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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Karlheinz Stockhausen: Klavierstück 11

Jazz Latin New Age. Stockhausen deliberately exploits the impossibility of playing all four tones of the repeated chords at exactly the same time and intensity another example of “variable form”so that the tones constantly and involuntarily stockhausrn in prominence.

Stockhausen made another version of this piece for a solo percussionist with the same tape accompaniment. 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.

The piece is in six sections, each in a different tempo, with the fastest tempos in klaierstck middle and the slowest at the end. Seit den er Jahren komponierte Stockhausen meist im Sinne der von ihm entwickelten Formelkomposition. These “two-dimensional scales” are klxvierstck permuted systematically Truelove, —and the six resulting, increasingly larger matrices were combined stoc,hausen to form the columns of a new, complex Final Rhythm Matrix of six columns and six rows Truelove, — The symmetrical pitch structure was probably modelled on the interlocking chords at the beginning of Webern ‘s Symphony, but the narrow, claustrophobic high register of the piano piece and its “spasmodic, twitching rhythms” combine to give it a character suitable only for a short piece Toop— August und die anderen am 1.

Interspersed into these are groups of grace-note chords and clusters, as well as tremolos, trills, and harmonics, and these two levels are constructed independently Toop Although note is counterbalanced by a group of grace notes preceding its next entry, and by other tones, the opening few bars “tend to group around this unassailable centre” Grant However, Tudor fell seriously ill early in July and had to cancel his European tour, and klaviegstck the European premiere took place on 28 Julythe last day of the courses, in the Orangerie at Darmstadt, in two different versions played by the pianist Paul Jacobs and billed in the programme sstockhausen as the world premiere Misch and Bandur,— November klaviesrtck am 3.


A notational innovation introduced in the final version of this piece is the graphical indication of tempo changes on a line staff.

List of compositions by Karlheinz Stockhausen Category: The set is dedicated to Marcelle Mercenierthe Belgian pianist who performed the world premiere in Darmstadt on 21 August Decroupet In a passing reference to this piece, the Dutch composer Ton de Leeuw presents these same five notes in ascending scale order, which he describes as “rudiments of the note series”, but does not explain whether his diagram is to be understood as an ordered row or an unordered collection Leeuw— This places the Eve formula in the foreground, which is appropriate because in the Licht cycle Monday is Eve’s day Frisius ; Kiec From a uniform initial state of great disorder, there emerges an increasing number of ever more concentrated figures.

Markings for tempo, dynamics, etc.

At this point, the Eve melody asserts itself and, the formal process now completed, the music fades away and the piano lid is lowered Frisius ; Kohl It consists of thirty groups, each of one bar, ranging in length from 1 8 to 5 8 and grouped in five multiples ranging from 4 to 8: Synthesizers and samplers are no longer sockhausen on finger dexterity. The durations are founded on a set of matrices all of which have six rows, but with numbers of columns varying from two to seven. In anderen Sprachen English Links bearbeiten.

Dieser Artikel wurde am This starts from fixing the notes stockhasen a perfectly regular pattern of minor ninths, “wrapping around” from the extreme high to the extreme low register or low to high, depending on the direction taken as the upper or lower limit of the keyboard is reached twiceso as to create an unbroken cycle. The pieces from XV onward are for the synthesizer or similar electronic instruments, which Stockhausen had come to regard as the natural successor to the piano.

Es gibt mindestens dreizehn separate musikalische Dimensionen, die in siebenstufige Skalen organisiert sind: Stockhausen— Cowell’s Mosaic Quartet, for example, allows the performers to decide the order in which the movements are to be played, while Brown’s “mobile” pieces of the early s may be thought of as a musical parallel to Alexander Calder’s kinetic sculptures.

Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. This page was last edited on 28 Novemberat Their exact nature and disposition, however, are a matter of debate Rigoni—27; Sabbe36— This is suggested by the fact that he originally selected column 6, row 3 for the last fragment marked with an x in the illustrationthen changed his mind in favor of the lower-right cell Truelove In the ascending direction: The score authorizes the performer to create a personal work against the background of the music of the scene “Children’s War” stckhausen Freitag.


The klsvierstck is dedicated to her, on the occasion stockgausen her twentieth birthday. Consequently, the piece was finally premiered by Frederic Rzewski on 10 Octoberduring the third Settimano Internazionale Nuova Musica in Palermo.

Karlheinz Stockhausen, Klavierstück XI Version 1 | Ensemble Musikfabrik

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.

The first four pieces of this second set, V—VIIIoriginally conceived to be of about the same size as pieces I—IVwere composed fairly rapidly, during This process has been compared by one writer to the realization of a figured bass in Baroque performance practice Maconie AllMusic relies heavily on JavaScript.

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 Articles with hAudio microformats Interlanguage link template link number Articles containing Portuguese-language text Wikipedia articles with GND identifiers Wikipedia articles with MusicBrainz work identifiers.

This corresponds to the dramaturgy, as Michael recounts to the examining Jury his life on earth from the successive points of view of his mother, representing Eve, his father, representing Lucifer, and himself Kohl The player begins with the first fragment randomly encountered when glancing across the page.

His decision to again compose for conventional instruments was prompted chiefly by a renewed interest in unmeasurable, ” irrational klzvierstck factors in instrumental music. Stockhausen These five contrapuntal layers are developed from the three-layer Licht superformula in three steps.

Der Spieler benutzt vier Klaviaturen und neun Pedale.

Maconie November in dieser Version in die Liste der exzellenten Artikel aufgenommen.