Uploaded December 2015 | Updated September 2026, 1 week ago
Poem, 1924, 0'41"
Voice – Anna Akhmatova
Recording – ca. 1963-65
Anna Akhmatova, real name Anna Andreevna Gorenko (b. Bolshoy Fontan in Odessa 1889 - d. Moscow 1966), is one of the most representative poets of the Silver Age of Russian literature. In her early years she was linked to the artistic world of the avant-garde in St. Petersburg, where she formed part of the literary movement known as Acmeism (1912), promoted by Nikolai Gumilev, her first husband, and Osip Mandelshtam, who wanted to break with the metaphoric nature of symbolism and re-establish the semantic value of words. After the Revolution, her poems were banned and she was accused of treason and deported. She returned to St. Petersburg in 1944 where she was obliged to earn her living translating Leopardi and publishing essays. Many of her relatives and friends were executed, repressed or forced to emigrate.
To the Muse
When, in the night, I wait for her, impatient,
Life seems to me, as hanging by a thread.
What just means liberty, or youth, or approbation,
When compared with the gentle piper's tread?
And she came in, threw out the mantle's edges,
Declined to me with a sincere heed.
I say to her, "Did you dictate the Pages
Of Hell to Dante?" She answers, "Yes, I did."
Poem, 1924, 0'41"
Voice – Anna Akhmatova
Recording – ca. 1963-65
Anna Akhmatova, real name Anna Andreevna Gorenko (b. Bolshoy Fontan in Odessa 1889 - d. Moscow 1966), is one of the most representative poets of the Silver Age of Russian literature. In her early years she was linked to the artistic world of the avant-garde in St. Petersburg, where she formed part of the literary movement known as Acmeism (1912), promoted by Nikolai Gumilev, her first husband, and Osip Mandelshtam, who wanted to break with the metaphoric nature of symbolism and re-establish the semantic value of words. After the Revolution, her poems were banned and she was accused of treason and deported. She returned to St. Petersburg in 1944 where she was obliged to earn her living translating Leopardi and publishing essays. Many of her relatives and friends were executed, repressed or forced to emigrate.
To the Muse
When, in the night, I wait for her, impatient,
Life seems to me, as hanging by a thread.
What just means liberty, or youth, or approbation,
When compared with the gentle piper's tread?
And she came in, threw out the mantle's edges,
Declined to me with a sincere heed.
I say to her, "Did you dictate the Pages
Of Hell to Dante?" She answers, "Yes, I did."










![Karlheinz STOCKHAUSEN: Stimmung
Stimmung, for six vocalists and six microphones, is a piece by Karlheinz Stockhausen, written in 1968 and commissioned by the City of Cologne for the Collegium Vocale Köln. Its average length is seventy-four minutes, and it bears the work number 24 in the composers catalog. It is a tonal, and yet also a serial composition (Toop 2005, 39; Stuppner 1974).
The German word Stimmung [ˈʃtɪmʊŋ] has several meanings, including tuning and mood. The word is the noun formed from the verb stimmen, which means to harmonize, to be correct, and related to Stimme (voice).
Stimmung is in just intonation. Six singers amplified by six microphones tune to a low B♭1 drone, inaudible to the audience, and expand upwards through overtone singing, with that low B♭s harmonics 2, 3, 4, 5, 7, and 9 (B♭2, F+2, B♭3, D4, A7♭+4, and C+5) becoming in turn fundamentals for overtone singing. It is composed using what the composer calls moment form, and consists of 51 sections (called moments).
Stockhausen himself attributes a month spent walking among ruins in Mexico as his primary influence, Stimmung recreating that magic space. On the other hand, he also describes the snow on frozen Long Island Sound in February and March 1968 (when he was composing Stimmung in Madison, Connecticut), as the only landscape I really saw during the composition of the piece (Cott 1974, 163). In a letter to Gregory Rose written on 24 July 1982 (printed in the liner notes to Hyperion CDA66115), he describes how, in the small house his wife Mary had rented it was only possible for him to work at night because their two small children needed quiet during the day. He could not sing aloud, as he had done initially, but began to hum quietly, listening to the overtone melodies. Mary reports that Stockhausen first discovered the technique when listening to their small son Simon producing multiple tones while humming in his crib after falling asleep. In this way, Stockhausen became the first Western composer to use this technique of singing again—in the Middle Ages it had been practised by women and children in churches, but was later entirely supplanted by masculine Gregorian music (Bauermeister 2011, 217–18).
Commissioned by the city of Köln for the Collegium Vocale Köln, an ensemble at the Rheinische Musikschule (Rhenish Conservatory). Composed during February and March 1968 in Madison, Connecticut (US). Dedicated to Mary Bauermeister. Recorded at Westdeutscher Rundfunk Köln, October 30th & 31st 1969.
Baritone Vocals – Georg Steinhoff
Bass Vocals – Hans-Alderich Billig
Composed By, Directed By, Liner Notes – Karlheinz Stockhausen
Design – Holger Matthies Ensemble – Collegium Vocale Köln Liner Notes [Translated By] – Richard Toop
Mezzo-soprano Vocals – Helga Albrecht
Soprano Vocals – Dagmar Apel, Gaby Rodens
Tenor Vocals, Directed By – Wolfgang Fromme
Words By [Magic Names Collated By] – Nancy Wyle
© Stockhausen Foundation for Music, 51515 Kürten (www.stockhausen-verlag.com) Karlheinz STOCKHAUSEN: Stimmung](https://i.ytimg.com/vi/KB981oiSuH4/mqdefault.jpg)