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126-556: They also imitated non-musical sounds using their instruments, for example the sound of a creaking ship or a distant crying bird; this actually has a long tradition in klezmer music. In January 2007, the band changed its name to the Bester Quartet , with the same line-up. The Cracow Klezmer Band consisted of four members: The Band released albums on John Zorn 's Tzadik record label, with its mandate of "Radical Jewish Culture." John Zorn John Zorn (born September 2, 1953)

252-440: A " fundamental "—a change that was probably the most important compositional development of the latter part of the 1950s, not only for Stockhausen's music but for "advanced" music in general. Some of these ideas, considered from a purely theoretical point of view (divorced from their context as explanations of particular compositions) drew significant critical fire. For this reason, Stockhausen ceased publishing such articles for

378-437: A "compositional workshop" to test the limitations of a rock band format. Featuring Zorn (saxophone), Bill Frisell (guitars), Fred Frith (bass), Wayne Horvitz (keyboards), Joey Baron (drums), and vocalist Yamatsuka Eye (and later Mike Patton ), Naked City blended Zorn's appreciation of hardcore punk and grindcore bands like Agnostic Front and Napalm Death with influences like film music, country or jazz often in

504-739: A Virgin (1991) and Buried Secrets (1992), also featured short grindcore and free jazz -inspired compositions. They released their first live album, Rituals: Live in Japan , in 1993, followed by the double CD Execution Ground (1994), which featured longer dub and ambient-styled pieces. A second live album, Talisman: Live in Nagoya , was released in 2002 and the band was featured on Zorn's 50th Birthday Celebration Volume 12 (2005) with Hamid Drake replacing Harris on drums and guest vocalist Mike Patton . Both bands attracted worldwide interest, particularly in Japan, where Zorn had relocated following

630-558: A castle. Built in 1830 by a local businessman named Arend, it was called by locals Burg Mödrath . From 1925 to 1932 it was the maternity home of the Bergheim district , and after the war it served for a time as a shelter for war refugees. In 1950, the owners, the Düsseldorf chapter of the Knights of Malta , turned it into an orphanage, but it was subsequently returned to private ownership and became

756-554: A complex system of transformations to which those materials are to be subjected in order to produce an unlimited number of different compositions. Through the rest of the 1960s, he continued to explore such possibilities of " process composition " in works for live performance, such as Prozession (1967), Kurzwellen , and Spiral (both 1968), culminating in the verbally described "intuitive music" compositions of Aus den sieben Tagen (1968) and Für kommende Zeiten (1968–70). Some of his later works, such as Ylem (1972) and

882-494: A course on interpretation of Tierkreis in 1977, later published as an article. In 1961, Stockhausen acquired a parcel of land in the vicinity of Kürten , a village east of Cologne, near Bergisch Gladbach in the Bergisches Land . He had a house built there, which was designed to his specifications by the architect Erich Schneider-Wessling, and he resided there from its completion in the autumn of 1965. After lecturing at

1008-525: A cycle titled Licht: Die sieben Tage der Woche ("Light: The Seven Days of the Week"). The Licht cycle deals with the traits associated in various historical traditions with each weekday (Monday = birth and fertility, Tuesday = conflict and war, Wednesday = reconciliation and cooperation, Thursday = traveling and learning, etc.) and with the relationships between three archetypal characters: Michael , Lucifer , and Eve . Each of these characters dominates one of

1134-415: A day for a week, just orchestrating these file cards. It was an intense process. Zorn's file-card method of organizing sound blocks into an overall structure largely depended on the musicians he chose, the way they interpreted what was written on the file cards, and their relationship with Zorn who stated "At the end of the day, I want players to say: this was fun—it was a lot of fucking work, and it's one of

1260-567: A few months later by the death of her younger son, Hermann. From the age of seven, Stockhausen lived in Altenberg , where he received his first piano lessons from the Protestant organist of the Altenberger Dom , Franz-Josef Kloth. In 1938, his father remarried. His new wife, Luzia, had been the family's housekeeper. The couple had two daughters. Because his relationship with his new stepmother

1386-502: A fixed state". Stockhausen later wrote, describing this period in his compositional work, "The first revolution occurred from 1952/53 as musique concrète , electronic tape music , and space music , entailing composition with transformers, generators, modulators, magnetophones, etc; the integration of all concrete and abstract (synthetic) sound possibilities (also all noises), and the controlled projection of sound in space". His position as "the leading German composer of his generation"

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1512-712: A formula and, especially, his conception of the Licht superformula, also owes a great deal to Sri Aurobindo's category of the "supramental". Similarly, his approach to voice and text sometimes departed from traditional usage: Characters were as likely to be portrayed by instrumentalists or dancers as by singers, and a few parts of Licht (e.g., Luzifers Traum from Samstag , Welt-Parlament from Mittwoch , Lichter-Wasser and Hoch-Zeiten from Sonntag ) use written or improvised texts in simulated or invented languages. The seven operas were not composed in "weekday order" but rather starting (apart from Jahreslauf in 1977, which became

1638-613: A general phenomenon. Stockhausen has been described as "one of the great visionaries of 20th-century music". His two early Electronic Studies (especially the second) had a powerful influence on the subsequent development of electronic music in the 1950s and 1960s, particularly in the work of the Italian Franco Evangelisti and the Poles Andrzej Dobrowolski and Włodzimierz Kotoński . The influence of his Kontra-Punkte , Zeitmaße and Gruppen may be seen in

1764-628: A group called the Crowley Quartet. A 2009 performance of the album's centerpiece Necronomicon was described as "... frenetic vortexes of violent, abrasive motion, separated by eerily becalmed, suspenseful sections with moody, even prayerful melodies. The music is sensational and evocative, but never arbitrary; you always sense a guiding hand behind the mayhem". Later works expanded to include vocal and operatic works; Mysterium released in 2005 featured Frammenti del Sappho for female chorus; Rituals (2005) featured Zorn's opera composed for

1890-404: A masterful bebop alto player, but when he does perform in something approaching that style his playing has little of the tension and none of the relaxation of the great beboppers, often sounding more strangulated than anything". Zorn stated that "After my record The Big Gundown came out I was convinced that a lot of soundtrack work was going to be coming my way". While interest from Hollywood

2016-535: A melody instrument with feedback (1966). Improvisation also plays a part in all of these works, but especially in Solo . He also composed two electronic works for tape , Telemusik (1966) and Hymnen (1966–67). The latter also exists in a version with partially improvising soloists, and the third of its four "regions" in a version with orchestra. At this time, Stockhausen also began to incorporate pre-existent music from world traditions into his compositions. Telemusik

