Karlheinz stockhausen licht
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Cherrypicker Karlheinz Superstar
In a graphic novel, the composer and pioneer of electronic music Karlheinz Stockhausen seems like a being from another world to a small-town boy.
Holger Moos
© CarlsenWriter Thomas von Steinaecker grew up in the Bavarian town of Oberviechtach in the Upper Palatinate administrative district. In 1989, the summer holidays dragged on forever. Being an altar boy was one of the few diversions of the endless summer.Twelve-year-old Thomas and his brother looked forward to any change in the routine. One day, their father gave them a record of Karlheinz Stockhausen’s Gesang der Jünglinge. At first, the boys laughed themselves silly, but after listening to the record over and over again, they began to enjoy the really strange music. So much that they wanted to hear more.
Stockhausen’s pieces were “like tickets to another planet,” his life story seemed like a “superhero story” to Steinaecker, so writing his story like a comic book makes sense. The writer Thomas von Steinaecker therefore teamed up with the illustrator David von Bassewitz
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Karlheinz Stockhausen
German composer (1928–2007)
"Stockhausen" redirects here. For other uses, see Stockhausen (disambiguation).
Karlheinz Stockhausen (German:[kaʁlˈhaɪntsˈʃtɔkhaʊzn̩]ⓘ; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, having been called the "father of electronic music",[6] for introducing controlled chance (aleatory techniques) into serial composition, and for musical spatialization.
He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. As one of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In
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Biography
Karlheinz Stockhausen is one of modern music’s most controversial figures. He was at the centre of the post-war generation’s reinvention of art music in the 1950s and 1960s. By the 1970s he had become a cult figure, attracting mass audiences. His commitment to avant-garde aesthetics and religious mysticism continues to elicit extreme responses. To some, he was a fantasist whose musical gifts were less substantial than his charisma. To others, his commitment to technological innovation, particularly in electro-acoustic musical techniques, has ensured a legacy of lasting influence. Stockhausen understood his musical ambitions as an attempt to restore music to the position of philosophical and ethical significance it held in the ancient world. Recalling the ancient Greek conception of music, he remarked that ‘the highest calling of mankind can only be to become a musician in the profoundest sense; to conceive and shape the world musically.’ He argued that human imagination and sensibility was increasingly dominated by the visual field, and that we were in danger of forgett
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