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Neuhaus, Max

Four Realizations of Stockhausen's Zyklus

Neuhaus, Max: Four Realizations of Stockhausen's Zyklus (Alga Marghen)

Four previously unreleased and unique realizations of Karlheinz Stockhausen's "Zyklus" for 21 percussion instruments, recorded 1963-1968 by New York School artist Max Neuhaus.
 

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Includes a 12 pages booklet with original photos of both official concerts and performances for invited audiences, Max Neuhaus' own comments on the original score and an editorial note by John Rockwell.

Label: Alga Marghen
Catalog ID: 23NMN.054
Squidco Product Code: 13270

Format: CD
Condition: New
Released: 2004
Country: Italy
Packaging: Digipack
Wergo Studios, 1963; New York, June 164; Cologne, 1965; New York, June 1968.


Personnel:

Max Neuhaus-percussion

Karlheinz Stockhausen-composition

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Artist Biographies:

"Karlheinz Stockhausen (1928-2007) composed 376 individually performable works. From 1977 to 2003 he composed the cycle of operas LICHT (LIGHT), The Seven Days of the Week, which comprises about 29 hours of music. All of the seven parts of this music-theatre work have had their staged world premières: DONNERSTAG (THURSDAY) in 1981, SAMSTAG (SATURDAY) in 1984, and MONTAG (MONDAY) in 1988, all three produced by the Teatro alla Scala in Milan; DIENSTAG (TUESDAY) in 1993 and FREITAG (FRIDAY) in 1996, both at the Leipzig Opera, SONNTAG (SUNDAY) in 2011, at the Cologne Opera. With MITTWOCH (WEDNESDAY), the Birmingham Opera Company presented the last day of the LICHT heptalogy on Wednesday, August 22nd 2012.

After LICHT, Stockhausen intended to compose the hours of the day, the minute and the second. He began the cycle KLANG (SOUND), The 24 Hours of the Day, and until his death in December 2007, he composed the 1st Hour HIMMELFAHRT (ASCENSION) to the 21st Hour PARADIES (PARADISE).

Karlheinz Stockhausen started composing in the early 1950s. Already the first compositions of "Point Music" such as KREUZSPIEL (CROSS-PLAY) in 1951, SPIEL (PLAY) for orchestra in 1952, and KONTRA-PUNKTE (COUNTER-POINTS) in 1952/53, brought Stockhausen international fame. Fundamental achievements in music since 1950 are indelibly imprinted through his compositions: The "Serial Music", the "Point Music", the "Electronic Music", the "New Percussion Music", the "Variable Music", the "New Piano Music", the "Space Music", "Statistical Music", "Aleatoric Music", "Live Electronic Music"; new syntheses of "Music and Speech", of a "Musical Theatre", of a "Ritual Music", "Scenic Music"; the "Group Composition", polyphonic "Process Composition", " Moment Composition", "Formula Composition" to "Multi-Formula Composition"; the integration of "found objects" (national anthems, folklore of all countries, short-wave events, "sound scenes", etc.) into a "World Music" and a "Universal Music"; the synthesis of European, African, Latin American and Asian music into a "Telemusic"; the vertical " Octophonic Music".

Stockhausen's entire oeuvre can be classified as "Spiritual Music"; this becomes more and more evident not only in the compositions with spiritual texts, but also in the other works of "Overtone Music", "Intuitive Music", "Mantric Music", reaching "Cosmic Music" such as STIMMUNG (TUNING), AUS DEN SIEBEN TAGEN (FROM THE SEVEN DAYS), MANTRA, STERNKLANG (STAR SOUND), INORI, ATMEN GIBT DAS LEBEN (BREATHING GIVES LIFE), SIRIUS, LICHT (LIGHT), KLANG (SOUND).

At nearly all world premières and in innumerable exemplary performances and recordings of his works world-wide, Stockhausen either personally conducted, or performed in or directed the performance as sound projectionist.

