Stockhausen

HI Pete!
I had held back buying the Hymnen set but was pleased to hear the version with instrumentalist which i had been quite weary of. It actually shows how much he thinks on the level of pitch since the live players accent many of the tones the music focuses on. In my youth i sent quite a period of time with this piece so i am not 'objective' about it , but is still my favorite work of his.
Mixtur is often overlooked ( it is bassed on subharmonics relations) but even more than the sound the score opens up of the most fertile areas of notations. Stockhausen relies much on statistics and show how much control one can have with saying within this period of time, chose four of these pitches articulated this way. There is quite a bit of overall direction to the sections
It solve one my concerns
How to get performers to play what you want without restricting their freedom any more than necessary.
Ideally composition should use the least force necessary.
Of course this only works if players take responsibility for making what they do music.

Pete McRae wrote:

> kraig grady <kraiggrady@...> wrote:
> <<When was this? and can't believe i missed it!>>
>
> It was around '83-84, I think. The box set of LP's says 1983 on it, and remember seeing a prominent article in Time (?) Magazine about the premier of the whole production, but that may have been in Europe, unless it made it to New York, as well. I seem to remember the weather being dark and cold, so winter '84??? (I almost missed it myself, it was like one of those academia things you have to watch the corkboards in the school halls and/or the papers really carefully not to miss) The next day, I "punished" myself for being late (!) to the concert by forking over about $50 bucks for the box set and skipping a bill that month. But hearing them do it live was truly astonishing, practically unrivalled by anything I've seen or heard, from anywhere in the world. A true Master...IMHO...
>
>

-- -Kraig Grady
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