2142-418: A million listeners. According to Stockhausen's biographer, Michael Kurtz, "Many visitors felt the spherical auditorium to be an oasis of calm amidst the general hubbub, and after a while it became one of the main attractions of Expo 1970". Beginning with Mantra for two pianos and electronics (1970), Stockhausen turned to formula composition , a technique which involves the projection and multiplication of

2268-456: A model for a new generation of German composers, loosely associated under the label neue Einfachheit or New Simplicity . The best-known of these composers is Wolfgang Rihm , who studied with Stockhausen in 1972–73. His orchestral composition Sub-Kontur (1974–75) quotes the formula of Stockhausen's Inori (1973–74), and he has also acknowledged the influence of Momente on this work. Other large works by Stockhausen from this decade include

2394-652: A month this time." I've been working on these scales and playing these tunes all this time. In the back of my head somewhere are lodged all kinds of new ideas. Let's see if I can come up with 100 tunes in a month instead of in a year. So in the first month, I popped out a hundred tunes; the second month, another hundred; in the third month, a third 100 tunes. I had no idea that was going to happen. Zorn released thirty-two volumes of Masada Book Two compositions performed by many varied artists. The titles of many Masada Book Two compositions are derived from demonology and Judeo-Christian mythology . The Masada quartet performed at

2520-463: A new cycle of compositions based on the hours of the day, Klang ("Sound"). Twenty-one of these pieces were completed before Stockhausen's death. The first four works from this cycle are First Hour: Himmelfahrt (Ascension), for organ or synthesizer, soprano and tenor (2004–2005); Second Hour: Freude (Joy) for two harps (2005); Third Hour: Natürliche Dauern (Natural Durations) for piano (2005–2006); and Fourth Hour: Himmels-Tür (Heaven's Door) for

2646-411: A number of years, as he felt that "many useless polemics" about these texts had arisen, and he preferred to concentrate his attention on composing. Through the 1960s, although he taught and lectured publicly, Stockhausen published little of an analytical or theoretical nature. Only in 1970 did he again begin publishing theoretical articles, with "Kriterien", the abstract for his six seminar lectures for

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2772-490: A percussionist and a little girl (2005). The Fifth Hour, Harmonien (Harmonies), is a solo in three versions for flute, bass clarinet, and trumpet (2006). The Sixth through Twelfth hours are chamber-music works based on the material from the Fifth Hour. The Thirteenth Hour, Cosmic Pulses , is an electronic work made by superimposing 24 layers of sound, each having its own spatial motion, among eight loudspeakers placed around

2898-457: A period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for solo instruments, songs, chamber music , choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for

3024-753: A player's trust before they can play my music." Leaving Webster after three semesters, Zorn lived on the West Coast before returning to Manhattan where he gave concerts in his apartment and other small NY venues, playing saxophone and a variety of reeds, duck calls , tapes, and other instruments. Zorn immersed himself in the underground art scene, assisting filmmaker Jack Smith with his performances and attending plays by Richard Foreman . Zorn's early major compositions included many game pieces described as "complex systems harnessing improvisers in flexible compositional formats". These compositions "involved strict rules, role playing, prompters with flashcards, all in

3150-484: A preview screening, Stockhausen saw the film, which shows a madwoman writing letters from a bleak asylum cell, he was moved to tears. The Brothers Quay were astonished to learn that his mother had been "imprisoned by the Nazis in an asylum, where she later died. ... This was a very moving moment for us as well, especially because we had made the film without knowing any of this". After completing Licht , Stockhausen embarked on

3276-550: A private residence again. In 2017, an anonymous patron purchased the house and opened it in April 2017 as an exhibition space for modern art, with the first floor to be used as the permanent home of the museum of the WDR Electronic Music Studio , where Stockhausen had worked from 1953 until shortly before WDR closed the studio in 2000. His father, Simon Stockhausen, was a schoolteacher , and his mother Gertrud (née Stupp)

3402-463: A process leading from an initial "point" texture of isolated notes toward a florid, ornamental ending is opposed by a tendency from diversity (six timbres, dynamics, and durations) toward uniformity (timbre of solo piano, a nearly constant soft dynamic, and fairly even durations). In Gruppen (1955–57), fanfares and passages of varying speed (superimposed durations based on the harmonic series ) are occasionally flung between three full orchestras, giving

3528-772: A real interest in composition until 1950. He was admitted at the end of that year to the class of Swiss composer Frank Martin , who had just begun a seven-year tenure in Cologne. At the Darmstädter Ferienkurse in 1951, Stockhausen met Belgian composer Karel Goeyvaerts , who had just completed studies with Olivier Messiaen (analysis) and Darius Milhaud (composition) in Paris, and Stockhausen resolved to do likewise. He arrived in Paris on 8 January 1952 and began attending Messiaen's courses in aesthetics and analysis, as well as Milhaud's composition classes. He continued with Messiaen for

3654-721: A rotatable ( refrain ) on a transparent plastic strip. Early in the 1970s, he ended his agreement with Universal Edition and began publishing his own scores under the Stockhausen-Verlag imprint. This arrangement allowed him to extend his notational innovations (for example, dynamics in Weltparlament [the first scene of Mittwoch aus Licht ] are coded in colour) and resulted in eight German Music Publishers Society Awards between 1992 ( Luzifers Tanz ) and 2005 ( Hoch-Zeiten , from Sonntag aus Licht ). The Momente score, published just before Stockhausen's death in 2007, won this prize for

3780-401: A scale of twelve tempos analogous to the chromatic pitch scale, (2) a technique of building progressively smaller, integral subdivisions over a basic (fundamental) duration, analogous to the overtone series , (3) musical application of the concept of the partial field (time fields and field sizes) in both successive and simultaneous proportions, (4) methods of projecting large-scale form from

3906-724: A series of commercial soundtracks for the advertising firm Wieden+Kennedy , including one directed by Jean-Luc Godard , a long-term Zorn inspiration. Zorn used his film commissions to record new ensembles like Masada and the Masada String Trio . From the mid-1990s, Zorn composed film music for independent films dealing with BDSM and LGBT culture , documentaries exploring the Jewish experience, and films about outsider artists . In 2013, after releasing 25 volumes in his Filmworks Series, Zorn announced that he would no longer be releasing music for film. Zorn established Naked City in 1988 as