In a spherical auditorium conceived by Stockhausen, most of his works composed until 1970 were performed at the Expo '70 world fair in Osaka, Japan, for 5½ hours daily for 183 days by twenty instrumentalists and singers, there by reaching an audience of over a million listeners.

In addition to numerous guest professorships in Switzerland, the United States, Finland, Holland, and Denmark, Stockhausen was appointed Professor for Composition at the Hochschule für Musik in Cologne in 1971. In 1996 he was awarded an honorary doctorate from the Freie Unversität Berlin, and in 2004 received an honorary doctorate from the Queen's University in Belfast. He is a member of 12 international Academies for the Arts and Sciences, was named Honorary Citizen of Kuerten in 1988, became Commandeur dans l'Ordre des Arts et des Lettres, received many gramophone prizes and, among other honours, the Federal Medal of Merit, 1st class, the Siemens Music Prize, the UNESCO Picasso Medal, the Order of Merit of the State of North Rhine Westfalia, many prizes from the German Music Publisher's Society for his score publications, the Hamburg BACH Prize, the Cologne Culture Prize and, the Polar Music Prize with the laudation: "Karlheinz Stockhausen is being awarded the Polar Music Prize for 2001 for a career as a composer that has been characterized by impeccable integrity and never-ceasing creativity, and for having stood at the fore front of musical development for fifty years.""

-Karlheinz Stockhausen Website (http://www.karlheinzstockhausen.org/karlheinz_stockhausen_brief_biography_english.htm)
2/19/2019

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track listing:


1. Zyklus - Wergo Records Studios 1963 9:59

2. Zyklus - Solo Recital, Carnegie Recital Hall - NYC June 2 1964 12:52

3. Zyklus - West Deursche Rundfunk Studios, Cologne, Germany 1965 11:28

4. Zyklus - Columbia Records Studios, NYC June 1968 11:34
sample the album:








descriptions, reviews, &c.

Four previously unreleased realizations of "Zyklus" (different recordings than the one featured on the Columbia LP Electronics and Percussion -- Five Realizations. Recorded from 1963-68.

"The term 'New York School' refers to a circle of composers "'Zyklus' was written in 1959 and is one of the first solo pieces to utilize such a large number of percussion instruments (twenty one). When Neuhaus first started to play this piece there were only three percussionists in the world who could play it. Stockhausen's idea was that a performer would play the piece spontaneously, making its complex decisions on the fly. No one played it this way; it was too difficult. Everyone wrote out his own version of the score and played from it.

Coming from the world of jazz Neuhaus decided he wanted to take up the challenge of playing it spontaneously. At that time percussionists generally played only one instrument at a time. Playing twenty one simultaneously was unheard of. Neuhaus quickly realized that the only way to do it, in fact, was to think of all them together as just one instrument, one multi-surfaced bank of timbre. Neuhaus decided to travel to Europe and go to Darmstadt where Stockhausen was teaching. He wanted to talk to him about the piece.

Stockhausen was interested in the idea that the twenty one instruments had to be physically formed into one instrument and that so much work had been done already. So he offered Neuhaus the big opportunity to perform 'Zyklus' on the first American tour. Stockhausen came over to New York to hear Neuhaus play, but he wasn't satisfied with the improvisation version. It was too long. Neuhaus was determined to teach himself how to do it for this tour. He had another six months. He got down to seven minutes; and he was still improvising, not writing it out. He was ready to play that piece, and played it like nobody had ever heard it before. Each of these four recordings is a document of a true solo performance, one person and two hands, with no additional live help and no overdubbing.

This CD also offers four different kinds of beauty, four proofs that the latitude that Stockhausen allowed, when capitalized on by a performer with creative imagination, could validate Stockhausen as a composer and an entire aesthetic of freedom and control."-Alga Marghen


Includes a 12 pages booklet with original photos of both official concerts and performances for invited audiences, Max Neuhaus' own comments on the original score and an editorial note by John Rockwell.
Related Categories of Interest:


Compositional Forms
Avant-Garde
Improvised Music
NY Downtown & Jazz/Improv
Percussion & Drums
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