus Weiss), rec. 2010. This arrangement includes an Intro section.
COSMIC PULSES (2007), the 13th Hour from KLANG is an electronic music work comprised of 24 layers of synthetic, looped melodies, twisted and modulated into a kaleidoscopic, head-spinning whirlwind of sound and color. In a live presentation this work is projected through 8 equidistant speakers, but this CD contains an effective stereo mix-down.
This disc also includes bonus tracks which isolate portions of each of the 24 layers for those interested in hearing the "parts". These synthesizer loops were realized by Antonio Pérez Abellán, with additional melodic manipulation applied by Kathinka Pasveer (under Stockhausen's supervision).
HAVONA (14th Hour from KLANG, 2007) is for Bass and Electronic Music. The electronic music element is derived from 3 extracted layers from COSMIC PULSES (CD 91), specifically Layers 1-3. This CD features the bass vocal of Nicholas Isherwood, rec. 2009. As a bonus, the electronic music is also presented without the soloist part (for "rehearsal").
ORVONTON (15th Hour from KLANG, 2007) is for Baritone and Electronic Music. The electronic music element is derived from 3 extracted layers from COSMIC PULSES (CD 91), specifically Layers 4-6. This CD features the baritone vocal of Jonathan de la Paz Zaens, rec. 2010. As a bonus, the electronic music is also presented without the soloist part (for "rehearsal").
UVERSA (16th Hour from KLANG, 2007) is for Basset-horn and Electronic Music. The electronic music element is derived from 3 extracted layers from COSMIC PULSES (CD 91), specifically Layers 7-9. These layers also include an additional, intermittent soprano vocal element (Kathinka Pasveer), which cues each of the 24 sections. This CD features the basset-horn of Michele Marelli, rec. 2010. As a bonus, the electronic music is also presented without the soloist part (for "rehearsal").
NEBADON (17th Hour from KLANG, 2007) is for Horn and Electronic Music. The electronic music element is derived from 3 extracted layers from COSMIC PULSES (CD 91), specifically Layers 10-12. These layers also include an additional, intermittent soprano vocal element (Kathinka Pasveer), which cues each of the 24 sections. This CD features the horn of Christine Chapman, rec. 2009. As a bonus, the electronic music is also presented without the soloist part (for "rehearsal").
JERUSEM (18th Hour from KLANG, 2007) is for Tenor and Electronic Music. The electronic music element is derived from 3 extracted layers from COSMIC PULSES (CD 91), specifically Layers 13-15. This CD features the tenor vocal of Hubert Mayer, rec. 2010. As a bonus, the electronic music is also presented without the soloist part (for "rehearsal").
URANTIA (19th Hour from KLANG, 2007) is for Soprano and Electronic Music. The electronic music element is derived from 3 extracted layers from COSMIC PULSES (CD 91), specifically Layers 16-18. This CD features the soprano vocal of Kathinka Pasveer, rec. 2008. As a bonus, the electronic music is also presented without the soloist part (for "rehearsal").
EDENTIA (20th Hour from KLANG, 2007) is for Soprano Saxophone and Electronic Music. The electronic music element is derived from 3 extracted layers from COSMIC PULSES (CD 91), specifically Layers 19-21. These layers also include an additional, intermittent soprano vocal element (Kathinka Pasveer), which cues each of the 24 sections. This CD features the soprano saxophone of Marcus Weiss, rec. 2008. As a bonus, the electronic music is also presented without the soloist part (for "rehearsal").
PARADIES (PARADISE, 21st Hour from KLANG, 2007) is for Flute and Electronic Music. The electronic music element is derived from 3 extracted layers from COSMIC PULSES (CD 91), specifically Layers 22-24. These layers also include an additional, intermittent soprano vocal element (Kathinka Pasveer), which cues each of the 24 sections. This CD features the flute of Kathinka Pasveer, rec. 2009. As a bonus, the electronic music is also presented without the soloist part (for "rehearsal").
This disc features primarily orchestral works, as well as recordings of the TIERKREIS melodies while installed for the Cologne Town Hall carillon.
- JUBILÄUM (JUBILEE, 1977) for orchestra, feat. the BBC Symphony Orchestra, conducted by Oliver Knussen, rec. 2010.