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4032-460: A series of duets by Zorn with Michihiro Sato on shamisen , which received limited release on the Yukon label in 1984. Zorn has subsequently reissued these early recordings. Zorn's breakthrough came in 1986 with the acclaimed The Big Gundown released on Nonesuch Records . The album was endorsed by composer Ennio Morricone, who said: "This is a record that has fresh, good and intelligent ideas. It

4158-681: A series of proportions, (5) the concept of "statistical" composition, (6) the concept of "action duration" and the associated "variable form", and (7) the notion of the "directionless temporal field" and with it, "polyvalent form". Other important articles from this period include "Elektronische und Instrumentale Musik" ("Electronic and Instrumental Music", 1958), "Musik im Raum" ("Music in Space", 1958), "Musik und Graphik" ("Music and Graphics", 1959), " Momentform " (1960), "Die Einheit der musikalischen Zeit" ("The Unity of Musical Time", 1961), and "Erfindung und Entdeckung" ("Invention and Discovery", 1961),

4284-422: A single composition. The band performed pieces by film composers Ennio Morricone, John Barry , Johnny Mandel and Henry Mancini and modern classicists Alexander Scriabin , Claude Debussy , Charles Ives , and Olivier Messiaen and recorded heavy metal and ambient albums. In 1991, Zorn formed Painkiller with Bill Laswell on bass and Mick Harris on drums. Painkiller's first two releases, Guts of

4410-480: A single, double, or triple melodic -line formula. Sometimes, as in Mantra and the large orchestral composition with mime soloists, Inori , the simple formula is stated at the outset as an introduction. He continued to use this technique (e.g., in the two related solo-clarinet pieces, Harlekin [Harlequin] and Der kleine Harlekin [The Little Harlequin] of 1975, and the orchestral Jubiläum [Jubilee] of 1977) through

4536-471: A special benefit night at The Stone which was also released on The Stone: Issue Three on CD. In December 2016 Zorn announced that The Stone would close in February 2018 but that he was hopeful that a new location could be found, stating "Venues come and go, but the music continues on forever!" By March 2017 Zorn had negotiated with The New School to move The Stone to Greenwich Village. On February 25, 2018,

4662-441: A suite dedicated to Jean Genet , was released in 1992. The establishment of Tzadik allowed him to release many compositions which he had written over the previous two decades for classical ensembles. Zorn's earliest released classical composition, Christabel (1972) for five flutes, first appeared on Angelus Novus in 1998. He credits the composition of his 1988 string quartet Cat O' Nine Tails (commissioned and released by

4788-700: A three-month residency in Tokyo. In 2006, Zorn formed the voice/bass/drums trio of Mike Patton, Trevor Dunn , and Joey Baron as "a compositional challenge, as a song cycle, songs without words" as he decided "I want to work with Patton more; Patton was very hungry to do more work together. ‘OK, so let's start it with just bass, drums, and voice". Rolling Stone said Moonchild was "a band that, much like Naked City, mutated radically across its lifespan as Zorn kept raising his compositional bar. While it touched on similar extremes as that group... its episodes are more sustained, its structures more conventionally songlike" noting "For

4914-495: A year, but he was disappointed with Milhaud and abandoned his lessons after a few weeks. In March 1953, he left Paris to take up a position as assistant to Herbert Eimert at the newly established Electronic Music Studio of Nordwestdeutscher Rundfunk (NWDR) (from 1 January 1955, Westdeutscher Rundfunk , or WDR) in Cologne. In 1963, he succeeded Eimert as director of the studio. From 1954 to 1956, he studied phonetics, acoustics, and information theory with Werner Meyer-Eppler at

5040-437: Is an American composer , conductor , saxophonist , arranger and producer who "deliberately resists category". His avant-garde and experimental approaches to composition and improvisation are inclusive of jazz , rock , Jewish music , hardcore , classical , contemporary , surf , metal , soundtrack , ambient , and world music . Rolling Stone noted that "[alt]hough Zorn has operated almost entirely outside

5166-593: Is realization on a high level, a work done by a maestro with great science-fantasy and creativity ... Many people have done versions of my pieces, but no one has done them like this". Zorn followed with Spillane in 1987, his second major-label release, featuring performances by Albert Collins , the Kronos Quartet , and the sprawling title track, an early "file-card" composition. This method of combining composition and improvisation involved Zorn writing descriptions or ideas on file-cards and arranging them to form

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5292-454: Is simply the " spectrum " of a more basic duration—i.e., its "timbre", perceived as the overall effect of the overtone structure of that duration, now taken to include not only the "rhythmic" subdivisions of the duration but also their relative "dynamic" strength, "envelope", etc. Compositionally considered, this produced a change of focus from the individual tone to a whole complex of tones related to one another by virtue of their relation to

5418-526: Is specifically cited by Stockhausen as an example of "punctual music", and the first (unpublished) versions of Punkte and Kontra-Punkte (1952). However, several works from these same years show Stockhausen formulating his "first really ground-breaking contribution to the theory and, above all, practice of composition", that of "group composition", found in Stockhausen's works as early as 1952 and continuing throughout his compositional career. This principle

5544-660: The Arditti Quartet . In 1999 he was invited by Walter Fink to be the ninth composer featured in the annual Komponistenporträt of the Rheingau Musik Festival . In 1999, BBC producer Rodney Wilson asked Stockhausen to collaborate with Stephen and Timothy Quay on a film for the fourth series of Sound on Film International. Although Stockhausen's music had been used for films previously (most notably, parts of Hymnen in Nicolas Roeg 's Walkabout in 1971), this

5670-706: The Bayreuth Opera Festival in 1998; and La Machine de l'Être composed in 2000, premiered at the New York City Opera in 2011, and recorded for the 2012 album Music and Its Double . Zorn's concert works have been performed all over the world and he has received commissions from the New York Philharmonic , Brooklyn Philharmonic and BBC Radio 3 . Conversations with Joey Baron led Zorn to explore and embrace Jewish culture. A further file-card composition Kristallnacht (1992) reflected on

5796-581: The Darmstädter Ferienkurse . The seminars themselves, covering seven topics ("Micro- and Macro-Continuum", "Collage and Metacollage", "Expansion of the Scale of Tempos", "Feedback", "Spectral Harmony—Formant Modulation", "Expansion of Dynamics—A Principle of Mikrophonie I ", and "Space Music—Spatial Forming and Notation") were published only posthumously. His collected writings were published in Texte zur Musik , including his compositional theories and analyses on music as

