Inori (Stockhausen): Difference between revisions

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''Inori'' is a meditative work. The word ''inori'' (祈り) in Japanese means "[[prayer]], invocation, adoration" .{{harvsfn|Stockhausen|1978a|locp=215}}. "It is like an [[opera]] with only one character and no singing, only thoughts visible as gesture and audible as reciprocally modulated sound" .{{harvsfn|Maconie|1976|locp=310}}. "The solo part is composed as a melody and is theoretically performable by a melody instrument; however the relationship between solo gesture and orchestra response is so complete that the solo melody is invariably interpreted in silence by a dancer-mime, employing a vocabulary of gestures drawn from a variety of religious practices" .{{harvsfn|Maconie|2005|locp=352}} The Australian dancer and choreographer [[Philippa Cullen]], who spent some time in Germany working with Stockhausen in 1973, is credited with drawing his attention to choreographic prayer gestures, in particular the [[mudra]]s of India, which she had been studying.{{sfn|Jones|2004|p=70}}

"''Inori'' is indeed, as the composer insists, a mystical work, but only because there is absolutely no mystification" .{{harvsfn|Josipovici|1975|locp=16}}. "Stockhausen recomposed the sign-language of praying, on the basis of chromatic scales of prayer gestures, into a highly differentiated bodily music" .{{harvsfn|Peters|1999|locp=101}}. Although the score specifies that the soloist part may be performed in any number of ways, including any kind of melodic instrument, to date this has always been performed by mimes, using a set of prayer gestures. Because audiences at early performances were mistakenly perceiving the soloist as improvising to the music, Stockhausen decided to use two parallel soloists in order to make it obvious that the gestures are fully composed .{{harvsfn|Maconie|1990|locp=236}}.

Stockhausen composed ''Inori'' using an ''Urgestalt'' or [[Formula composition|formula]], which is "a melodic-rhythmic structure from which the principal characteristics of the work are derived" (.{{sfn|Leonardi |1998, |p=66).}} This melodic formula is divided into five segments, forming a sequence “leading from pure rhythm . . . via dynamics, melody, and harmony, to polyphony:—hence, a progression from the primitive origin of music to a condition of pure intellect. The entire work is a projection of this formula onto a duration of about 70 minutes” .{{harvsfn|Maconie|2005|locpp=353–54353–354}}. The formula consists of 15 notes, which are <blockquote>divided into 5 phrases with 5, 3, 2, 1 and 4 pitches respectively. Transferred to the large scale form, these 5 phrases yield the 5 major sections of the work. Each phrase consists . . . of three parts: melody, echo and pause; in the large scale form these become genesis+evolution (=exposition + development)—echo—pause, the echoes being very soft statistical passages, and the 'pauses minimally accompanied solos for the mime. The durations of the melody, measured in crotchets, are converted into minutes to give the lengths of formal divisions and subdivisions. {{harvsfn|Toop|1976|locpp=90–91}}</blockquote> In addition to these five sections, there is "an unmeasured, transcendental moment" {{harv|Stockhausen|1978a|loc=215}.

* {{wikiciteWikicite|ref={{harvid|ConenJones|19912004}}|reference=ConenJones, HermannStephen. 19912004. ''Formel-Komposition"Philippa Cullen: zuDancing Karlheinzthe StockhausensMusic". Musik''[[Leonardo derMusic siebziger JahreJournal]]''. Kölner14 Schriften(Composers zurInside NeuenElectronics: Musik,Music Bd.After 1.David Mainz and New YorkTudor): Schott. ISBN 3-7957-1890-264–73.}}

* {{wikiciteWikicite|ref={{harvid|JonesLeonardi|20041998}}|reference=JonesLeonardi, StephenGerson. 20041998. "Philippa Cullen''Inori'': DancingMicrocosm/Macrocosm theRelationships Musicand a Logic of Perception". ''Leonardo[[Perspectives Musicof JournalNew Music]]'' 1436, (Composersno. Inside2 Electronics: Music After David Tudor(Summer): 64–7363–90.}}

