Search - Masson :: Stockhausen: Aus dem sieben Tagen

Could be better...

DAC Crowell | 04/05/2000

(2 out of 5 stars)

"I've heard two versions of these pieces, and also performed on a version of "Set Sail for the Sun", which appears here. The problem here is that the intuitive nature of these pieces dictates that the results depend largely on the prior scope of experience of the performer(s) as well as their interaction in an ensemble situation when that's called for. And the problem here is that, having actually performed some of Stockhausen's intuitive music, I can tell that the 'mix' here is not wholly functioning. There's a clear sense of disorder between the diverse backgrounds of the players, and I also know for a fact that there was some personal dissonance among a few of the performers. The versions with Stockhausen's personal ensemble, previously released on DGG but now only available from Stockhausen-verlag, are much more revealing and rewarding, as these players (some of which appear here) have a better sense of interaction due to their years of work together and their first-hand familiarity with the composer and his work. Personally, _I_ think it would be interesting to see some more versions/realizations of these pieces, as well as those from Stockhausen's similar "Fur Kommende Zeiten" intuitive cycle, particularly with a more harmoniously-attuned group than the one on this CD."

An Imperfect Realization

Christopher Forbes | Brooklyn,, NY | 08/28/2002

(3 out of 5 stars)

"I must admit, the idea of "intuitive music" really intrigues me. I've read parts of the score to this piece and am interested in it's general attitude toward controlling improvisation, but am not sure how controlled the results truly are, (nor how truly interested Stockhausen is in that control). As such it would be most instructive to have multiple versions of this work available for comparison, because this one leaves me a little cold. Arguments below have centered on the nature of the improvisation in this work. I would have to agree that on the whole, I'd rather hear a seasoned group of avant-gard jazz musicians play this piece, rather than the ensemble recorded hear. They don't seems to have the ears needed to play this piece well. There are alot of interesting sounds on the album, but it adds up to less than the sumof it's parts. On the other hand, this in no way resembles late Coltrane or other out jazz players, and it is wrong to confuse them. Stockhausen was certainly influenced by those players, and by the acid rock movement. And those movements were influenced by Stockhausen. But the fundemental interests are different. Avant-garde jazz is at it's core interested in recovering an almost shamanist spirituality...and as such has much more in common with traditional musics of Africa. This work is much more static, more Eastern in a way. And yet definately part of the composer's Darmstadt outlook. So, in conclusion, it's an interesting release, and I'd certainly like to hear more of the piece. But I don't return to it very much. Seems to lack focus."

Incredibly Bizarre But Inexplicably Attractive

Shannon W. Mack (megamack43@hotmail | Los Alamitos, California | 09/10/1998

(4 out of 5 stars)

"I couldn't tell you why I like this recording. It opens with all kinds of screeching from the saxophone that sounds worse than some of John Coltrane's later experiments. The piece reminds of Feldman (in his middle stages) in a bad mood and on some kind of hallucinogenic drug. Try it if you have a lot of interest in this composer but this one is not for the beginner."