Yuki Natsume : This Is An Un Official Fan Site Tribute
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Yuki Natsume

Movie Title Year Distributor Notes Rev Formats Domestic Rape 2012 Attackers Forbidden Lesbian Relationship Best Scene Collection 2013 Deeps LezOnly Lesbian Trap 2015 Moodyz LezOnly Let's Enjoy 2012 Soft on Demand Outdoor Sex (II) 2013 Kira Kira Raped Practice Teacher 2012 Attackers Semen Drinking Classroom 2013 Moodyz Trapped Soaplady 2013 Wanz Wild Squirting Soaking Wet Sex: Yuki Natsume 2013 Ranmaru Squirt You Want Here, Don't You? 2012 Attackers Twelfth Hour: Erwachen Erwachen (Awakening), for soprano saxophone, trumpet, and cello. 2007 (ca. 30 mins.). Work number 92. The specified colour is HKS 3 (bright yellow [Verkehrsgelb]) (Stockhausen 2008b, cover; Stockhausen 2010e, I–II).
Erwachen was premiered in Brussels on 13 October 2009 by members of musikFabrik: Marcus Weiss (saxophone), Marco Blaauw (trumpet), and Dirk Wietheger (cello) (Stockhausen-Stiftung für Musik 2009, 11). The five sections from Schönheit occur here in the order 2 4 3 1 5, and there is an added Anfang (beginning) adapted from the Glanz coda (Kohl 2012b, 503, 518). Just before the fourth main section of this trio the performers speak in unison the words "Erwachen in Gott" (Awakening in God) (Stockhausen 2010e, 15). Thirteenth Hour: Cosmic Pulses Main article: Cosmic Pulses Cosmic Pulses, electronic music (8-track-tape, loudspeaker pairs, mixing desk / sound director) 2006–2007 (32 mins., 05 secs.). Work number 93. The specified colour is HKS 4 (yellow) (Stockhausen 2008b, cover). Cosmic Pulses was commissioned by Massimo Simonini, artistic director of the Angelica festival in Bologna, in conjunction with the Dissonanze Electronic Music Festival in Rome, where it was premiered on 7 May 2007 at Auditorium Parco della Musica, Sala Sinopoli (Anon. [2007] ; Stockhausen 2007a). The German premiere took place later in the same year, on Friday, 13 July 2007, at the Stockhausen Courses in Kürten (Collins 2008, 89). The title of the work may be related to a composition written as "a kind of homage" to Stockhausen, titled Pulsares, by the Brazilian composer Flo Menezes, who had sent a DVD recording of it to Stockhausen in late 2005. Written 1998–2000 for solo piano, orchestra, quadraphonic electronic sounds and live electronics, Pulsares, like Cosmic Pulses, is particularly concerned with rotating spatial sounds (Menezes 2014, 74)



When Stockhausen began composing the work on 16 August 2006, it was to have been the Sixth Hour of Klang and was titled in the singular: Cosmic Pulse. At that point, the Fifth Hour was given the title Akkorde and was intended to include not only the three solos that would later be renamed Harmonien, but also the trio that would become Schönheit. At some later point in time before the premiere, Stockhausen reassigned the work to Hour Thirteen, in order to open up Hours 6–12 for the additional trios from Balance to Erwachen (Frisius 2013, 623, 627; Kohl 2012b, 477–78, 489). The electronic realisation was carried out by Joachim Haas and Gregorio Karman at the Experimentalstudio des SWR [de] in Freiburg between December 2006 and April 2007, with spatialisation accomplished at Stockhausen's studio in Kürten between 25 and 31 April [sic] 2007 (García Karman 2007, 1). (A second-hand source, Nordin [2007] , quotes García Karman as saying it was between 25 and 31 March, rather than April.) The music is made from 24 melodic loops, each with a different number of pitches (from 1 to 24) and in a different tempo, calculated in sequences of eight pulses lasting between 1.17 and 240 per minute. This means the slowest tempo is 1.17 x 8 = 9.36 pulses per minute, and the fastest is 240 x 8 = 1920 pulses per minute. These loops, with a total pitch span of about seven octaves, were created and synchronized by Antonio Pérez Abellán. The loops enter successively from low to high and from slow to fast, and make their exits in the same order. Kathinka Pasveer "enlivened" the rhythms and pitches by hand, according to the composer's instructions, causing accelerandos and ritardandos around each basic tempo, and glissandos upwards and downwards around the melodic pitch successions (Stockhausen 2007b, 22 & 40). The music therefore begins and ends with relatively clear polyphony of the loops, but in the central part this dissolves into a statistical mass of sound in which only general shifts of texture and colour can be perceived (Grant 2008, 19). In addition to all this, with the collaboration of Joachim Haas and Gregorio Karman of the Experimental Studio for Acoustic Art in Freiburg, Stockhausen spatialized each of the 24 layers in eight-channel sound, with a total of 241 different trajectories in space "as if I had to compose the orbits of 24 moons or 24 planets. … If it is possible to hear everything I do not yet know—it depends on how often one can experience an 8-channel performance. In any case, the experiment is extremely fascinating" (Stockhausen 2007b, 22 & 40). This was accomplished with a system based on a device called an OKTEG (Octophonic Effect Generator), using a Max/MSP patch implementing eight variable-law amplitude-panning modules driven by separate sequencers, each with its own tempo control. It was specially developed at the Experimental Studio to manage real-time panning of eight simultaneous layers, and was coupled with a Digital Audio Workstation controlling layer playback, trajectory recording and mixing tasks (García Karman 2007, 1). Cosmic Pulses is an exploration of the frontiers between the perceptual realms of pitch and rhythm—visited previously by Stockhausen in Kontakte (1958–60)—in which pitches descend below the threshold of pitch perception to become periodic rhythms, and periodic are transformed into audible pitches. It also probes the borders between spatial movement and timbre (Kohl 2012a, 309–10). After the completion of Cosmic Pulses, Stockhausen requested a further step from the technicians at the Experimental Studio. He wanted the automation levels of the individual layers to be neutralized while at the same time retaining the original spatialization, for use in the production of further electronic materials for the following eight pieces in the cycle (García Karman 2007, 8 and 12). Each of the subsequent pieces in the cycle use three of the twenty-four melodic layers from Cosmic Pulses as the accompaniment for a slower-moving solo part. Four of these solos are vocal (hours 14, 15, 18, and 19), and four are for wind instruments (hours 16, 17, 20, and 21). Fourteenth Hour: Havona Maison de la Radio France, Paris, where the Fourteenth Hour was premiered, in the Salle Olivier Messiaen, 10 January 2009 Havona, for bass and electronic music (layers 24, 23, 22 from Cosmic Pulses) 2007 (25 mins., 10 secs.). Work number 94. The specified colour is HKS 5 (melon yellow) (Stockhausen 2008b, cover; Stockhausen 2009c, cover and II). The premiere took place in the Salle de Concert Olivier Messiaen of Radio France in Paris, on 10 January 2009, performed by Nicholas Isherwood (bass) and Gérard Pape (sound projection), as part of the Saison Musicale Multiphonies. It was commissioned by the Group de Recherches Musicales (GRM) of the Institut National de l'Audiovisuel (INA). The titles of Hours 14–21 are all place names in the Urantia Book, and all are named in the text of Havona, as stages in a journey with the goal of studying cosmic music in Paradise. However, this text, like those for the following Hours, is not taken directly from the Urantia Book, but was written by the composer. In the Urantia Book, Havona is "the central universe, … an existential, perfect, and replete universe surrounding the home of the eternal Deities, the center of all things" (Urantia Foundation 1955, 360). This central planetary family … is far-distant from the local universe of Nebadon. It is of enormous dimensions and almost unbelievable mass and consists of one billion spheres of unimagined beauty and superb