5922-644: The Internationale Ferienkurse für Neue Musik at Darmstadt (first in 1953), Stockhausen gave lectures and concerts in Europe, North America, and Asia. He was guest professor of composition at the University of Pennsylvania in 1965 and at the University of California, Davis in 1966–67. He founded and directed the Cologne Courses for New Music from 1963 to 1968, and was appointed Professor of Composition at

6048-454: The Kronos Quartet on Short Stories ) to awakening him to the possibilities of writing for classical musicians. This composition also appeared on The String Quartets (1999) and Cartoon S/M (2000) along with variations on "Kol Nidre", inspired by the Jewish prayer of atonement which was written at the same time as the first Masada Book. Aporias: Requia for Piano and Orchestra (1998)

6174-574: The Lincoln Center for the Performing Arts in March 2007 for what were billed as their final concerts. Zorn reformed the band as a sextet with Uri Caine and Cyro Baptista in 2009 saying: I felt like we kind of hit a plateau a little bit with it in 2007 and I said, "Well, maybe the quartet is really done. Maybe we've accomplished what we can accomplish. Maybe it's time to put this to bed." And then I

6300-512: The Mozart Orchestra of Bologna. He was 79 years old. Stockhausen wrote 370 individual works. He often departs radically from musical tradition and his work is influenced by Olivier Messiaen , Edgard Varèse , and Anton Webern , as well as by film and by painters such as Piet Mondrian and Paul Klee . Stockhausen began to compose in earnest only during his third year at the conservatory. His early student compositions remained out of

6426-686: The Night of Broken Glass that violently and destructively targeted Jews in Germany and Austria in 1938. Several movements used the Phrygian dominant and Ukrainian Dorian scales common to klezmer music . Zorn set himself the task of writing 100 compositions using the scale within a year. In 1993 Zorn engaged Baron along with Dave Douglas (trumpet) and Greg Cohen (double bass) to provide musical cues for Joe Chappelle 's first film Thieves Quartet (later collected on Filmworks III: 1990–1995 ) and established

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6552-459: The Studies made plain that it was an unacceptable oversimplification to regard timbres as stable entities. Reinforced by his studies with Meyer-Eppler, beginning in 1955, Stockhausen formulated new "statistical" criteria for composition, focussing attention on the aleatoric , directional tendencies of sound movement, "the change from one state to another, with or without returning motion, as opposed to

6678-591: The Tzadik record label to ensure the availability of his catalogue and promote other musicians. The label's releases are divided into series: Tzadik also releases special-edition CDs, DVDs, books and T-shirts. Since 1998, the designs of Tzadik releases have been created by graphic artist Heung-Heung "Chippy" Chin. Zorn's earliest New York performances occurred at small artist-run performance spaces including his own apartment. As his profile grew, he became associated with several Lower East Side alternative venues such as

6804-768: The University of Bonn . Together with Eimert, Stockhausen edited the journal Die Reihe from 1955 to 1962. On 29 December 1951, in Hamburg, Stockhausen married Doris Andreae . Together they had four children: Suja (b. 1953), Christel (b. 1956), Markus (b. 1957), and Majella (b. 1961). They were divorced in 1965. On 3 April 1967, in San Francisco, he married Mary Bauermeister , with whom he had two children: Julika (b. 22 January 1966) and Simon (b. 1967). They were divorced in 1972. Four of Stockhausen's children became professional musicians, and he composed some of his works specifically for them. A large number of pieces for

6930-425: The cartoon scores of Carl Stalling into his first recordings and discovered Anthony Braxton 's groundbreaking solo album For Alto which inspired him to take up the instrument. "I'm not going to sit in some ivory tower and pass my scores down to the players." said Zorn, "I have to be there with them, and that's why I started playing saxophone, so that I could meet musicians. I still feel that I have to earn

7056-406: The "park music" composition for five spatially separated groups, Sternklang ("Star Sounds") of 1971, the orchestral work Trans , composed in the same year and the thirteen simultaneous "musical scenes for soloists and duets" titled Alphabet für Liège (1972). Since the mid-1950s, Stockhausen had been developing concepts of spatialization in his works, not only in electronic music, such as

7182-402: The 1950s and early 1960s, Stockhausen published a series of articles that established his importance in the area of music theory. Although these include analyses of music by Mozart , Debussy , Bartók , Stravinsky , Goeyvaerts , Boulez , Nono , Johannes Fritsch , Michael von Biel , and, especially, Webern , the items on compositional theory directly related to his own work are regarded as

7308-408: The 5-channel Gesang der Jünglinge (1955–56) and Telemusik (1966), and 4-channel Kontakte (1958–60) and Hymnen (1966–67). Instrumental/vocal works like Gruppen for three orchestras (1955–57) and Carré for four orchestras and four choirs (1959–60) also exhibit this trait. In lectures such as "Music in Space" from 1958, he called for new kinds of concert halls to be built, "suited to

7434-580: The Beethovenhalle auditorium complex in Bonn , before, after, and during a group of (in part simultaneous) concerts of his music in the auditoriums of the facility. The overall project was given the title Musik für die Beethovenhalle . This had precedents in two collective-composition seminar projects that Stockhausen gave at Darmstadt in 1967 and 1968: Ensemble and Musik für ein Haus , and would have successors in

7560-449: The Book of Angels project, Azazal and Haborym . In 2003, Zorn formed Electric Masada, a band featuring Zorn, Baptista, Baron, and Ribot, along with Trevor Dunn (bass), Ikue Mori (electronics), Jamie Saft (keyboards), and Kenny Wollesen (drums) releasing their debut live album from Zorn's 50th Birthday Concert series and a double live CD recorded in 2004. In 2019, Zorn formed

7686-609: The German Pavilion at the 1970 World Fair in Osaka and to create a joint multimedia project for it with artist Otto Piene . Other collaborators on the project included the pavilion's architect, Fritz Bornemann , Fritz Winckel, director of the Electronic Music Studio at Technische Universität Berlin , and engineer Max Mengeringhausen. The pavilion theme was "gardens of music", in keeping with which Bornemann intended "planting"

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7812-574: The Hochschule für Musik Köln in 1971, where he taught until 1977. In 1998, he founded the Stockhausen Courses, which are held annually in Kürten. From the mid-1950s onward, Stockhausen designed (and in some cases arranged to have printed) his own musical scores for his publisher, Universal Edition , which often involved unconventional devices. The score for his piece Refrain , for instance, includes

