Karlheinz Stockhausen - Aus Den Sieben Tagen
Review by Miklos Vajo
Karlheinz Stockhausen's album "Aus Den Sieben Tagen" is a unique and experimental piece of work that challenges the traditional notions of music composition. The album consists of seven pieces that are based on intuitive music, where the performers are given instructions rather than written scores to follow.
The album is a reflection of Stockhausen's innovative approach to music composition, which was influenced by his interest in Eastern philosophy and spirituality. The pieces on the album are characterized by their improvisational nature, with performers using a variety of instruments and vocal techniques to create a soundscape that is both ethereal and otherworldly.
While the album may not be for everyone, those who are open to experimental and avant-garde music will find it to be a captivating and thought-provoking experience. The pieces on the album are rich in texture and mood, with each one offering a unique perspective on the themes of spirituality, consciousness, and the nature of reality.
Table of Contents
Download
Filename: karlheinz-stockhausen-aus-den-sieben-tagen.zip- MP3 size: 124.2 mb
- FLAC size: 696.6 mb
Tracks
| Track | Duration | Preview |
|---|---|---|
| Treffpunkt 2. Version | 15:15 | |
| Goldstaub | 27:26 | |
| Setz Die Segel Zur Sonne | 21:15 | |
| Abwärts | 18:00 | |
| Liaison | ||
| Unbegrenzt Teil I | 24:52 | |
| Kommunion | 16:25 | |
| Goldstaub (Fortsetzung) | 26:40 | |
| Richtige Dauern | 20:03 | |
| Es | 23:10 | |
| Intensität | 30:44 | |
| Fais voile vers le soleil | ||
| Verbindung | 24:05 | |
| Nachtmusik | 26:30 | |
| Treffpunkt 1. Version | 9:30 | |
| Fais Voile Vers Le Soleil | ||
| Aufwärts | 29:20 | |
| Unbegrenzt Teil II | 22:58 |
Video
Stockhausen - aus den sieben tagen / complete / 1993
Images
Catalog Numbers
- ARI 1006
- JRZ-2102
- 2720 073
- HM 40.795
Labels
- Arcophon Internazionale
- RCA
- Deutsche Grammophon
- Harmonia Mundi
Listen online
- escuchar en línea
- lyssna på nätet
- online luisteren
- kuunnella verkossa
- ascolta in linea
- online anhören
- écouter en ligne
- lytte på nettet
- ouvir online
Formats
- Vinyl
- LP
- Album
- 7 × Vinyl
- LP Box Set
- Cassette
Companies
| Role | Company |
|---|---|
| Manufactured By | Victor Musical Industries, Inc. |
| Phonographic Copyright (p) | Polydor International GmbH |
| Published By | Universal Edition |
| Recorded At | Theater Moller Haus |
| Pressed By | Deutsche Grammophon Gesellschaft Pressing Plant |
| Printed By | Zucker, Erlangen |
Credits
| Role | Credit |
|---|---|
| Composed By | Karlheinz Stockhausen |
| Ensemble | Solisti Dell'Orchestra Musique Vivante, Solisti Del Westdeutscher Rundfunk Di Colonia |
| Liner Notes | Karlheinz Stockhausen |
| Design | Wolfgang Belka |
| Double Bass | J.-F. Jenny-Clark (tracks: C to H, J, L) |
| Drums | Rolf Gehlhaar (tracks: A to D, F, I to L) |
| Percussion [Tam-tam | Rolf Gehlhaar (tracks: A to D, F, I to L) |
| Flexatone | Rolf Gehlhaar (tracks: A to D, F, I to L) |
| Guero] | Rolf Gehlhaar (tracks: A to D, F, I to L) |
| Flute | Rolf Gehlhaar (tracks: A to D, F, I to L) |
| Jew's Harp | Rolf Gehlhaar (tracks: A to D, F, I to L) |
| Percussion | Jean-Pierre Drouet (tracks: D to H, J to L) |
| Tabla | Jean-Pierre Drouet (tracks: D to H, J to L) |
| Bells | Jean-Pierre Drouet (tracks: D to H, J to L) |
| Electric Organ | Carlos Roqué Alsina (tracks: C to E, G to I, K, L) |
| Piano | Carlos Roqué Alsina (tracks: C to E, G to I, K, L) |
| Photography By | Bernard Perrine, Max Jacobi |
| Producer | Dr. Rudolf Werner |
| Recorded By | Westdeutschen Rundfunk Köln |
| Saxophone | Michel Portal (tracks: C to I, L) |
| Clarinet | Michel Portal (tracks: C to I, L) |
| Basset Horn | Michel Portal (tracks: C to I, L) |
| Wind | Michel Portal (tracks: C to I, L) |
| Synthesizer | Harald Boje (tracks: A, F, J, L) |
| Viola | Johannes G. Fritsch (tracks: A to D, F to H, J, L) |
Notes
- Japanese Pressing Gatefold sleeve come with Obi-strip
- Recorded at Studio Davout, Paris.
- Recorded at the Georg-Moller-Haus (Loge) in Darmstadt, from the 26th to 31st August 1969.
- Comes in a sturdy box together with a tri-lingual 20-page booklet. Each record is packed in its own cover.