grandeur … arranged in seven concentric circuits immediately surrounding the three circuits of Paradise satellites. There are upwards of thirty-five million worlds in the innermost Havona circuit and over two hundred and forty-five million in the outermost, with proportionate numbers intervening. (Urantia Foundation 1955, 152) According to the Urantia Book, "Harmony is the speech of Havona", and music is the eternal, universal language of men, angels, and spirits (Urantia Foundation 1955, 500). Fifteenth Hour: Orvonton The Mediapark 7 building, Cologne. The Eleventh and Fifteenth Hours were premiered here on 8 May 2010, in the KOMED-Saal. Orvonton, for baritone and electronic music (layers 21, 20, 19 from Cosmic Pulses) 2007 (24 mins.). Work number 95. The specified colour is HKS 6 (yellow-orange) (Stockhausen 2010f, cover, I, and III). Orvonton was premiered on 8 May 2010 at the KOMED-Saal in Mediapark 7 in Cologne by Jonathan de la Paz Zaens, with sound direction by Hannah Weirich, as part of the MusikTriennale Köln (Gimpel 2010). According to the Urantia Book, "outside Havona there are just seven inhabited universes, the seven superuniverses", and the Earth's (Urantia) "local universe of Nebadon belongs to Orvonton, the seventh superuniverse" (Urantia Foundation 1955, 164–65). In September 2007, when composition of Hours 14 to 21 was substantially completed, Stockhausen explained in an interview: "in the new works which I am now composing in Klang, I very often describe, in the sung text, how the piece that you are hearing is composed—and in fact right down to the details: how the rhythm goes, how the melody goes, how the harmony goes. So I very much love the fact that the music explains itself" (Stockhausen and Ermen 2007). Stockhausen composed Orvonton with de la Paz Zaens' voice in mind, and the composer assigned to him its extraordinarily long text (56 lines) because of the clarity of his German diction (Tariman 2011). The text provides "an analysis of the material and structure of the piece itself, and is also meant humorously" (Nonnenmann 2010): "Orvonton: I am a baritone, … / Layer nineteen has twenty-three tones as sound loop. / In the basic tempo 3.75 each note lasts 2 seconds, / and therefore the loop lasts 23 x 2 = 46 seconds", and so on (Nonnenmann 2010). Later on, this text includes an artistic credo: Each sound is a universe. / But one cannot tell if it is beautiful by the numbers: / that depends on who is counting. / Four hundred and forty Hertz is neither beautiful nor ugly. / Beauty lives. / … / Art music is not honky-tonk [i.e., low music-hall entertainment], / its number games need moments every now and then for the soul, / that touch, astonish: / time stands still". Sixteenth Hour: Uversa Uversa, for basset horn and electronic music (layers 18, 17, 16 from Cosmic Pulses) 2007 (22 mins., 40 secs.). Work number 96. The specified colour is HKS 7, orange (Stockhausen 2010g, II). Uversa was premiered by Michele Marelli, basset horn, with sound direction by Florian Zwißler, on 8 May 2010 at the Domforum in Cologne, as part of the MusikTriennale Köln (Gimpel 2010; Stockhausen 2010g, I). The premiere was commissioned by the MusikTriennale Köln, with the support of the Kunststiftung NRW (Stockhausen-Stiftung für Musik 2010, 19 & 47; Stockhausen 2010g, I). Uversa is the headquarters of the superuniverse of Orvonton (Urantia Foundation 1955, 74). The sections of this and the other instrumental solos with electronic music are articulated by lines of spoken text in German, written by Stockhausen and loosely based on the Urantia Book. These were spoken by Kathinka Pasveer, recorded, and mixed with the electronic music on the eight-channel tape. The concluding portion refers to the learning of art by pilgrims to Uversa (Stockhausen-Stiftung für Musik 2010, 47; Stockhausen 2010g, I): bright and morning stars of UVERSA brilliant evening stars UVERSA'S archangels divine counselors celestial overseers mansion world teachers UVERSA'S star-student