Prom 11 - 19.07.13: Stockhausen

[Eine Alpensinfonie]

10.15pm – c. 11.30pm
Royal Albert Hall

Stockhausen
Gesang der Jünglinge (14 mins)
Stockhausen
Mittwoch aus 'Licht' – Welt-Parlament (40 mins)
London Premiere

Kathinka Pasveer sound
Ex Cathedra
Jeffrey Skidmore director

A concert of music by one of the 20th century's most provocative, revolutionary composers. Gesang der Jünglinge (Song of the Youths) dates from the mid 1950s and is generally hailed as Stockhausen's first electronic masterpiece, a mind-popping sonic translation of the biblical story of Shadrach, Meshach and Abednego, realised live tonight by Kathinka Pasveer who worked closely with the composer for over two decades. Welt-Parlament (World Parliament) was composed 30 years later and is a multi-lingual, virtuosic piece of choral writing for 37 singers, who form a futuristic world parliament discussing the theme of love. It receives its London premiere at the hands of Ex Cathedra and their director Jeffrey Skidmore, who promises listeners "an incredible spiritual feeling" by the end of this dazzling, demanding and hugely complex work.

[Eine Alpensinfonie]

These old HIPP electronic sounds can't compare with their more modern counterparts.

[Roehre]

These old HIPP electronic sounds can't compare with their more modern counterparts.

As I predicted in one of my 1985 theses already ("The Avant Garde will not escape authenticity problems, followed by Historically Informed Performances").
Nevertheless I look forward to this concert (to HIP or not too HIP, that the question )

[amcluesent]

Good effort from the Soup Dragon and all the Clangers!

[edashtav]

The Albert Hall smiles on Gesang der Jünglinge

Gesang der Jünglinge suits the vast space of the Albert Hall so well. Encircled by speakers, the music dances around as if played by a dozen or more overlapping ensembles each in it own “box”. I know that Stockhausen scholars have been worried by degradation of its original tapes through print-through, random noise and signal attenuation. Modern digital techniques pull many a tone deaf pop-singer into tune and, it would seem from the transfixing evidence of last night’s performance, that they can restore Stockhausen’s early masterpiece to youthful vigour. Full marks to Kathinka Pasveer at her real-time control board at the centre of the arena. Her realisation produced a dynamic soundscape in the hall that was enchanting and transporting. A wonderful, memorable experience. I thank her and all at the BBC but send my sympathy to listeners of Radio 3 for you must have missed so much! (Next time – remember there were probably 4000+ empty seats last night – make sure one of them has your name on it!)

One of the problems that I find with some modern electronic scores is that the richness of resource at the composer’s command can lead to self-indulgence: invention runs riot and economy, structure and form are set at naught. Karlheinz had to struggle: the transforming fire of primitive electronics released the composer from many traditional shackles only to impose another set of constraints, the limits of which had to be found through trial and error. How Stockhausen must have struggled, but his genius, his huge imagination, and creative zeal triumphed to produce an enduring masterpiece.

[edashtav]

Mittwoch aus 'Licht' – Welt-Parlament

Late Stockhausen has resembled the high Himalayas full of huge, oppressive peaks: some of them apparently unconquerable. The top of Mittwoch aus 'Licht' was reached only last year in Birmingham with the help of a string quartet lifted high above its performing space in four helicopters. Of course, such staggering demands imply that it will remain an occasion piece.

What a difference a year makes! World Parliament is a detachable choral fragment (probably an ill-chosen word for a piece lasting more than 35 minutes). Its needs are finite and, wonder of wonders, last year’s brilliant singers (Ex Cathedra) and their great conductor, Jeffrey Skidmore have made it part of their repertoire – or so it seemed last night in the Albert Hall. This was no stiff performance freighted with the nervous tension that often arises in forays into “new” music where there are few exemplars to guide the vision. No, it was a choir having a ball, showing off its party piece.

And what a piece! This performance was a revelation! Difficult it was not. There was nothing of the hair-shirted radical that, maybe, shone through Helmut Lachenmann’s Tanzsuite in an earlier Prom. This was a work of sunlit serenity. Anyone coming to the performance expecting a piece of ivory-towered, stainless steel intellectualism would have been shocked. This piece is beautiful, accessible and it packs both an emotional and spiritual punch. I shall anger some lovers of the avant-garde by comparing it to late Richard Strauss (For Last Songs?) such was the refulgence and, tell in not in Gath, indulgence of its world.

Its compositional mastery was astounding. Some of its choral effects were pre-echoed almost a 100 years ago in works such as Havergal Brian’s Gothic Symphony. There they obtruded because they had not been digested. Stockhausen employed a wide palette, but so naturally - they didn’t call attention to themselves being profoundly necessary to context. Poor Percy Grainger wasted decades creating machines to produce “gliding tones”. No such machines are necessary when wizard Stockhausen gets down to work.

