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Track Listings
| 1. ÉTUDE CONCRÈTE |
| 2. NR. 5 ZEITMASSE TIME-MEASURES FOR FIVE WOODWINDS |
| 3. AVANT L'ARTISANAT FURIEUX BEFORE THE FURIOUS CRAFTSMANSHIP |
| 4. COMMENTAIRE I DE BOURREAUX DE SOLITUDE |
| 5. L'ARTISANAT FURIEUX |
| 6. COMMENTAIRE II DE BOURREAUX DE SOLITUDE |
| 7. BEL ÉDIFICE ET LES PRESSENTIMENTS", VERSION PREMIÈRE |
| 8. BOURREAUX DE SOLITUDE |
| 9. APRÈS L'ARTISANAT FURIEUX |
| 10. COMMENTAIRE III DE BOURREAUX DE SOLITUDE |
| 11. BEL ÉDIFICE ET LES PRESSENTIMENTS, DOUBLE |
| 12. KLAVIERSTÃœCK XI/1 |
| 13. KLAVIERSTÃœCK XI/2 |
| 14. KLAVIERSTÃœCK XI/3 |
| 15. KLAVIERSTÃœCK XI/4 |
Product Description
Review
Stockhausen’s earliest foray into electronic manipulation and the disc’s opener, 1952's Étude Concrète, is fearsome on first listen, but reveals incredible depth in time. A prepared piano piece, recorded and chopped to pieces electronically, it allows you to hear the absolute guts of the instrument rather than obscure it beyond recognition. Tonality occasionally jumps out, and those are the moments to savour. He was the ultimate studio musician before Brian Wilson or The Beatles had entered one for any length of time, and this work shows him to be more diligent and maniacally dedicated to music's advance than his contemporaries.
The centrepiece of the whole disc is the recordings of both Stockhausen’s Zeitmasse and Boulez’s Le Marteau Sans Maître (“The Hammer Without a Master”). The Boulez work is (though it rarely enters into discussion of such works) the more human, and impeccably realised in this period recording of the work under the baton of Robert Croft. The theoretical processes that govern the work have a bonkers level of complexity, to be frank, but broadly it is the vocal sections that are most rewarding to hear. Based on a poem by the surrealist René Char, Le Marteau mixes the woodwinds in a textural feast of interaction, and the vocal perhaps forms a pre-cursor to Berio’s Sequenza of the following decade. Indeed, alto Margery McKay forms a wonderful backbone for the whole performance.
As a historical document of emerging art, captured with the iron at its hottest, this disc is close to unassailable. The concluding David Tudor premiere recording of Stockhausen’s labyrinthine Klavierstück XI is more than simply a bonus, and the whole is a fascinating affair. In a wider sense, these recordings proved that much of this then-new music was actually playable, performable and perhaps even enjoyable for consumption, given the right preparation. A perfect mix of daring, intrigue and impeccable musicianship, this is more than New Directions in Music – it’s music of the future, captured by its inventors.
--Daniel RossFind more music at the BBC This link will take you off Amazon in a new window
CD Description
Not since since Stravinsky has a composer generated such excitement and controversy. His concerts in Europe, America, Japan and the Middle East offered anew kind of musical ritual, and his following amongst the young is suchthat one critic has called him the Pied Piper of Youth.
Stockhausen appears in Peter Blakes' famous collage for the front cover of Sgt Pepper and inspired The Beatles to experiment with techniques ranging from the use of reversed tape to the total abandonment ofmetre and melody - evidenced most notably on Revolution 9.
New Directions In Music includes Stockhausen's Étude (the composer's first experimentation in musique concrète, and David Tudor's premiere recording of all four movements of Klavierstück XI. These works are complimented by Robert Craft's historic New Directions in Music album comprising Stockhausens Zeitmasse (Time-measures) for five woodwinds and Pierre Boulez Le Marteau sans maître (The Hammerwithout a Master).
Out of print for decades, Craft's recordings have never beensuperceded. Crystalline and highly refined, the Boulez is a seminal workof the twentieth century and arguably one of the first Europeancomposition to exhibit an awareness of global timbers.
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