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Karlheinz Stockhausen [1928-2007] German
Rank: 102
Composer (with music)
Contemporary, Darmstadt School, Avant-garde


Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. Another critic calls him "one of the great visionaries of 20th-century music".

Intelligence, Relationship



QuoteTagsRank
Whenever I felt happy about having discovered something, the first encounter, not only with the public, with other musicians, with specialists, etc, was that they rejected it.
101
And harmony means that the relationship between all the elements used in a composition is balanced, is good. Relationship
102
Repetition is based on body rhythms, so we identify with the heartbeat, or with walking, or with breathing.
103
It is true that the eyes dominate the ears in our time.
104
Or in other works I have also projected the sound in a cube of loudspeakers. The sound can move vertically and diagonally at all speeds around the public.
105
But I'm an adventurer. I like invention, I like discovery.
106
And I'm always interested when other musicians are trying to discover new worlds of sound.
107
Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.
108
One experiments and has to choose always the best results.
109
I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.
110
And when they encounter works of art which show that using new media can lead to new experiences and to new consciousness, and expand our senses, our perception, our intelligence, our sensibility, then they will become interested in this music. Intelligence
111
But since the middle of the century in particular, the music has become very irregular in rhythm.
112
And the invention of transformations of certain figures has become the most important in musical composition.
113
No, what is important is neither linearity or non-linearity, but the change, the degree of change from something that doesn't move to other events with different tempos in particular.
114
In particular what is most important to me is the transformation of a sound by slowing it down, sometimes extremely, so that the inner of sound becomes a conceivable rhythm.
115
Schaeffer gave me permission to work in the studio with a technician, but I've never worked with him.
116
I have composed several pieces which are performed outdoors, not only in the auditoria.
117
But being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.
118
I became aware that all sounds can make meaningful language.
119
Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.
120
And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me.
121
So there is a personal sense of style for a given work - I don't like a general style, but every work has its own style, and I want to create a style for every work.
122
I no longer limit myself.
123

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