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Stockhausen: Kontakte CD

1 customer review

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Product details

  • Performer: David Tudor, Christoph Caskel, Gottfried Michael Koenig
  • Composer: Karlheinz Stockhausen
  • Audio CD (1 Dec. 1992)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: CD
  • Label: Wergo
  • ASIN: B000025R06
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 152,631 in Music (See Top 100 in Music)

1. Teil 1 - Karlheinz Stockhausen
2. Teil 2 - Karlheinz Stockhausen

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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Most Helpful Customer Reviews

55 of 63 people found the following review helpful By Adey on 5 Nov. 2001
This recording was my first introduction to Stockhausen. Very clear demonstration of the birth of techno/electronic music and therefore a good buy for anybody tracing musical roots.
The movement, depth and shear strangeness of Stockhausen's Kontakte makes you either profoundly shocked at his genius or wonder what all the fuss is about.
In more recent times this piece greatly influenced Irmin Schmidt (who trained under Stockhausen and formed CAN) and Richie Hawtin (aka Plastikman.
5/5 for pure genius
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Most Helpful Customer Reviews on (beta) 8 reviews
14 of 15 people found the following review helpful
Prefer the Electronic Version 7 Jan. 2006
By a consumer - Published on
I much prefer the all-electronic version of Kontakte: it's the same as the electronic parts you hear on this recording, only without the piano or percussion. The interaction of the acoustic instruments with the electronic parts on tape starts to seem predictable--the tape plays for a while then the pianist stabs out some violent staccato bits, the percussionist hammers out some violent staccato bits, then the tape plays a bit longer and the pianist responds with some violent staccato bits, and/or the percussionist hammers out some violent staccato bits...

I have the all-electronic version on an old DG vinyl recording. It can be very lyrical at times, and even though it's supposed to be completely "in the moment", eschewing old-fashioned compositional form, it nevertheless flows and evolves and feels like it has an inner musical logic. Or maybe the musical moments are just more musical. It's remarkable what Stockhausen could coax out of the primitive electronic sound-producing gizmos of the time.

The problem is that the electronic version is available on CD only from Stockhausen Verlag, which means you have to order it directly from Karlheinz himself for $30 plus $18 handling charges. But hey, a 180-page booklet is included! Nevertheless, I'm almost thinking of ordering it; in any event I'd rather spend the extra money to get the electronic version, which has moved me greatly over the years, than to spring for this electro-acoustic version which leaves me completely uninspired.
4 of 4 people found the following review helpful
..||...........||.......||||.......|...|||||....|...|||........ 22 July 2007
By Lord Chimp - Published on
Pulsing electronic tones, sustained and modified -- spiky dissonance on piano -- indefinable noises -- a scattered array of percussion sounds. Tied together by a strange logic where neither seems to exist for the sake of the other, rather they have a decisive wholeness, a `unity of opposites'. So goes this recording of Stockhausen's _Kontakte_. Unlike the electronics-only piece, here we have the marriage of electronics and acoustics, and it was a considerable leap for the fifties avant-garde, where movements like serialism were being abandoned and some radical futurists believed electronics the next progression for music. Stockhausen's _Kontakte_ for piano, percussion, and electronic tape is a world where the ostensible contradictions between tradition and modernity do not arise, but are simply realized with the tertiary ingredient being Stockhausen's imagination. Yes, there are relations to other contemporary works by Stockhausen, about which you can read more in other reviews and commentaries. Particularly there is the "movement form", where Stockhausen eschewed dramatic conventions, so his pieces, as he wrote, "lead up to no climax, nor do they have preprared, and thus expected, climaxes, nor the usual introductory, intensifying, transitional, and cadential stages which are related to the curve of development in a whole work; they are rather immediately intense and -- permanently present - endeavor to maintain the level of continued peaks up to the end; forms in which at any moment one may expect a maximum or a minimum, and in which one is unable to predict with certainty the direction of the development from any given point; forms in which an instant is not a piece of a passage of time, a moment not a partical of a measured duration, but in which the concentration on `now', on every `now' makes verticals incisions, which break through a horizontal concept of time, leading to timelessness". It is worth quoting Stockhausen at length here for two reasons - firstly, to call attention to the parallel between this conception and methodology of musical-creation and that of Schoenberg's original forays into atonality, intended to be a more `egalitarian' form of music where every instant was equally as important as every other -- a means of resolving the separateness between the part and the whole. secondly, to say that conventions are always relative, and certain things among the radical artists would have seemed conventional by this time. What I am trying to torturously get across is that _Kontakte_ doesn't just combine existing ideas to make a new idea, but continues the pathbreaking progression without making concessions to the different approach. The music is excellent -- it is like a glimpse into a different world, with long sections of mysterious electronic noise, strange jazz-like sections where percussion and piano crash and plink, ringing bells over rumbling blips, and beautiful emergent dissonances. The acoustic players, pianist David Tudor and percussionist Christopher Caskel, deserve special credit for their attention to the alien nature of the overall soundworld -- you will forget that human players are involved. Being from 1959-60, it precedes many corollary threads like space-rock a la early Tangerine Dream and avant-garde jazz, and it is as good as the upper tiers of such offshoots. This is a powerful and historic work.
1 of 1 people found the following review helpful
A Seminal Classic Of Electronic Collage 28 May 2013
By brotagonist - Published on
A preoccupation with the shock of the bizarre appears to permeate much of Stockhausen's late works, rendering them nearly unlistenable. Kontakte, from 1960, is one of his great early works. It is a seminal classic of electronic collage with piano and percussion.
Deeply fascinating 19 Dec. 2008
By G.D. - Published on
One of Stockhausen's "moment form" compositions, Kontakte still remains one of the most potent works of music ever written. For electronics, percussion and piano, the work discards all notions of climax, transitions or development, creating "forms in which at any moment one may expect a maximum or a minimum, and in which one is unable to predict with certainty the direction of the development from any given point".

Kontakte is definitely not an "easy" work, embodying as it does most of the ideas that are generally associated with the Stockhausen of the 1950s and 60s; serial complexes in interaction with exploration of unusual timbres and rhythms have had and apparently still have a tendency to scare listeners away. Which is indeed a pity, for I dare anyone who approaches this music with open ears to fail to recognize one of the most important and indeed greatest works ever composed. The playing time might look stingy, but really - what could you possibly have as a filler for Kontakte?
This Is Probably Stockhausen's Best 13 Nov. 2005
By Zachary A. Hanson - Published on
I like this one or _Mantra_ best out of the ones I've been able to get my hands on. And that's the beauty of Stockhausen: you like each piece on its own terms. Each piece comes from its own set of suppositions, guaranteeing a unique experience every time. This one here is certainly one of the scariest pieces, but this is a horror that is transformative as you realize that the uncanny electric glissandoes are perfectly in tune with the glissandoes of the human psychic mechanism.
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