7938-528: The Knitting Factory and Tonic. On Friday April 13, 2007, Zorn played the final night at Tonic before it closed due to financial pressures. Zorn was the principal force in establishing The Stone in 2005, an avant-garde performance space in New York's Alphabet City which supports itself solely on donations and the sale of limited-edition CDs, giving all door revenues directly to the performers. Zorn holds

8064-532: The Masada Books. Zorn completed the third Masada book, titled The Book Beriah , in 2014. Zorn released one of his most popular albums, The Gift , in 2001, which surprised many with its relaxed blend of surf, exotica and world music. On February 29, 2008, at St Ann's Warehouse in Brooklyn, Zorn premiered The Dreamers , which saw a return to the gentle compositions first featured on The Gift and established

8190-557: The Masada String Trio, composed of Greg Cohen (bass), Mark Feldman (violin), and Erik Friedlander (cello); and the Bar Kokhba Sextet which added Marc Ribot (guitar), Cyro Baptista (percussion), and Joey Baron (drums), both of which were featured on 1998's The Circle Maker . The Masada String Trio were also featured on Zorn's Filmworks series , as part of his 50th Birthday Celebration , and released two albums as part of

8316-594: The Middle East have been extensive, usually at festivals with musicians and ensembles that perform his repertoire. John Zorn was raised in a Jewish family in New York City where he attended the United Nations International School and studied piano, guitar and flute. Zorn's mother, Vera (née Studenski; 1918–1999), listened to classical and world music ; his father, Henry Zorn (1913–1992),

8442-531: The New Masada Quartet with Julian Lage (guitar), Jorge Roeder (bass), and Kenny Wollesen (drums). A Tenth Anniversary Series of Masada recordings was released by Zorn beginning in 2003. The series featured five albums of Masada themes including Masada Guitars by Marc Ribot , Bill Frisell , and Tim Sparks ; Masada Recital by Mark Feldman and Sylvie Courvoisier ; Masada Rock by Rashanim; and two albums featuring various artists, Voices in

8568-452: The Wilderness and The Unknown Masada . In 2004, Zorn began composing the second Masada Book, The Book of Angels , resulting in an additional 316 compositions. Zorn explained: After 10 years of performing the first book, I thought "Maybe it'd be nice to write some more tunes." And I wrote 300 more tunes. When I started writing those it was "Let's see if I can write a hundred songs in

8694-416: The ages of 16 and 20, respectively. The saxophone duet in the second act of Donnerstag aus Licht , and a number of synthesizer parts in the Licht operas, including Klavierstück XV ("Synthi-Fou") from Dienstag , were composed for his son Simon, who also assisted his father in the production of the electronic music from Freitag aus Licht . His daughter Christel is a flautist who performed and gave

8820-615: The availability of his growing catalog of recordings. He prolifically recorded and released new material for the label, issuing several new albums each year, along with recordings by many other artists. Zorn performs on saxophone with his Naked City , Painkiller , and Masada bands, conducts ensembles such as Moonchild, Simulacrum, and several Masada-related groups or encourages musicians toward their own interpretations of his work. He has composed concert music for classical ensembles and orchestras, and produced music for opera, sound installations, film and documentary. Tours of Europe, Asia, and

8946-724: The band of the same name. The Dreamers released their second album, O'o , in 2009, an album of Zorn's Book of Angels compositions in 2010 and a Christmas album in 2011. In 1992, John Zorn curated the Avant subsidiary of the DIW label and released several Naked City recordings on the label as well as many other albums featuring Zorn affiliated musicians including Derek Bailey , Buckethead , Eugene Chadbourne , Dave Douglas , Erik Friedlander , Wayne Horvitz , Ikue Mori , Bobby Previte , Zeena Parkins and Marc Ribot . In 1995, in co-operation with jazz producer Kazunori Sugiyama, Zorn established

9072-501: The charts out and said, "OK, just watch me because I'll be conducting. Let's just do it." And it was one of those magical clicks on the bandstand that sometimes happens. So yeah, this band is taking off again. After 15 years of doing this music, we can still find new things. Zorn's Masada compositions and associated ensembles have become a central focus of many concerts and festivals and he has established regular 'Masada Marathons' that feature various bands and musicians performing music from

9198-451: The circumstances of a particular performance (e.g., hall acoustics) may determine certain aspects of a composition. He called this "variable form". In other cases, a work may be presented from a number of different perspectives. In Zyklus (1959), for example, he began using graphic notation for instrumental music. The score is written so that the performance can start on any page, and it may be read upside down, or from right to left, as

9324-536: The completion of the opera-cycle Licht in 2003. Some works from the 1970s did not employ formula technique—e.g., the vocal duet " Am Himmel wandre ich " (In the Sky I am Walking, one of the 13 components of the multimedia Alphabet für Liège , 1972, which Stockhausen developed in conversation with the British biophysicist and lecturer on mystical aspects of sound vibration Jill Purce ), "Laub und Regen" (Leaves and Rain, from

9450-503: The concert hall. Hours 14 through 21 are solo pieces for bass voice, baritone voice, basset-horn, horn, tenor voice, soprano voice, soprano saxophone, and flute, respectively, each with electronic accompaniment of a different set of three layers from Cosmic Pulses . The twenty-one completed pieces were first performed together as a cycle at the Festival MusikTriennale Köln on 8–9 May 2010, in 176 individual concerts. In

9576-595: The early 1980s, Zorn was heavily engaged in improvisation as both a solo performer and with other like-minded artists. Zorn's first solo saxophone recordings were originally released in two volumes as The Classic Guide to Strategy in 1983 and 1986 on the Lumina label. Zorn's early small group improvisations are documented on Locus Solus (1983) which featured Zorn with various combinations of other improvisers including Christian Marclay , Arto Lindsay , Wayne Horvitz , Ikue Mori , and Anton Fier . Ganryu Island featured

9702-473: The exhibition halls beneath a broad lawn, with a connected auditorium "sprouting" above ground. Initially, Bornemann conceived this auditorium in the form of an amphitheatre , with a central orchestra podium and surrounding audience space. In the summer of 1968, Stockhausen met with Bornemann and persuaded him to change this conception to a spherical space with the audience in the centre, surrounded by loudspeaker groups in seven rings at different "latitudes" around