It helped a great deal that yesterday’s performance was staged in set that resembled the bare bones of the House of Commons: two sets of “opposed” benches with the officials (including the conductor) sitting raised at the rear between the two “sides”. The gap between the benches widened towards the audience allowing a centre acting area. Lead singers from the two choruses (one predominantly male, the other female) would leave their seats to project solo speeches in this shared space. Multiple metronomes marked time, and “John Bercow” would interject using a wood-block and tubular bells to indicate different sections of the “debate”. Throughout the work, the singers acted and reacted to what was going on. It was a great help that Stockhausen allows the vernacular to intrude on his imagined languages.

Stockhausen’s use of humour has been criticised. Here, such elements were often funny – such as an official arriving on high to invite the owner of car registration XYZ 123 to return to it before… Of course, it turns out that the “Speaker” is its owner and he leaves in a peremptory manner, mid debate.

Karkheinz also employs sly wit in this score. His affectionate guying of “close harmony” groups with whole chords being bent, transformed and refracted as if they were made of rubber was delicious.

The parliamentary debate is about love, about unity, both here on earth and across the cosmos.Reader, I loved it. I felt taken out of myself, horizons vanished and new worlds, new sounds and combinations refreshed my heated brow.

The performance was out of this world. Unlike the recorded German version, it zipped along seamlessly. The performers were relaxed and full of joy.

I believe that this wonderful piece and this incredible realisation MUST be shared with a big audience. I may be wrong, but I saw no evidence of TV cameras at work. If I’m right, shame on you BBC TV.

Now- how do we break through barriers of prejudice and get this piece to market? A new-found friend whispered “Glastonbury, Ed”. There’s a thought!

[MrGongGong]

Good effort from the Soup Dragon and all the Clangers!

No, it's more like this IMV







a work of genius all the same

[bluestateprommer]

Seeing KS's Gesang der Jünglinge on this program reminded me that William Glock had wanted to program this work in his first season at The Proms (either 1959 or 1960 - don't have the book in front of me), but the lack of sufficient technology in the UK at the time prevented that. Glock had to wait until 1969 for it to happen. How times and technology have changed since then. It does sound like a treat to have heard, pinging around the RAH. Two speakers on a computer just doesn't do it, even though it came through wonderfully clearly through my two speakers. Stellar work also from Ex Cathedra and Jeffrey Skidmore in Welt-Parlament, although obviously the full theatricality can't come through nearly as well on the radio or via iPlayer, especially without the text at hand (one other major grr disappointment that this year, the flipbook versions of the program books are not on-line).

(Next time – remember there were probably 4000+ empty seats last night – make sure one of them has your name on it!)

Well stated, edashtav; for those who go on about 'dumbing down' of concerts and otherwise these days, the only way to rebel against that is to vote with your feet and fill the RAH at concerts like this, to prove that audiences really do want more than just token challenging programming and not "classical's greatest hits" all the time. Not an option for me, unfortunately, in this case, as I'm on the other side of the pond this summer. Not bad to have Stockhausen and Lachenmann at The Proms in the space of less than a week, but my bad not to have posted earlier to encourage more people to listen before it disappeared from iPlayer.

[Tevot]

Greetings Darmstadt Lovers,

Heard the concert via Listen Again. Loved it. It's about the third or fourth time I've heard the Gesang. Also intrigued by the "Welt Parlament" and made we want to listen to more of Mittwoch. That opportunity might never alas happen in a month of Wednesdays. You've got to hand it to Karlheinz however. Imagine an Opera Cycle to best even Wagner !? And heck - what happens on Sonntag? I mean even God took that day off !!

Seriously though - Regarding the disappointing audience numbers in the RAH - perhaps late night concerts aren't the best vehicle for this repertoire? Why not early performances at say 6 :00 p.m before the more mainstream concert at 8:00 p.m or 8:30 p.m. ?? Just a thought...

Best Wishes,

Tevot

[edashtav]

Greetings Darmstadt Lovers,

Heard the concert via Listen Again. Loved it. It's about the third or fourth time I've heard the Gesang. Also intrigued by the "Welt Parlament" and made we want to listen to more of Mittwoch. That opportunity might never alas happen in a month of Wednesdays. You've got to hand it to Karlheinz however. Imagine an Opera Cycle to best even Wagner !? And heck - what happens on Sonntag? I mean even God took that day off !!

Seriously though - Regarding the disappointing audience numbers in the RAH - perhaps late night concerts aren't the best vehicle for this repertoire? Why not early performances at say 6 :00 p.m before the more mainstream concert at 8:00 p.m or 8:30 p.m. ?? Just a thought...

Best Wishes,

Tevot

We and the BBC should hold on to your thought of an early evening slot . Getting home when living "in the sticks" like me is not easy without lifts from like-minded friends.

These pieces demand proper exposure and the chance to become part of "repertoire".

[Bryn]

I know it's very selfish of me, but I can't get to any standard evening Proms without taking the day off. Late evening Proms are o.k. for me, though getting home in the early hours, and the resultant lack of sleep, is not so welcome.