art celestial artisans in UVERSA for the entire super-universe student visitors ascending pilgrims ascending mortals to UVERSA Seventeenth Hour: Nebadon Interior of the Christuskirche in Cologne, where both the Seventeenth and Eighteenth Hours were premiered in May 2010 Nebadon, for horn and electronic music (layers 15, 14, 13 from Cosmic Pulses) 2007 (21 mins., 40 secs.). Work number 97. The specified colour is HKS 10 (red-orange) (Stockhausen 2010h, cover and II). Nebadon was given its premiere on 8 May 2010 by Christine Chapman, horn, and Hannah Weirich, sound direction, at the Christuskirche in Cologne, as part of the MusikTriennale Köln (Gimpel 2010; Stockhausen 2010h, I). Nebadon is the local universe to which the earth (Urantia) belongs (Urantia Foundation 1955, 165). Each of Nebadon's 24 sections is announced by a word or phrase written into the score by Stockhausen. These mostly isolated words, in a mixture of English and German, begin to form a connected narrative in the last seven lines (original in German): ten million inhabited worlds in the superuniverse ORVONTON and central universe HAVONA rotates around SAGITTARIUS holy NEBADON This text was recorded and mixed into the electronic music by Kathinka Pasveer. The horn is amplified and projected during a performance over all eight loudspeaker groups, which surround the audience in a circle. The solo part is notated flexibly, in order to allow the performer great freedom in forming groups, notes, and figures (Stockhausen 2010h, I and IV). Eighteenth Hour: Jerusem Jerusem, for tenor and electronic music (layers 12, 11, 10 from Cosmic Pulses) 2007 (20 mins., 40 secs.) Work number 98. The specified colour is HKS 22 (orange-red) (Stockhausen 2010i, cover, I, and III). Hubert Mayer, tenor, and Melvyn Poore, sound direction, gave the world premiere of Jerusem on 8 May 2010 at the Christuskirche in Cologne by, as part of the MusikTriennale Köln (Gimpel 2010). Jerusem is a planet, the headquarters of the cluster of 57 major and minor satellites constituting the administrative centre of the local system called Satania, which forms part of the local universe Nebadon (Urantia Foundation 1955, 509, 519, 1250). "Music, such as Urantia mortals understand, attains its highest expression in the schools of Jerusem" (Urantia Foundation 1955, 500). The Urantia Book's description is reflected in the very short text for Jerusem (the words are repeated frequently), written by the composer (Stockhausen 2010i, III): Universes GOD's schools JERUSEM without end joy to learn marvel thank help HIM Nineteenth Hour: Urantia The Southbank Centre, London, where Urantia was premiered in 2008, at the Queen Elizabeth Hall (far left, by the Waterloo Bridge) Urantia, for soprano (live or prerecorded) and electronic music (layers 9, 8, 7 from Cosmic Pulses) 2007 (19 mins., 40 secs.). Work number 99. The specified colour is HKS 23 (fire-engine red [Verkehrsrot]) (Stockhausen 2008e, cover, I, and II). The manuscript score of Urantia is dated 21 February 2007, making it very likely the first of the Klang solo pieces with electronics to have been completed (Siano 2013, 46). It was premiered in the Queen Elizabeth Hall at the Southbank Centre, London, on 8 November 2008, by Kathinka Pasveer, soprano (prerecorded) and sound projection (Kohl 2008, 21). Urantia is the name given to our earth in the Urantia Book (Urantia Foundation 1955, 1), "commonly referred to as 606 of Satania in Norlatiadek of Nebadon, meaning the six hundred sixth inhabited world in the local system of Satania, situated in the constellation of Norlatiadek, one of the one hundred constellations of the local universe of Nebadon" (Urantia Foundation 1955, 485). The three layers of electronic music—which rotates in different orbits around the hall, projected in eight channels—are moderately high in pitch and contain amongst the highest number of notes of all of the layers from Cosmic Pulses: 20, 21 and 22 notes. The solo part, by contrast, is one of the simplest of this