9828-542: The fact, a journalist writing for The Guardian stated that Simon Stockhausen was killed in Hungary in 1945. From 1947 to 1951, Stockhausen studied music pedagogy and piano at the Hochschule für Musik Köln (Cologne Conservatory of Music) and musicology , philosophy, and German studies at the University of Cologne . He had training in harmony and counterpoint , the latter with Hermann Schroeder , but he did not develop

9954-686: The family falsely claimed she had died 16 June 1941, but recent research by Lisa Quernes, a student at the Landesmusikgymnasium in Montabaur , has determined that she was murdered in the gas chamber, along with 89 other people, at the Hadamar Killing Facility in Hesse-Nassau on 27 May 1941. Stockhausen dramatized his mother's death in hospital by lethal injection, in Act 1 scene 2 (" Mondeva ") of

10080-473: The film scores of a formative musical influence, Ennio Morricone , to acclaim in 1986. Spillane and Naked City further demonstrated Zorn's ability to merge and blend musical styles in new and challenging formats. Zorn spent significant time in Japan in the 1980s and early '90s returning to Lower East Side Manhattan to establish the Tzadik record label in 1995. Tzadik enabled Zorn to establish independence, maintain creative control, and ensure

10206-407: The first Masada group to perform his recent compositions using the instrumental lineup and improvisational approach of Ornette Coleman 's pioneering free jazz quartet. Within three years, the number of compositions had grown to 205 and became known as the first Masada Book. Zorn explained: The project for Masada was to create something positive in the Jewish tradition something that maybe takes

10332-525: The first act of Dienstag ) with the "solo" operas and working toward the more complex ones: Donnerstag (1978–80), Samstag (1981–83), Montag (1984–88), Dienstag (1977/1987–91), Freitag (1991–94), Mittwoch (1995–97), and finally Sonntag (1998–2003). Stockhausen had dreams of flying throughout his life, and these dreams are reflected in the Helikopter-Streichquartett (the third scene of Mittwoch aus Licht ), completed in 1993. In it,

10458-461: The first five of Moonchild's seven albums, released from 2006 through 2014, Patton utilized his full whisper-to-scream range while operating entirely without lyrics". As Zorn's interest in Naked City waned, he "started hearing classical music in [his] head again." Zorn started working on compositions that drew on chamber music arrangements of strings, percussion and electronic instruments. Elegy ,

10584-452: The first three parts of Herbstmusik (1974), also fall under this rubric. Several of these process compositions were featured in the all-day programmes presented at Expo 70, for which Stockhausen composed two more similar pieces, Pole for two players, and Expo for three. In other compositions, such as Stop for orchestra (1965), Adieu for wind quintet (1966), and the Dr. K Sextett , which

10710-488: The four members of a string quartet perform in four helicopters flying independent flight paths over the countryside near the concert hall. The sounds they play are mixed together with the sounds of the helicopters and played through speakers to the audience in the hall. Videos of the performers are also transmitted back to the concert hall. The performers are synchronized with the aid of a click track , transmitted to them and heard over headphones. The first performance of

10836-565: The gigantic opera cycle Licht . He died at the age of 79, on 5 December 2007 at his home in Kürten , Germany. Stockhausen was born in Burg Mödrath , the "castle" of the village of Mödrath. The village, located near Kerpen in the Cologne region, was displaced in 1956 to make way for lignite strip mining, but the castle itself still stands. Despite its name, the building is more a manor house than

10962-411: The hardest things I've ever done, but it was worth the effort." Three further releases on Nonesuch followed; Spy vs Spy in 1989, Naked City in 1990, and Filmworks 1986–1990 (1992) before Zorn broke with the label. All the various styles are organically connected to one another. I'm an additive person—the entire storehouse of my knowledge informs everything I do. People are so obsessed with

11088-445: The idea of Jewish music into the 21st century the way jazz developed from the teens and 1920s into the '40s, the '50s, the '60s and on ... My initial idea was to write a hundred tunes. And then I ended up writing over 200 for the first book and then performed it countless time for years. In 1996, Zorn released Bar Kokhba featuring Masada compositions recorded by a rotating group of musicians. Two ensembles arose from this album:

11214-673: The impression of movement in space. In his Kontakte for electronic sounds (optionally with piano and percussion) (1958–60), he achieved for the first time an isomorphism of the four parameters of pitch, duration, dynamics, and timbre. In 1960, Stockhausen returned to the composition of vocal music (for the first time since Gesang der Jünglinge ) with Carré for four orchestras and four choirs. Two years later, he began an expansive cantata titled Momente (1962–64/69), for solo soprano, four choir groups and thirteen instrumentalists. In 1963, Stockhausen created Plus-Minus , "2 × 7 pages for realisation" containing basic note materials and

11340-461: The interior walls of the sphere. Although Stockhausen and Piene's planned multimedia project, titled Hinab-Hinauf , was developed in detail, the World Fair committee rejected their concept as too extravagant and instead asked Stockhausen to present daily five-hour programs of his music. Stockhausen's works were performed for 5½ hours every day over a period of 183 days to a total audience of about

11466-521: The last performance was held at the original venue and Zorn moved operations to The New School's The Glass Box Theatre on the basis of a handshake deal . In September 2003, Zorn celebrated his 50th birthday with a month-long series of performances at Tonic in New York, repeating an event he had begun a decade earlier at the Knitting Factory . He conceptualized the month into several different aspects of his musical output. Zorn's bands performed on

11592-430: The last summing up the ideas developed up to 1961. Taken together, these temporal theories suggested that the entire compositional structure could be conceived as " timbre ": since "the different experienced components such as colour, harmony and melody , meter and rhythm, dynamics , and form correspond to the different segmental ranges of this unified time", the total musical result at any given compositional level

11718-447: The mainstream, he's gradually asserted himself as one of the most influential musicians of our time". Zorn engaged New York City's downtown music scene in the mid-1970s, collaborating with improvising artists and experimenting with compositional strategies and arrangements. Over the next decade he performed throughout Europe and Japan and recorded on independent US and European labels. He released The Big Gundown , reconstructing

11844-523: The most important generally. "Indeed, the Texte come closer than anything else currently available to providing a general compositional theory for the postwar period". His most celebrated article is "... wie die Zeit vergeht ..." ("... How Time Passes ..."), first published in the third volume of Die Reihe (1957). In it, he expounds a number of temporal conceptions underlying his instrumental compositions Zeitmaße , Gruppen , and Klavierstück XI . In particular, this article develops (1)

