Monday, April 27, 2009

Stockhausen part 2, For Times to Come


  
As promised yesterday, here are selected pieces from the short text piece collection of Karlheinz Stockhausen's "For Times to Come"

FOR TIMES TO COME

Unanimity
Play and/or sing extremely long quiet sounds and extremely short loud sounds
Try to sing/play more and more attacks synchronously with the others without visual signs

Elongation
Play or sing extremely short events until each one seems like an eternity

Shortening
Play or sing extremely long sounds until each one seems like an instance

Communication
When you are thinking only of your own playing, play as quietly, gently and as long as possible
When you sense that another player is thinking of you, play moderately loud, rather agitatedly and moderately long.
When you think of another player and he doesn't sense it, play as loud, excitedly and as short as possible.
When you think of another player and he has sensed it, play, in a manner never heard before, a passage of thanks which is dedicated to this player; in all intensities, speeds and of any length.

Interval
Play single notes at irregular time-intervals, durations and intensities.
Each time one of your attacks coincides with an attack of the other player add one note
until you are playing a 10-note chord.
Repeat the 10-note chord at irregular time-intervals, durations and intensities and each time one of your attacks coincides with an attack of the other player transpose it somewhat in the direction of the hands of the other until your hands are superimposed.
Then, each time one of your attacks coincides with an attack of the other player, decrease your chord by one note until only one note remains.
Repeat this not until you attack it exactly together with the single note of the other player.
Then open your eyes and for some time play each attack together with the other player.
Simultaneously with the attacks - sporadically, then more often until each time - hum the note of the other player and when you hum gradually leave out the piano attack.
Leave the instrument, the room,  - not at the same time as the other player - continuing the synchronous humming of the interval at irregular time-intervals, durations and intensities
Colour the whole sound of a performance uniquely. 

Outside
Play/Sing a long note, break through the note of another
Play/Sing a long note, break through the note of another
Yield when someone breaks through you, and so on
Break through the note of the whole and keep out of it

Inside
Play/Sing a long note penetrate into the note of a co-player
Play/Sing a long note penetrate into the note of a co-player
When someone penetrates into your note, make everything clear to him.
Penetrate into the note of a co-player, take him with you and penetrate into another note until all are moving within each other, making themselves clear to each other.
Begin to burn add together coil into the heights.

Halt
Seek harmony with a co-player
Hold still, so that the others can find harmony with you
Seek harmony with another co-player
Hold still, so that.....
Seek harmony with each of you co-players
Seek harmony with a co-player AND at the same time hold still.

Vibration
All together - all separate
All together - all separate
And so on: slowly accelerate (linger three times)
Fast!
accelerate further until fused
Fused:
All together - all seperate
All together - all seperate
And so on

Spectra
Play/Sing a sound
Divide the sound of another
Unite the divided sound of another
Change this sequence as often as you like
Gradually introduce indivisible sounds

Waves
Overtake the others
Hold the lead
Allow yourself to be overtaken less often

Bird of Passage
Play/Sing as parallel as possible with the others
Make exceptions and long pauses
Bring the whole to a stand still
Fly away

Presentiment
Place each note on the head of another




That's most of "For times to come,"  I will be updating next to conclude my skirl commentary and talk about a few more of their released records, as well as what is soon to come on the label... Enjoy the music!

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