section of Klang. The German text, written by the composer, has only 26 syllables, and introduces just one new syllable in each of the work's 26 sections (Kohl 2008, 21): Rotations everywhere URANTIA in the cosmos Father, Son and Holy Ghost GOD GOD GOD Twentieth Hour: Edentia Rolf-Liebermann-Studio at the NDR in Hamburg, where Edentia was premiered in 2008 Edentia, for soprano saxophone and electronic music (layers 6, 5, 4 from Cosmic Pulses) 2007 (18 mins., 40 secs.). Work number 100. The specified colour is HKS 25 (Telemagenta) (Stockhausen 2009d, cover and II). Edentia was premiered at the Rolf-Liebermann-Studio K-75 of the NDR in Hamburg on 6 August 2008 by Marcus Weiss, saxophone (Krause 2008; Stephan 2008; Mischke 2008). Edentia is described in the Urantia Book as a planet, the centremost and largest of a cluster of 771 "architectural spheres" in the constellation of Norlatiadek, within the local universe of Nebadon (Urantia Foundation 1955, 485). "There is harmony of music and euphony of expression in the orations of Salvington and Edentia which are inspiring beyond description" (Urantia Foundation 1955, 503–04). The saxophonist, who must play from memory, is amplified using a transmitter and receiver, and in some sections uses a reverberation unit with both long and extremely long reverberation times. The 24 sections of Edentia are articulated with texts written by the composer. These texts, recorded and mixed into the electronic music, at first describe the Edentia of the Urantia Book, and then announce the musical devices being used in the later sections: "trills", "repetitions", "tremoli", "micro-intervals", etc. (Stockhausen 2009d, I–II). Twenty-first Hour: Paradies The Laeiszhalle, Hamburg, where Paradies was premiered in 2009 Paradies (Paradise), for flute and electronic music (layers 3, 2, 1 from Cosmic Pulses) 2007 (18 mins., 02 secs.). Work number 101. The specified colour is HKS 31 (purple) (Stockhausen 2009e, cover and II). Paradies was premiered by Kathinka Pasveer, flute, and Bryan Wolf, sound direction, at the Schleswig-Holstein Musik Festival, at the Laeiszhalle in Hamburg on 24 August 2009 (Stockhausen-Stiftung für Musik. 2009, 9). Paradies was commissioned by the North German Radio (NDR), Hamburg (Stockhausen-Stiftung für Musik. 2010, 10 & 38). According to the Urantia Book, "Paradise is the gigantic nuclear Isle of absolute stability which rests motionless at the very heart of the magnificent eternal universe" (Urantia Foundation 1955, 152). As with the preceding pieces, Paradies has a text describing itself. In this case, it is spoken by Kathinka Pasveer on the tape, mixed with the electronic music. The 25 short lines articulate the 24 musical sections of the work. As in Orvonton, after announcing the piece in the first seven lines, the German words from section 8 onward analyse the stages of the work itself: "24 lines of notes for the flute / from 1 to 24 pitches / of the original row / source of all melodies / each line, a different low note / fragments of the groups / jumps in the entire space / fitting dynamics / articulation free / legato or staccato / pauses ad libitum / flexible tempo / one insert per line / for the fantasy / and the play / and the joy / for the magic / the eternal GOD" (Stockhausen 2009e, I). Discography Himmelfahrt, für Synthesizer, Sopran und Tenor: 1. Stunde aus Klang. Antonio Pérez Abellán, synthesizer; Barbara Zanichelli, soprano; Hubert Mayer, tenor; Karlheinz Stockhausen, musical direction and sound projection. Additionally includes an explanation read by Stockhausen of the timbres by in German and English, and timbre examples played by Antonio Pérez Abellán. Stockhausen Complete Edition CD 83. Kürten: Stockhausen-Verlag, 2006. Freude, für 2 Harfen: 2. Stunde aus Klang. Marianne Smit and Esther Kooi, harps; Karlheinz Stockhausen, musical direction and sound projection. Stockhausen Complete Edition CD 84. Kürten: Stockhausen-Verlag, 2006.


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