FULL AM HIMMEL WANDRE ICH Indianerlieder (Stockhausen) Kürten 2019 Felicita Brusoni, Victor Andrini
Information on the Performance
- Work Title: AM HIMMEL WANDRE ICH Indianerlieder
- Composer: Stockhausen Karlheinz
- Libretto: traditional native American songs Libretto Text, Libretto Index
- Venue & Opera Company: Stockhausen-Kurse Kürten, Germany
- Recorded: August 2, 2019
- Type: Staged Opera Live
- Singers: Felicita Brusoni, Victor Andrini
- Conductor:
- Orchestra:
- Stage Director: Serena Laborante
- Costume Designer:
Information about the Recording
- Published by: Felicita Brusoni
- Date Published: 2021
- Format: Streaming
- Quality Video: 3 Audio:3
- Subtitles: nosubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
00:00 – Entrance
02:17 – 1. Dream song (Chippewa)
03:14 – 2. Love song (Chippewa)
05:01 – 3. War song (Pawnee)
07:57 – 4. Love song (Nootka)
12:37 – 5. Song sung over a dying person (Chippewa)
17:20 – 6. Opening prayer of the sun dance (Teton Sioux)
21:06 – 7. Peruvian dance song (Ayacucho)
25:09 – 8. Plaint against the fog (Nootka)
30:55 – 9. A song by Nezahualcoyotl (Aztec)
35:52 – 10. Song to bring fair weather (Nootka)
38:00 – 11. Love song (Aztec)
40:56 – 12. Song of a man who received a vision (Teton Sioux)
Indianerlieder (Native American Songs) by Karlheinz Stockhausen is a work of musical theater for two voices from 1972, part of the larger multimedia installation project Alphabet für Liège. The piece has a duration of about 50′. A gaunt stage: a carpet on which the performers sit cross-legged, a
mysterious object covered by a cloth that will be revealed during the Song sung over a dying person, a vessel carved in wood with petals of
flowers, a brass basin containing water.
In addition to the notes, many movements are noted in the score, from the rhythm of the eyelids to the dance ecstatic. The two voices gradually develop the relationship between them proceeding in an additive sense: in
every Lied, from the first to the twelfth, they add a new note from the series of twelve pitches on which the entire work is structured within a dramaturgy that is at the same time well linked to texts and capable of unleashing visionary gestures and moments, which culminate with the personification of figures of birds in a dialogue of verses and calls.