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  • Karlheinz Stockhausen

    Not that I particulary liked his music but nevertheless another great man has passed on...

  • I am fascinated by his music and think he was an extremely innovative composer.

    One recent very interesting work of his is the score to the Brothers Quay "In Absentia" using very distorted analog/digital synth textures combined with altered recorded sounds somewhat similar to the Varese Poeme Electronique. 

  • I have to admit that I found "In Absentia" a really great movie but thought that Stockhausen's music was quite kitschy and seemed more like a rip off of himself. But the film which they did *to* the music is truely amazing. And actually it works great together.

    There's a nice anecdote about the premiere of the movie. Stockhausen was sitting in the first row (the Quays in the last row...) and after the screening all the journalists crowded around Stockhausen because he couldn't stop crying. He was reminded to his mother, who was mentally handicapped and maltreated by the Nazis.

    Stockhausen truely was a composer who changed musical life worldwide. Unfortunately he said something pretty stupid in 2001 and society used this to take revenge for his arrogance. He died to soon. Musical society slowly started rehabilitating him. He would have deserved it for his life time achievement.

  • Interesting that NAazi is a censored word...

  • Please, young people... Karlheinz has left the building. He has gotten in his car and driven away to Sirius.... Please take your seats.


    Kennst du das Land, wo die Zitronen blühn,
    Im dunkeln Laub die Goldorangen glühn,
    Ein sanfter Wind vom blauen Himmel weht,
    Die Myrte still und hoch der Lorbeer steht?
    Kennst du es wohl? Dahin!
    Dahin möcht' ich mit dir,
    O mein Geliebter, ziehn.

       Kennst du das Haus? Auf Sälen ruht sein Dach,
    Es glänzt der Saal, es schimmert das Gemach,
    Und Marmorbilder stehn und sehn mich an:
    Was hat man dir, du armes Kind, getan?
    Kennst du es wohl? Dahin!
    Dahin möcht' ich mit dir,
    O mein Beschützer, ziehn.

    Kennst du den Berg und seinen Wolkensteg?
    Das Maultier such im Nebel seinen Weg,
    In Höhlen wohnt der Drachen alte Brut;
    Es stürzt der Fels und über ihn die Flut.
    Kennst du ihn wohl? Dahin!
    Dahin geht unser Weg!
    O Vater, laß uns ziehn!


  • I was fascinated by Stockhausen - have a book by him somewhere I think. Basically, the music was a fucking noise to my ears, but being a huge fan of Heimat, I got used to the reasons why this kind of music exists and am glad that Stockhausen had a good and long life.

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    @mathis said:

    Interesting that NAazi is a censored word...

    "Berceuse combinatoire sur le nom de K-A-R-L-H--E-I-N-Z  S-T-O-C-K-H-A-U-S-E-N"

    Krlhenaazi Stockhusen

    Kahlnazi Stockehuseen

    Kahlhail Stockrenzusen

    Karlteinz Sockhausten

    Kalenhirz Stcokhsuean

    Kerlihainz Stockhausen

    Kiahelrnz Sotckhausen

    Keahrilnz Ssctkeuoahn
    Keahrilnz Ssctkeuoahn

    Krnalheiz Ssoucethkan

    Krleaihnz Soukatscehn

    Krenaihlz Skahctoseun

    Kreanlhiz Stackhuusen

    Klhraenzai Stskhceoun

    Kralhenzai Scskuthoen

    [© soeben, 2008]


  • "I have to admit that I found "In Absentia" a really great movie but thought that Stockhausen's music was quite kitschy and seemed more like a rip off of himself. " - mathis

    Since this thread re-surfaced from the dim muck and murk of the VSL forum past, I thought I would question this statement by Mathis who has also re-surfaced (though hopefuly not from the muck).  Why kitschy?  As Paul said it is basically a lot of fucking noise.  How can fucking noise be kitschy?   

    But anyway, I was surprised when the Brothers Quay were talking about the music.  They said something about this being so powerful, it was the first score used in their films that really went wild or something like that.  I didn't have that impression at all and think they are actually wrong in evaluating  their own films in that the music for the earlier ones, by a guy named Jankowski, is much better than Stockhausen's.  For example the Street of Crocodiles or especially, The Comb.  That is a film score and also a piece of music in its own right that is immensely superior to the Stockhausen score.

  • PaulP Paul moved this topic from Orchestration & Composition on