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MUSIC OF THE SPHERES: REFLECTIONS ON KARLHEINZ STOCKHAUSEN

When Stockhausen died on December 5, 2007, at his home in Kürten, Germany, his fame as a composer of startlingly original and uncompromising music—whether groundbreaking experiments in electronic sound, innovative manipulations of traditional instrumentation, or unorthodox approaches to the human voice—had long since peaked, and his work was perhaps spoken of more eagerly than it was performed. Moreover, his reputation had been irremediably if unfairly sullied by an oft-repeated comment he made at a press conference only days after September 11, 2001, calling the terrorist attacks “the greatest work of art” ever. Concerned that Stockhausen’s death was, as a consequence, largely remarked as a cultural curiosity, and seeking to offer a corrective, we turned to a diverse group with deep ties to his work: composers Robin Maconie, La Monte Young, Morton Subotnick, and Maryanne Amacher

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