11970-513: The music of other, like-minded composers of the period) as punktuelle Musik , "punctual" or "pointist" music, commonly mistranslated as "pointillist", though one critic concluded after analysing several of these early works that Stockhausen "never really composed punctually". Compositions from this phase include Kreuzspiel (1951), the Klavierstücke I–IV (1952—the fourth of this first set of four Klavierstücke , titled Klavierstück IV ,

12096-479: The name of melding structure and improvisation in a seamless fashion". Zorn's early game pieces had sporting titles like Lacrosse (1976), Hockey (1978), Pool (1979), and Archery (1979), which he recorded and first released on Eugene Chadbourne 's Parachute label. His most enduring game piece is Cobra , composed in 1984 and first recorded in 1987 and in subsequent versions in 1992 , 1994 and 2002 , and revisited in performance many times. In

12222-430: The ninth time. In the early 1990s, Stockhausen reacquired the licenses to most of the recordings of his music he had made to that point, and started his own record company to make this music permanently available on Compact Disc. Stockhausen died of sudden heart failure on the morning of 5 December 2007 in Kürten , North Rhine-Westphalia. The night before, he had finished a recently commissioned work for performance by

12348-602: The opera Donnerstag aus Licht . In late 1944, Stockhausen was conscripted to serve as a stretcher bearer in Bedburg . In February 1945, he met his father for the last time in Altenberg. Simon, who was on leave from the front, told his son, "I'm not coming back. Look after things." By the end of the war, his father was regarded as missing in action, and may have been killed in Hungary. A comrade later reported to Karlheinz that he saw his father wounded in action. Fifty-five years after

12474-541: The operas ( Donnerstag [Thursday], Samstag [Saturday], and Montag [Monday], respectively), the three possible pairings are foregrounded in three others, and the equal combination of all three is featured in Mittwoch (Wednesday). Stockhausen's conception of opera was based significantly on ceremony and ritual, with influence from the Japanese Noh theatre, as well as Judeo-Christian and Vedic traditions. In 1968, at

12600-567: The orchestral Trans (1971) and two music-theatre compositions utilizing the Tierkreis melodies: Musik im Bauch ("Music in the Belly") for six percussionists (1975), and the science-fiction "opera" Sirius (1975–77) for eight-channel electronic music with soprano, bass, trumpet, and bass clarinet, which has four different versions for the four seasons, each lasting over an hour and a half. Between 1977 and 2003, Stockhausen composed seven operas in

12726-624: The performer chooses. Still other works permit different routes through the constituent parts. Stockhausen called both of these possibilities "polyvalent form", which may be either open form (essentially incomplete, pointing beyond its frame), as with Klavierstück XI (1956), or "closed form" (complete and self-contained) as with Momente (1962–64/69). In many of his works, elements are played off against one another, simultaneously and successively: in Kontra-Punkte ("Against Points", 1952–53), which, in its revised form became his official "opus 1",

12852-785: The piece took place in Amsterdam on 26 June 1995, as part of the Holland Festival . Despite its extremely unusual nature, the piece has been given several performances, including one on 22 August 2003 as part of the Salzburg Festival to open the Hangar-7 venue, and the German première on 17 June 2007 in Braunschweig as part of the Stadt der Wissenschaft 2007 Festival. The work has also been recorded by

12978-413: The piece. Zorn described the process in 2003: I write in moments, in disparate sound blocks, so I find it convenient to store these events on filing cards so they can be sorted and ordered with minimum effort. Pacing is essential. If you move too fast, people tend to stop hearing the individual moments as complete in themselves and more as elements of a sort of cloud effect ... I worked 10 to 12 hours

13104-476: The public eye until, in 1971, he published Chöre für Doris , Drei Lieder for alto voice and chamber orchestra, Choral for a cappella choir (all three from 1950), and a Sonatine for violin and piano (1951). In August 1951, just after his first Darmstadt visit, Stockhausen began working with a form of athematic serial composition that rejected the twelve-tone technique of Schoenberg . He characterized many of these earliest compositions (together with

13230-489: The requirements of spatial music". His idea was a spherical space which is fitted all around with loudspeakers. In the middle of this spherical space a sound-permeable, transparent platform would be suspended for the listeners. They could hear music composed for such standardized spaces coming from above, from below and from all points of the compass. In 1968, the West German government invited Stockhausen to collaborate on

13356-551: The scores produced by his publishing company. His notable compositions include the series of nineteen Klavierstücke (Piano Pieces), Kontra-Punkte for ten instruments, the electronic/ musique-concrète Gesang der Jünglinge , Gruppen for three orchestras, the percussion solo Zyklus , Kontakte , the cantata Momente , the live-electronic Mikrophonie I , Hymnen , Stimmung for six vocalists, Aus den sieben Tagen , Mantra for two pianos and electronics, Tierkreis , Inori for soloists and orchestra, and

13482-648: The surface that they can't see the connections, but they are there. —John Zorn Zorn demonstrated his hard bop credentials as a member of the Sonny Clark Memorial Quartet, recording Voodoo in 1986. News for Lulu (1988) and More News for Lulu (1992) featured Zorn, Bill Frisell and George E. Lewis performing compositions by Clark, Kenny Dorham , Freddie Redd , and Hank Mobley . He recorded Spy vs Spy featuring hardcore punk versions of Ornette Coleman 's compositions in 1989. According to Cook, "Zorn's admirers often consider him

13608-526: The theatre piece Herbstmusik (1974), the unaccompanied-clarinet composition Amour , and the choral opera Atmen gibt das Leben (Breathing Gives Life, 1974/77)—but nevertheless share its simpler, melodically oriented style. Two such pieces, Tierkreis ("Zodiac", 1974–75) and In Freundschaft (In Friendship, 1977, a solo piece with versions for virtually every orchestral instrument), have become Stockhausen's most widely performed and recorded compositions. This dramatic simplification of style provided

13734-508: The time of the composition of Aus den sieben Tagen , Stockhausen had read a biography by Satprem about the Bengali guru Sri Aurobindo , and subsequently he also read many of the published writings by Aurobindo himself. The title of Licht owes something to Aurobindo's theory of " Agni " (the Hindu and Vedic fire deity), developed from two basic premises of nuclear physics; Stockhausen's definition of

13860-510: The title of artistic director and regularly performs 'Improvisation Nights'. Zorn feels that "The Stone is a unique space and is different from Tonic, the Knitting Factory, and most of the other venues we have played at as there is no bar ... so there is NO pressure to pack the house with an audience that drinks, and what night you perform has nothing to do with your power to draw a crowd or what kind of music you might play". On January 10, 2008, Zorn performed with Lou Reed and Laurie Anderson at