- TIERKREIS (ZODIAC, 1974/2004/2007) for orchestra, feat. Orchestra Mozart, conducted by Oliver Knussen, rec. 2009.
- FÜNF STERNZEICHEN (FIVE STAR SIGNS, 1974/2004)
- FÜNF WEITERE STERNZEICHEN (FIVE MORE STAR SIGNS, 1974/2007)
- TIERKREIS (ZODIAC) for the carillon of the Town Hall in Cologne, adapted by Suzanne Stephens and Kathinka Pasveer, rec. 2010.
This CD contains four new arrangements of the solo work IN FREUNDSCHAFT (IN FRIENDSHIP).
- IN FREUNDSCHAFT for recorder (1977/84), feat. Geesche Geddert, rec. 2011.
- IN FREUNDSCHAFT for bassoon (1977/82), feat. Edurne Santos, rec. 2011.
- IN FREUNDSCHAFT for horn (1977/83), feat. Christine Chapman, rec. 2011.
- IN FREUNDSCHAFT for double bass (1977/2008), feat. Heiko Maschmann, rec. 2012.
This CD contains five new arrangements of the solo work IN FREUNDSCHAFT (IN FRIENDSHIP).
- IN FREUNDSCHAFT for violin (1977/81), feat. Raul Lustgarten, rec. 2013.
- IN FREUNDSCHAFT for bass clarinet (1977/79), feat. Petra Stump, rec. 2013.
- IN FREUNDSCHAFT for viola (1977/2005), feat. Anna Tkatchouk, rec. 2014.
- IN FREUNDSCHAFT for tuba (1977/2005), feat. Hans Nickel, rec. 2012.
- IN FREUNDSCHAFT for cello (1977/84), feat. Friedrich Gauwerky, rec. 2012.
This CD contains the first complete recording of POLE (POLES, 1969-70) for 2 soloists with shortwave radio (and small instruments). Vocalists Natascha Nikeprelevic and Michael Vetter are featured here, rec. 2012. The score for POLE includes directions for spatial placement of sound sources, which were realized through panning and digital reverb. An earlier recording of this piece with Péter Eötvös & Harald Bojé can be found on CD 15.
This CD contains the complete (and only) recording of EXPO (1969-70) for 3 soloists with shortwave radio (and small instruments). Vocalists Natascha Nikeprelevic and Michael Vetter (from POLE on CD 103) are joined on this disc by F.X. Randomiz (Felix Hoefler) on computer and voice, rec. 2013. The booklet includes essays by all three performers on their experiences with these open-form ("plus-minus") works.
- IN FREUNDSCHAFT (IN FRIENDSHIP, 1977), version for oboe, feat. Claire Sirjacobs, rec. 2015.
- LINKER AUGENTANZ (LEFT-EYE-DANCE, from SAMSTAG aus LICHT, Scene 3) for saxophones, a percussionist, a synthesizer player (1983/90), feat. ensemble.konsax.wein, rec. 2015.
- TAURUS (from TIERKREIS) for bassoon (1974/2007), feat. Edurne Santos, rec. 2011.
- TAURUS-QUINTETT (from TIERKREIS) for tuba, trumpet, bassoon, horn, trombone (1974/2007), feat. Ensemble musikFabrik, rec. 2015.
- KAMEL-TANZ (CAMEL-DANCE, from MICHAELION of MITTWOCH aus LICHT) for bass (Michael Leibendgut), trombone (Stephen Menotti), synthesizer (Antonio Pérez Abellán) (1997), rec. 2013.
- ROTARY-Bläserquintett (ROTARY Woodwind Quintet (1997), derived from MICHAELION of MITTWOCH aus LICHT) feat. Quintette Aquilon, rec. 2014.
This recording of an updated version of MIXTUR (for 5 ring-modulated orchestra groups, orig. 1964/67) features the Deutsche-Symphonie-Orchester Berlin, conducted by Wolfgang Lischke, rec. 2006. In contrast to the original, graphic notation-based version of MIXTUR (on CD 8), all of the orchestra parts for the updated 2003 version are completely notated.
- MIXTUR: Forward Version
- MIXTUR: Backward Version