* {{wikiciteWikicite|ref={{harvid|LeonardiMaconie|19981976}}|reference=LeonardiMaconie, GersonRobin. 19981976. "''Inori'': Microcosm/Macrocosm Relationships and aThe LogicWorks of Perception".Karlheinz Stockhausen''Perspectives. ofLondon: NewOxford Music''University 36, noPress. 2 (Summer): 63–90{{ISBN|0-19-315429-3}}.}}

* {{wikiciteWikicite|ref={{harvid|Maconie|19741990}}|reference=[[Robin Maconie|Maconie, Robin]]. 19741990. "Stockhausen's'The 'Inori'".Works ''Tempoof Karlheinz Stockhausen'', newsecond series, noedition. 111Oxford: Clarendon (December):Press. 32–33{{ISBN|0-19-315477-3}}.}}

* {{wikiciteWikicite|ref={{harvid|Maconie|19762005}}|reference=Maconie, Robin. 19762005. ''Other Planets: The WorksMusic of Karlheinz Stockhausen''. London:Lanham, Maryland, Toronto, Oxford: UniversityThe Scarecrow Press, Inc. {{ISBN |0-198108-3154295356-36}}.}}

* {{wikiciteWikicite|ref={{harvid|MaconiePeters|20051999}}|reference=MaconiePeters, RobinGünter. 20051999. "&thinsp;''Other...How PlanetsCreation Is Composed': TheSpirituality in the Music of Karlheinz Stockhausen''". Lanham,Translated Maryland,by Toronto,Mark Oxford:Schreiber Theand Scarecrowthe Pressauthor. ''[[Perspectives of New Music]]'' 37, Incno. ISBN1 (Winter): 0-8108-5356-696–131.}}

* {{wikiciteWikicite|ref={{harvid|PetersStockhausen|19991978a}}|reference=PetersStockhausen, GünterKarlheinz. 19991978a. "'...How Creation Is Composed'Inori'': SpiritualityAnbetungen infür the1 Musicoder of2 KarlheinzSolisten Stockhausen".und TranslatedOrchester by(1973–74)", Markin Schreiberhis and''Texte the author.zur Musik''Perspectives of4, Newedited Music''by [[Christoph 37von Blumröder]], no214–236. 1Cologne: (Winter):DuMont 96–131Buchverlag.}}

* {{wikiciteWikicite|ref={{harvid|RiethmüllerStockhausen|19951978b}}|reference=RiethmüllerStockhausen, AlbrechtKarlheinz. 19951978b. "StockhausensVortrag Diagrammüber zu ''Inori''HU"., Inin his ''Töne,Texte Farben, Formen: Überzur Musik und die Bildenden Künste—Festschrift Elmar Budde zum 60. Geburtstag'' 4, edited by SusanneChristoph Fontaine,von Matthias BrzoskaBlumröder, Elisabeth Schmierer, and Werner Grünzweig, 229-42241–242. LaaberCologne: Laaber-VerlagDuMont Buchverlag.}}

* {{wikiciteWikicite|ref={{harvid|StockhausenToop|1978a1976}}|reference=Stockhausen[[Toop, KarlheinzRichard]]. 1978a1976. "&thinsp;''Inori'O alter Duft': AnbetungenStockhausen fürand 1the oderReturn 2to Solisten und Orchester (1973–74)Melody", in his. ''TexteStudies zurin MusikMusic'' 4, edited by Christoph von Blumröder, 214–36. Cologne10: DuMont Buchverlag79–97.}}

* [http://home.earthlink.net/~almoritz/inori.htm Introduction to ''Inori'' by Al Moritz] {{Webarchive|url=https://web.archive.org/web/20200214172546/http://home.earthlink.net/~almoritz/inori.htm |date=2020-02-14 }}