Karlheinz Stockhausen and Mödrath
In early 2015, long before the opening of Haus Mödrath – Räume für Kunst in April of this year, the Stiftung Haus Mödrath offered Westdeutscher Rundfunk (WDR) the use of the first floor of the carriage house free of charge for the purpose of giving its Studio für Elektronische Musik a term-term perspective.
Two factors make up the backdrop of this offer. On the one hand, Karlheinz Stockhausen was born in 1928 in Haus Mödrath, which was then a maternity home. On the other, the Studio has been located for the last 17 years in a storeroom in Cologne-Ossendorf, where, as has frequently been publically discussed, it leads a despondent existence without perspectives for the future. The Studio für Elektronische Musik and Stockhausen have close bonds. His composition “Kontakte” is unimaginable without the so-called rotation table that was developed for this purpose in the Studio. The Studio made up a considerable part of Karlheinz Stockhausen’s lifes work and has long held the unofficial title of “World Heritage Cultural Site of Electronic Music” because of the work carried out there by such composers as Eimert, Koenig, Pousseur, Ligeti, Krenek and Xenakis.
On the basis of our offer, the idea of establishing a joint foundation to give the Studio a future in Haus Mödrath was developed over the course of numerous discussions. A project committee founded early this year will work out the details for the future administrative structure and utilisation concept. At the invitation of WDR, the panel’s members include representatives of the music colleges in Cologne, Essen and Detmold, the Hochschule für Medien in Cologne, the NRW Kultursekretariat, the Deutsche Gesellschaft für elektroakustische Musik (DEGEM), the city of Cologne as well as the Stiftung Haus Mödrath
It is planned that WDR’s Studio für Elektronische Musik will move to Haus Mödrath’s carriage house. We are pleased about this development and look forward to having the Studio für Elektronische Musik here.
Our present exhibition, “Lodgers”, which was curated by Veit Loers, continues through November 2018.