Barcodes
- Other (Record 1 Catalog#): 2561 295
- Other (Record 2 Catalog#): 2561 296
- Other (Record 3 Catalog#): 2561 297
- Other (Record 4 Catalog#): 2561 298
- Other (Record 5 Catalog#): 2561 299
- Other (Record 6 Catalog#): 2561 300
- Other (Record 7 Catalog#): 2561 301
- Matrix / Runout (Side A label): 2530 255 S 1
- Matrix / Runout (Side B label): 2530 255 S 2
- Matrix / Runout (Side C label): 2530 256 S 1
- Matrix / Runout (Side D label): 2530 256 S 2
- Matrix / Runout (Side A runout, stamped): 1 ℗ 1972 F72 ♢V F 00 2530 2 55 = 2 S1
- Matrix / Runout (Side B runout, stamped): 1 ℗ 1972 F72 ♢V F 00 2530 255 = 2 S2
- Matrix / Runout (Side C runout, stamped): 1 ℗ 1972 F72 ♢V D 1 00 2530 256 = 2 S1
- Matrix / Runout (Side D runout, stamped): 1 ℗ 1972 F72 ♢V E 1 00 2530 256 = 2 S2
- Matrix / Runout (Side E runout, stamped): 2561 297 S 5 ℗ 1973 320 1 B
- Matrix / Runout (Side F runout, stamped): 2561 297 S 6 ℗ 1973 320 2 B
- Matrix / Runout (Side G runout, stamped): 2561 298 S 7 ℗ 1973 320 Λ 1
- Matrix / Runout (Side H runout, stamped): 2561 298 S 8 ℗ 1973 320 2 B 1
- Matrix / Runout (Side I runout, stamped): 2561 299 S 9 ℗ 1973 ̷3̷2̷0̷0̷0̷ 320 Λ 1 1
- Matrix / Runout (Side J runout, stamped): 2561 299 S 10 ℗ 1973 320 1 D
- Matrix / Runout (Side K runout, stamped): 2561 300 = 3 S 11 320 1 N
- Matrix / Runout (Side L runout, stamped): 2561 300 = 3 S 12 320 3 I
- Matrix / Runout (Side M runout, stamped): 2561 301 = 3 S 13 ℗ 1973 320 1 K
- Matrix / Runout (Side N runout, stamped): 2561 301 = 3 S 14 ℗ 1973 320 2 C
- Rights Society: GEMA
About Karlheinz Stockhausen
Born: August 22, 1928 (Mödrath, Kerpen, Germany)
Died: December 05, 2007 (Kürten, Germany)
Karlheinz Stockhausen was a German composer, acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is most known for his groundbreaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization.
He studied with Martin at the Cologne Musikhochschule (1947-51), but the decisive stimulus came from his encounter with Messiaen's Mode de valeurs at Darmstadt in 1951. There he saw the possibilities of long-range serial process which he pursued in Kreuzspiel (1951) and KontraPunkte (1952), both for piano-based ensemble. The latter piece was written during a period of study with Messiaen in Paris, and while there Stockhausen made his first foray into electronic music. On returning to Cologne he continued this activity, notably in Gesang der Jünglinge (1956) for vocal and synthesized sounds on tape. At the same time, he pursued the ramifications of serial instrumental music. In 1958 he made his first visit to the USA, and around this time his music became more relaxed, both in its density of events and in its notational exactitude. This was partly a result of 's influence, and partly it came from the experience of electronic music, which suggested a different way of hearing.
His influence extended over a whole generation of European composers, including such contemporaries as Boulez and Berio.
Father of , Christel, , , Julika and .
Real Name
- Karlheinz Stockhausen
Name Vars
- K. Stockhausen
- K.-H. Stockhausen
- Karl Heinz Stockhausen
- Karl-Heinz Stockhausen
- KarlHeinz Stockhausen
- Karlheinz
- Stock Havsen
- Stockhausen
- Карлхајнц Штокхаузен
Summary by Miklos Vajo
Comments
2023-04-13
I remember buying the score in the 80ies and being shocked it was only a few short pages of instructions with maybe a few curves to show the idea of the intensity flow of the piece as a whole. It is more a guided improvisation then a composition. What you hear is the improvisation of the musicians. They could have improvised in any particular style or level that came natural to them, so I guess it is remarkable that they are able to improvise in a Stockhausen like manner. Maybe Stockhausen came to the conclusion in the mid 60ies that writing complex and overly detailed scores like he did in the 50ies was a sophism, and that you can reach the same sonic results with just a few written instructions. It is needless to say that the free jazz musicians of the 60ies had a skill set that was miles ahead of anything you can hear here. Classic musicians are used to playing from a score. They are ill at ease with improvisation.
2023-04-12
NO
2023-04-12
Does anyone know who the performers are? Thanks!
2023-04-12
Listening to this for the first time but so far I feel it has a simplicity, intuitiveness organicism and even relaxedness different from his other work
2023-04-12
Bravo. In my opinion, (I l love all works of Stockhausen, but) Licht is the best and most grandiose piece of music I have ever heard
2023-04-12
so true bestie
2023-04-12
EXCELLENT
2023-04-12
Thank you.
2023-04-12
Really a great upload!!!!!!
2023-04-11
Truly revolutionary "music" from the 20th century
2023-04-10
Very Good !
2023-04-09
What an amazing upload! This is one of the CD sets I regret selling when I sold my collection.
