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KLAVIERSTCK XI STOCKHAUSEN PDF

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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There are six of these series and therefore 36 groupsand when the six series are arranged in a square:.

Stockhausen nutzt also bewusst die Gegebenheiten eines menschlichen Interpreten. The repetitions of these central notes makes them particularly obvious Stockhausen Maconie A specific color tints such a “head”—or core—of a sound structure, by means of the intervals of the notes which ring together.

Since Boehmer’s labels have been used by a number of later writers Hellfer ; Rigoni ; Stockhusenthe correspondence with the numeration klavierstkc the sketches may be useful:. Drinking Hanging Out In Love.

Juli um 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. Streams Videos All Posts.

Klavierstücke (Stockhausen) – Wikipedia

A rising line indicates accelerandoa descending line represents ritardandoand the line vanishes altogether when there is a rest. Die Gruppen unterscheiden sich nicht nur durch Notenanzahl, Tonumfang, Richtung und andere Parameter, sondern auch durch die Zeitskalen aufeinanderfolgender Takte, welche aus Permutationen einer Folge von 1 bis 6 Viertelnoten gewonnen werden.

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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 Synthesizers and samplers are no longer dependent on finger dexterity.

Like many of his colleagues, he experimented with the potentially problematic ideas of performer freedom and unforeseeable results.

Analyses of the pitch material have fallen broadly into two camps. This complete formula is stated three times, each time 2: Markings for tempo, dynamics, etc.

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Introspection Late Night Partying. 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. According to the score preface, it is to be performed on “electronic piano” elektronisches Klavierbut this is defined as “a freely chosen keyboard instrument with electronic sound storage, for example a synthesizer with samplermemory, modulesetc.

Er wird durch die ganze Szene hindurch von einem Pianisten begleitet.

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

By Januaryhowever, he had decided the harmony xtockhausen not “clean” enough, and completely rewrote the piece again Toop b26; Toop Although the work has yet to be premiered, one writer speculates that it will likely prove to be. On 5 Decembershortly after completing the second version, Stockhausen wrote to his stockhauesn Henri Pousseurexpressing great satisfaction with his new piece, which had taken three months and now came to fourteen pages quoted in Toop bstickhausen Toop23and to Karel Goeyvaerts he wrote “It’s pure, but alive” Toop According to the preface to the score, the composer’s offer to rehearse individually with the pianists was rejected, so he did not hear the result but was told afterward that “they were completely lost and could not imagine how the piece should be played”.

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Stockhausen and Kohl He is accompanied throughout the scene by a pianist. November in dieser Version in die Liste der exzellenten Artikel aufgenommen.

Karlheinz Stockhausen: Klavierstück 11

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: Rather than rhythmic cells, its srockhausen are single tones and chords, with no rhythmic or dynamic indications Frisius In addition to a basic melody the “nuclear” version of the formulaeach line is also interrupted at intervals by inserted ornamental figurations, including soft noises called “coloured silences”.

The relationship of the keys to the production of sound is radically different from the piano.

The piece is dedicated to her, on the occasion of her twentieth birthday.