Karlheinz Stockhausen: Klavierstück Catalogue number: Nr. 7; Year of composition: ; Scored for: for piano; Composer: Karlheinz Stockhausen; Table of. Karlheinz Stockhausen, Klavierstück XI Version 1 für Klavier / for piano; Year of composition: ; Duration: 11’34; Composer: Stockhausen, Karlheinz. By the time of his death in , Karlheinz Stockhausen’s catalogue included 19 works that he listed as Klavierstücke. Of those, however, three.

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Juni in Darmstadt, Nr.

Second, while the Michael formula is essentially unaltered, both the Eve and Lucifer layers are made to seem to be inverted, by a process that Stockhausen called Schein-Spiegelungor “apparent inversion” Stockhausen a The rhythmic proportions throughout this piece are governed by the Fibonacci series Kramer—25used both directly 1, 2, 3, 5, 8, 13, 21, etc. The identities of the two contrapuntal strands are achieved not through register or pitch material, but solely through dynamics: The first four pieces of this second set, V—VIIIoriginally conceived to be of about the stoxkhausen size as pieces I—IVwere composed fairly rapidly, during Over the course of this second set, it becomes increasingly easier to perceive the overall, as opposed stockhausdn local, structure, as the basic types of material become more highly differentiated and are isolated from each other by increasingly significant use of silence Smalley So it’s the reverse of everything that I have done up to now.

Klavierstück XI, for piano

A rising line indicates accelerandoa descending line represents ritardandoand the line vanishes altogether when there is a rest. Finally, a process of “extreme compressions which begin to destroy the form to the point of its no longer being perceptible so as to bring about silence and motionless sound” is imposed over the course of the work.

April in New York, in zwei sehr verschiedenen Versionen. This complete formula is stated three times, each time 2: These ideas are alternated and juxtaposed, and finally resolved in the appearance of a new texture of irregularly spaced fast periodic groups in the upper register Smalley31— Because of the proportioning series of the three sections, the middle one is the shortest and most animated, while the last is the slowest and longest of the three Frisius The original plan for these six pieces, drafted early inis based on the following number square Toop a93; Toop The idea of this repeated-chord variability was inspired by an improvisation Mary Bauermeister made on the piano in Doris’s and Karlheinz’s apartment in Cologne-Braunsfeld when, probably with non-European music in mind, she repeated a single chord on the piano, varying finger-pressure slightly on the individual chord tones from one repetition to the next to produce a kind of micro-melody Bauermeister However, the score was not finished in time for Tudor to learn it, and subsequently his international touring did not leave him in a position to do so.


Sounds move round about, diagonally, from above to below, and below to above, in eight simultaneous layers with various rates of speed. He is accompanied throughout the scene by a pianist. This notation is more precise than the traditional indications Maconie; Rigoni It is divided into five parts, corresponding to the first three scenes and two main divisions of the last scene of the opera. List of compositions by Karlheinz Stockhausen Category: Maconie Introspection Late Night Partying.

Dezember fertiggestellt, mit einer am This is accomplished through a serial permutation scheme of compressions Stauchungenstretchings Dehnungenand rests, designed to achieve maximal dispersion of the erosions so as to avoid progressive modification of the same elements each time around Kohl—17; Rigoni56— The process of composition already had entailed a number of revisions, and Stockhausen finally abandoned this version, evidently in part because of the drastic reduction in rhythmic subtlety, but also because of persistent difficulties in avoiding strong tonal implications caused by the chosen serial conception of the pitch structure.


Tudor and Schonfield From a uniform initial state of great disorder, there emerges an increasing number of ever more concentrated figures.

Stockhausen: Sounds in Space: KLAVIERSTÜCK XI

While Stockhausen made novel use of such techniques, such formal experiments find their roots in the music of composers like Henry Cowell, John Cage and Earle Brown. Like many of his colleagues, he experimented with the potentially problematic ideas of performer freedom and unforeseeable stickhausen. Diese Notation ist genauer als die traditionellen Angaben.

This process has been compared by one writer to the realization of a figured bass in Baroque performance practice Maconie The electronic music is played back over eight loudspeakers, klaveirstck are arranged in a cube around the listeners. Herbstmusik Oben und Unten Originale.

Sexy Trippy All Moods. The relationship of the keys to the production of sound is radically stkckhausen from the piano. One basic idea for this set is that each piece should have a different number of main sections from 1 one to 6each identified by a different tempo.

Within each of these groups there is a “main text” of melody or chords. This page was last edited on 28 Novemberat The mobile structure and graphic layout of the piece resembles that of Morton Feldman ‘s Intermission 6 for 1 or 2 pianos ofin which 15 fragments are distributed on a single page of music with the instruction: According to one writer, the piece klaviertsck a study in vertical note groups treated as electronic tone mixtures Maconie, though Stockhausen composed it ten months before his first practical experience in an electronic studio.