The composer Karlheinz Stockhausen has died, aged 79. There is a good survey of his career
here in the
Guardian and the
Daily Telegraph’s obituary
here, while Tyler Cowen weighs in
here with interesting comments on the work (how many other academic economists could write sensibly about contemporary music?). He singles out
Mantra for two pianos and electronics,
Stimmung (there’s a terrific
new recording by Paul Hillier and the Theatre of Voices) and
Gesang der Jünglinge, to which I would add the choral
Invisible Choirs, the orchestral pieces
Gruppen and
Inori, the early chamber works
Kreuzspiel,
Zeitmasse and
Kontra-punkte and the purely electronic
Oktophonie from 1991, which depicts an inter-galactic aerial battle and, played suitably loud, is utterly terrifying.
I don’t agree with Cowen’s dismissal of
Tierkreis for music boxes, which is the one Stockhausen CD that doesn’t make my wife flee from the room; and he is a bit harsh on the operas too. Yes, Stockhausen was, like his teacher
Olivier Messiaen, never afraid of boring his listeners, but there are wonderful instrumental passages among the longueurs, two of which are collected in different arrangements on a marvellous
CD by his trumpeter son Markus, and the electronic music can be ravishing, as in the opening water music of
Montag.
But there’s no argument that the
Helikopter Quartet of 1996 must be the most barking mad music ever recorded. This takes a perfectly harmless string quartet, the
Arditti, puts each player into a separate chopper, and then they fly for half an hour scraping away at some pretty thin music listening to each other through headphones. We hear them over the thud-thud-thud of the rotors. And the helicopters are the best bit.
None of this music, needless to say, is on iTunes (apart from the Markus Stockhausen album, and also his
Michaels Reise, a sort of trumpet concerto spinoff from the opera
Donnerstag), but it’s all available by mail order
here. The CDs aren't cheap but the packaging is lavish. You can steal chunks of them via BitTorrent or similar, obviously, but apart from the morality of it Stockhausen was fanatical about sound quality - and all the CDs are sonically spectacular.