Stockhausen on Music

by Karlheinz Stockhausen, Robin Maconie

If a genius is someone whose ideas survive all attempts at explanation', writes the well-known contemporary musicologist Robin Maconie, 'then by that definition Stockhausen is the nearest thing to Beethoven this century has produced. Reason? His music lasts.

With penetrating philosophical and spiritual insights Stockhausen describes, in this collection of lectures and interviews conducted in English, a whole new universe of sounds and events.

"Stockhausen's uncompromising attitude to conventional aesthetics has made him one of the world's most admired musicians."? The Independent

"Let there be no doubt that he is a giant, a monster cartographer of massive new spaces."? Tempo

"The great innovator of the 1950s and 1960s is still a fountain of ideas. Stockhausen on Music shows the extrordinary range of his mind."? The Sunday Times

Genres: Music, Nonfiction, Essays

220 pages, Paperback

First published May 1, 2000

Reviews

[Tentatively, Convenience · Rating 4 out of 5]

I've been on a Stockhausen spree lately. I've compiled a list of all the pieces I've got recordings of by him, I've been looking at some scores, I've been listening to the recordings over & over. Stockhausen died last December & w/ him goes one of the last of the composers that were so important to me in my youth: Cage, Messian, Feldman, Xenakis.. & now Stockhausen. I'm listening to his "Kontakte" (the version that includes intrumentalists) as I write this. I have 3 Stockhausen bks - I definitely read this one & I definitely read one of the other 2 but I'm not sure wch one so I'll be taking an educated guess.

Stockhausen definitely took a few knocks in his life - his mom was in an insane asylum & was one of the 1st people executed by the nazis in their "racial cleansing". His dad was a nazi. As a friend of mine sd: "Sounds conflicted!". Even as an old man, he had trouble getting his massive wk-long opera performed - at one point the Italian musicians revolted in typical union style against the long hrs of rehearsal required. Stockhausen incorporated the revolt into the opera. Henry Flynt protested Stockhausen's "Originale" when it was performed in NYC - but then Flynt's a musical retard in contrast to Stockhausen. So, to hell w/ you Henry! Stockhausen's former assistant, Cornelius Cardew, wrote a whole bk denouncing him called "Stockhausen Serves Imperialism".

For that matter, even I've had criticisms of the guy: his rejection of master trombonist Vinko Globokar's claim of co-authorship in the structured improvisations "From the 7 Days". Stockhausen's having fasted for 7 days while he wrote those pieces b/c he was upset over artist wife's Mary Bauermeister leaving him doesn't impress me much either..
I've fasted for 28 days so// whatever! BUT THE MUSIC, the music.. It's absolutely wunderbar. So, forget the rest, Stockhausen, I miss you already.

[Aschbeg · Rating 5 out of 5]

As palestras são sensacionais. Stockhausen sabia muito bem o que estava fazendo e sabia explicar isso com clareza, paixão e de uma maneira que te faz simplesmente querer ouvir, não só a música dele, mas simplesmente ouvir melhor e apreciar sons. É ótimo para quem sente que não entende sua música ao ouvir, pq aqui vc percebe que os detalhes técnicos composicionais não são tão relevantes para o ouvinte, a não ser como curiosidade. Você entende que a música dele é uma experiência sonora e até espiritual, com ares psicodélicos, e não, como alguns críticos acusam, um mero exercício intelectual de conceitos matemáticos aplicado à música. Não encontrei no Goodreads a edição que eu li, em português, com prefácio de Flô Menezes.

[Joe McMahon · Rating 4 out of 5]

Very good insights into Stockhausen's process and thinking. He is very full of himself, not without reason; some may find this offputting. Lots of good stuff about performing non-standard repertoire, and the thinking and work that went into his works. The chapter on time and sound is particularly interesting; hearing him essentially invent Paulstretch in an offhand remark shows the depth at which he thought about sound. Definitely worth reading; I own a copy and dip in once in a while for a refresher in certain aspects of electronic music.

[Alex Daly · Rating 5 out of 5]

This was outstanding. I especially liked this exchange:

KS: You should study the scores of composers you can trust—they are very few, by the way—who know what they are doing when they write staccato or portato, or legato; who know what the signs really mean, and also the meaning of a rest. Notation should be studied in particular scores; and only in those scores, otherwise you get totally confused.

Q: Would you recommend any in particular?

KS: My scores. I can’t think of any others I would want to recommend.

[Emanuele De libero · Rating 5 out of 5]

For musicians and aspiring composers this collection of lectures is incredibly inspiring - unquestionably a great genius of his time.

[Snufkin · Rating 5 out of 5]

Fascinating collection of Stockhausen talking about music!

[Cobertizo · Rating 4 out of 5]

"(...) me resulta indispensable la sensación de riesgo. Entraríamos así en el terreno de la metafísica. La mayor de la gente no suele seguirme en ese nivel, pero estoy convencido de que las pruebas tangible de mi obra, el material electroacústico, podría destruirse sin que ello importase mucho, ya que lo que permanece es la fuerza interior que me impulsa a llevar a término una obra. La idea que toma forma y se materializa en un diseño concreto de moléculas metálicas, el espíritu que se coagula impreso en una cinta, ¿qué son sino el equivalente exacto de un orden abstracto? Cuando el oído -el oído de la fantasía- deje de estar condicionado por el cuerpo y la membrana del altavoz desaparezca pulverizada junto al resto del universo, lo único que permanecerá, como idea, será la fuerza espiritual que emana de mi música"

[Jeff Crompton · Rating 4 out of 5]

I've been exploring Stockhausen's music for about 20 years now. The music is challenging and enigmatic; strange and beautiful, albeit often in an other-worldly kind of way. The 1971 lectures which are the heart of this book clarified some of Stockhausen's ideas and methods for me, although some points remain obscure. What comes through clearly is that, despite his mystical side and his ego, Stockhausen was a clear thinker and a careful craftsman. Stockhausen on Music is probably essential for anyone interested in the composer's music.

[Andy · Rating 3 out of 5]

It's amazing how clear this is. I don't know if anyone else tried to mathematize music--to the extent KS does in some of these essays--without screwing it up royally. His theory here is as successful as his music.

[Eben · Rating 4 out of 5]

Another great, strange, German outsider. I rarely get what he's talking about, which makes reading no less inspiring.

[Carlynn]

"...five in a group is good, six is already dangerous. And seven: with seven the mass begins. Because then completely different relationships among human beings begin to act." -43

[Gregory Kuchmek · Rating 4 out of 5]

This was pretty good! Get inside Karlheinz' head when he's thinking about sounds. Well-written and full of thought-provoking concepts.

[David · Rating 5 out of 5]

So good. As a musician definitely one to revisit a few more times.