13986-518: The trumpet—from Sirius (1975–77) to the trumpet version of In Freundschaft (1997)—were composed for and premièred by his son Markus. Markus, at the age of 4 years, had performed the part of The Child in the Cologne première of Originale , alternating performances with his sister Christel. Klavierstück XII and Klavierstück XIII (and their versions as scenes from the operas Donnerstag aus Licht and Samstag aus Licht ) were written for his daughter Majella, and were first performed by her at

14112-458: The weekends, classical ensembles were featured on Sundays, Zorn performed improvisations with other musicians on Mondays, featured his extended compositions on Tuesdays and a retrospective of game pieces on Wednesdays. A total of 12 live albums were released on his 50th Birthday Celebration Series. Karlheinz Stockhausen Karlheinz Stockhausen ( German: [kaʁlˈhaɪnts ˈʃtɔkhaʊzn̩] ; 22 August 1928 – 5 December 2007)

14238-536: The work of many composers, including Igor Stravinsky 's Threni (1957–58) and Movements for piano and orchestra (1958–59) and other works up to the Variations: Aldous Huxley in Memoriam (1963–64), whose rhythms "are likely to have been inspired, at least in part, by certain passages from Stockhausen's Gruppen ". Though music of Stockhausen's generation may seem an unlikely influence, Stravinsky said in

14364-577: Was Zorn's first full-scale orchestral release featuring pianist Stephen Drury , the Hungarian Radio Children's Choir and the American Composers Orchestra conducted by Dennis Russell Davies . Much of Zorn's classical work is dedicated or inspired by artists who have influenced him: Several of Zorn's later concert works drew inspiration from mysticism and the works of Aleister Crowley in particular; Magick (2004) featured

14490-403: 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. He is known for his groundbreaking work in electronic music , having been called the "father of electronic music", for introducing controlled chance ( aleatory techniques ) into serial composition , and for musical spatialization . He

14616-497: Was asked by the Marciac Jazz Festival to put together a slightly larger group. They asked me what if I added a couple of people to Masada and I said, "I can't add anybody to the quartet. The quartet is the quartet, that's what we do." But then I thought, "Well, if I was going to add someone I would probably ask Uri and Cyro." So we tried it at Marciac and it was unbelievable. We didn't even have any rehearsal time. I just passed

14742-472: Was educated at the Hochschule für Musik Köln and the University of Cologne , later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn . As one of the leading figures of the Darmstadt School , his compositions and theories were and remain widely influential, not only on composers of art music , but also on jazz and popular music . His works, composed over

14868-585: Was established with Gesang der Jünglinge and three concurrently composed pieces in different media: Zeitmaße for five woodwinds, Gruppen for three orchestras, and Klavierstück XI . The principles underlying the latter three compositions are presented in Stockhausen's best-known theoretical article, "... wie die Zeit vergeht ..." ("... How Time Passes ..."), first published in 1957 in vol. 3 of Die Reihe . His work with electronic music and its utter fixity led him to explore modes of instrumental and vocal music in which performers' individual capabilities and

14994-651: Was first publicly described by Stockhausen in a radio talk from December 1955, titled "Gruppenkomposition: Klavierstück I ". In December 1952, he composed a Konkrete Etüde , realized in Pierre Schaeffer 's Paris musique concrète studio. In March 1953, he moved to the NWDR studio in Cologne and turned to electronic music with two Electronic Studies (1953 and 1954), and then introducing spatial placements of sound sources with his mixed concrète and electronic work Gesang der Jünglinge (1955–56). Experiences gained from

15120-769: Was interested in jazz , French chansons , and country music ; and his older brother collected doo-wop and 1950s rock and roll records. Zorn spent his teenage years "listening to The Doors and playing bass in a surf band " while also exploring the experimental and avant-garde music of György Ligeti , Mauricio Kagel and Karlheinz Stockhausen and listening to cartoon soundtracks and film scores. Zorn taught himself orchestration and counterpoint by transcribing scores and studied composition under Leonardo Balada before enrolling at Webster College where he attended lectures by Oliver Lake . While at Webster he incorporated elements of free jazz , avant-garde and experimental music , film scores , performance art and

15246-610: Was less than happy, in January 1942 Karlheinz became a boarder at the teachers' training college in Xanten , where he continued his piano training and also studied oboe and violin. In 1941, he learned that his mother had died, ostensibly from leukemia, although everyone at the same hospital had supposedly died of the same disease. It was generally understood that she had been a victim of the Nazi policy of killing " useless eaters ". The official letter to

15372-425: Was not forthcoming, eventually independent filmmakers like Sheila McLaughlin and Raúl Ruiz sought his talents. Filmmaker Walter Hill rejected his music for a film to be called Looters . Although Zorn's score did not make the final cut he used the money he received to establish the record label, Tzadik, on which he released Filmworks II: Music for an Untitled Film by Walter Hill in 1995. Zorn also produced

15498-555: Was the daughter of a prosperous family of farmers in Neurath in the Cologne Bight . A daughter, Katherina, was born the year after Karlheinz, and a second son, Hermann-Josef ("Hermännchen") followed in 1932. Gertrud played the piano and accompanied her own singing but, after three pregnancies in as many years, experienced a mental breakdown and was institutionalized in December 1932, followed

15624-474: Was the first overt example of this trend. In 1968, Stockhausen composed the vocal sextet Stimmung , for the Collegium Vocale Köln , an hour-long work based entirely on the overtones of a low B-flat . In the following year, he created Fresco for four orchestral groups, a Wandelmusik ("foyer music") composition. This was intended to be played for about five hours in the foyers and grounds of

15750-476: Was the first time he had been asked to provide music specially for the purpose. He adapted 21 minutes of material taken from his electronic music for Freitag aus Licht , calling the result Zwei Paare (Two Couples), and the Brothers Quay created their animated film, which they titled In Absentia , based only on their reactions to the music and the simple suggestion that a window might be an idea to use. When, at

15876-496: Was written in 1968–69 in honour of Alfred Kalmus of Universal Edition, he presented his performers with more restricted improvisational possibilities. He pioneered live electronics in Mixtur (1964/67/2003) for orchestra and electronics, Mikrophonie I (1964) for tam-tam , two microphones, two filters with potentiometers (6 players), Mikrophonie II (1965) for choir, Hammond organ , and four ring modulators , and Solo for

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