Analysis and appreciation of KLAVIERSTÜCKE I–IV (Piano Pieces 1 – 4), Karlheinz Stockhausen’s avant-garde works for piano. Stockhausen’s Klavierstücke: A world of crystalline light in a wooden Karelian church with high windows, or the filtered rays of photons through the walls of an. Karlheinz Stockhausen: Nr. 2 Piano Pieces I-IV. Catalogue number: Nr. 2; Year of composition: ; Scored for: for piano; Composer: Karlheinz.

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The vocal noises, as well as sweeping glissandi and individual plucked notes made directly on the piano strings, come directly from the superformula and constitute what Stockhausen calls “coloured silences”—that is, rests that are “enlivened” by brief accented notes or gliding noises.

Stockhausen: Klavierstücke I to XI CD review – Liebner makes light work of piano cycle’s challenges

There are six of these series and therefore 36 groupsand when the six series are arranged in a square:. By the end, the figures become unified into a higher supraordinate Gestalt Stockhausen It is titled Komet for a percussionist, electronic and concrete musik, and sound projectionist. First, the three layers of the sixth, “Saturday” segment bars 14—16 are extracted for the background structure of the opera Samstag aus Licht. A third melody the Michael formula remains in the highest register throughout, and is exempted from the distorting process.

It is amazing to learn that Stockhausen in actually devised a plan for 21 Piano Piecesof which 14 were composed until The listener will feel that Wambach extracts every possible nuance of dynamic, tempotexture, architecture and intention of the composer from every klavierstcme.

Klavierstücke (Stockhausen) – Wikipedia

In the ascending direction: Markings for tempo, dynamics, etc. Like the original, discarded piece, the new version is divided into five tempo-defined sections MM 40, On 22 December Rzewski made the first recording for commercial release, in the Ariola sound studios in Berlin Henck b5—6. In later works starting from in ZYKLUSnotes would be indicated and then a player could choose and place these notes in any order and at any point during a specified time span, making them truly free and aleatory.

Continuation after long “time field” rest. Another five squares are derived from this first one, by starting with its second, third, etc. Although the work has yet to be premiered, one writer speculates that it will likely prove to be. He also began including an electronic part on tape. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte.


These volumes can of course be ordered from Stockhausen-Verlag. Huber Alden Jenks David C. Enthusiasts for Stockhausen and his world can hardly afford to miss this landmark recording, which must now be considered the leading one.

CD Review Karlheinz Stockhausen. Sie besteht aus sieben Phasen, vor die Stockhausen noch einen achten Abschnitt setzte, der die sieben Phasen auf eine einzige komprimiert.

Stockhausen drastically revised and expanded this early version, bringing the grace-note groups into less extreme registers, then using the result as a background for an entirely new set of superimposed figurations based on series quite unrelated to the original material Toop In the opera, Michael is portrayed in the first examination by the tenor singer, in the second by the trumpet with additional accompaniment of basset-hornand in the third by a dancer.

This gradual process, supported by the steady rise in pitch from one section to the next of the Lucifer formula, is paralleled by the descent from the upper register of the Eve formula, characterised by intervals of thirds.

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Cluster Group with tremolo element. A repeated C in red is treated to different resonating effects from satellite tones and silently-depressed halo notes small diamond-shaped noteheads. All times given with pauses included. Compositions by Karlheinz Stockhausen. Tremolo figures blend in can be thought of as clusters “lying on their side”. The density of rhythmic activity in these formulas is progressively increased by dividing the notes in each of the five sections by the first five members of the Fibonacci series: Stockhausen at the Mozarteum in Salzburg, Juli um 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 A single C in red is surrounded by 4 satellite tones.

There are at least thirteen separate dimensions organised into seven-degree scales Henck b17— Er wird durch die ganze Szene hindurch von einem Pianisten begleitet. Brief pedal tone figure, then mixture using wide pitch registers.

Stockhausen: Sounds in Space: KLAVIERSTÜCKE I–IV

Diese Seite wurde zuletzt am 2. XI is openly aleatoric of texture and timbre more explicitly. These five contrapuntal layers are developed from the three-layer Licht superformula in three steps.

This obviously comes from Wambach’s great familiarity with and fondness for the work. First, the Eve formula the middle line of the original superformula is transposed into the upper register, exchanging with the Michael formula which is lowered to the middle, while klavierwtcke Lucifer formula remains in its original position in the bass.


The process of composition already had entailed a number of revisions, and Stockhausen finally abandoned this version, evidently in part because of the drastic stockhaueen in rhythmic subtlety, but also because of persistent difficulties in avoiding strong tonal implications caused by the chosen serial conception of the pitch structure.

Dense satellite cloud followed by “time field” fermata waiting for high A decay end. The original plan for these six pieces, drafted early inis based on the following number square Toop a93; Toop Thanks to Benjamin Kobler for some insights into the tempo structure of this piece.

August und die anderen am 1. Stockhausen himself described an analog in writing in “Perspectives of New Music 31 No. The nineteen fragments are then distributed over the single, large page of the score in srockhausen a way as to minimize any possible influence on spontaneity of choice and promote statistical equality Boehmer Leonard Stein ‘s suggestion that the outermost layer of proportion numbers could be replaced by changing metronome values, calculated from the fastest speed possible for the smallest note-values, was later incorporated into the published score as a footnote, but has been dismissed by one writer as “superfluous” and “a mistake”, holding that “the piece is playable in its own terms” by any pianist who can play ChopinLisztor Beethoven Maconie November in dieser Version in die Liste der exzellenten Artikel aufgenommen.

One, initiated by Robin Maconie63holds that the piece is constructed from chromatic tetrachords; the other, founded by Dieter Schnebeland continued by Jonathan Harvey24—27maintains that the basis is actually a five-note set, consisting of that same tetrachord plus a note a minor third above kpavierstckeand ordered as a series: Michael, Eva und Luzifer.

Each section is made up of several groups, of great variety and distinctiveness, ranging from a single, short note near the end of the sixth section to a group of forty-seven notes in the third section Harvey35—