Stokhausen

The composer Karlheinz Stockhausen passed away on December 5th 2007 at his
home in Kuerten-Kettenberg and will be buried in the Waldfriedhof (forest
cemetery) in Kuerten.
He composed 362 individually performable works. The works which were
composed until 1969 are published by Universal Edition in Vienna, and all
works since then are published by the Stockhausen-Verlag. Numerous texts by
Stockhausen and about his works have been published by the Stockhausen
Foundation for Music.
Suzanne Stephens and Kathinka Pasveer, who have performed many of his works
and, together with him, have taken care of the scores, compact discs, books,
films, flowers, shrubs, and trees will continue to disseminate his work
throughout the world, as prescribed in the statutes of the Stockhausen
Foundation for Music, of which they are executive board members.ï¿1Ž2
Stockhausen always said that GOD gave birth to him and calls him home.
****
ï¿1Ž2for love is stronger than death.
IN FRIENDSHIP and gratitude for everything that he has given to us
personally and to humanity through his love and his music, we bid FAREWELL
to Karlheinz Stockhausen, who lived to bring celestial music to humans, and
human music to the celestial beings, so that Man may listen to GOD and GOD
may hear His children.
On December 5th he ascended with JOY through HEAVENï¿1Ž2S DOOR, in order to
continue to compose in PARADISE with COSMIC PULSES in eternal HARMONY, as he
had always hoped to do: You, who summon me to Heaven, Eva, Mikael and Maria,
let me eternally compose music for Heavenï¿1Ž2s Father-Mother, GOD creator
of Cosmic Music.
May Saint Michael, together with Heavenï¿1Ž2s musicians in ANGEL PROCESSIONS
and INVISIBLE CHOIRS welcome him with a fitting musical GREETING.
On behalf of him and following his example, we will endeavor to continue to
protect the music.
Suzanne Stephens and Kathinka Pasveer
in the name of the world-wide family of musicians who love him,ï¿1Ž2together
with everyone who loves his music.
****
On Thursday, December 13th 2007, from 10 a.m. to 1 p.m. it will be possible
to personally say farewell to Karlheinz Stockhausen in the chapel of the
Waldfriedhof in Kuerten (Kastanienstrasse).
A commemorative concert will take place soon at the Sï¿1Ž2lztalhalle in
Kuerten. Programme, time and date will be specially announced.
———————————————————

Manuel Rocha Iturbide
Veracruz 85
Col. Condesa CP 06140
Del. Cuahutémoc
México DF MEXICO

Old Moog 900 Series Demo

Hi All,

I came across this today:

http://www.moogarchives.com/moogdemo.htm

on this blog:

http://orpheusrecords.blogspot.com/

(which by the way has some very neat things there…)

Thought others here who may be synthesizer enthusiasts might enjoy the
audio demo.

Thanks!
steven

Review: Frank Bretschneider & Peter Duimelinks – fflux

Frank Bretschneider & Peter Duimelinks – fflux

From the Dutch electronica label Brombon (a sublabel of Korm Plastics) comes this 7-track 34-minute album, with experimental ambience and abstract rhythms.

The first track, Knox, revolves around electronic sounds sequenced in a rather conventional rhythm, but supported by ambient radio waves-style sound (and do I mean sound, rather than “ambient music”) and cute little bleeps and blobs. It’s quite listenable and less experimental than I had set my mind for, but it’s a pleasant rhythmical, minimalistic soundscape. The following track Fix, is somewhat broader in the sonic design, but follows the same structure; individual sounds sequenced to a rhythmic, almost danceable beat, supported by static, tape noise and abstract sounds.

Then follows Fax, which has what appears to be cut-up fragments of harmonic sounds on top of white noise effects and more abstract electronic sounds. This particular track has a good sense of breathing or exhaling, without using any samples that actually suggest that, but its pulsating structure is suggestive of such an image nevertheless. Prax then follows, with another pulsating structure but now with jazzy white noise percussion dominating, quite rhythmic and conventional, but surrounded by ambient soundscapes and “musical speech” from an alien language, as well as vinyl static. It’s basically not an ambient track, as its sound pulses propel the track quite efficiently.

Next is Lux, where the almost cheerful mood of the previous track is replaced by darker and somewhat industrial moods, and again white noise effects and abstract sounds form the soundscapes. Towards the end, layered echo is used as a new type of effect. Then follows the track Mux, which is more rhythmic with a steady beat surrounded by abstract sounds, car horn-like outbursts and weird effects. It’s a lighter mood again, which is also the case for the last track, Max. It follows the pattern of most of the above tracks, and since the formula by now is familiar, the track is getting a little tiresome, since there is no new technique or structure.

fflux is a fresh sounding album with elastic and springy sounds. It’s not a rhythmic album as such and not an ambient album either, but blends quiet beats and looped sounds with ambient background noise in a way that is sometimes dynamic, sometimes rigid. It’s not far removed from Skytracker, and I have heard similar things from Arne Nordheim (minus the beats, perhaps). The sound palette is abstract and somewhat free-form, and some interesting shaping and editing takes place to give the album layers you will want to return to for closer studies. The structure that all tracks use could perhaps have had more variation, but the tracks are not overly long (somewhere around 4 or 5 minutes) and the album clocks in at around 34 minutes.

If you are tired of Berlin School sequencers or the romantic soundtracks by Vangelis, then fflux is a good choice, as it bridges the gap between downtempo dance music and abstract ambient soundscapes.

Rating: 7.5 of 10

Availability:
http://www.kormplastics.nl

Greetings from Glenn Folkvord
Web & content editor, Planet Origo

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