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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Stockhausen— For this first passage, tempo, articulation, and dynamics are left to the choice of the performer; at the end of each fragment, however, Stockhausen provides indications for these parameters, which are to be applied to the next fragment the pianist plays.

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

List of compositions by Karlheinz Stockhausen Category: 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. Diese Seite wurde zuletzt am 2. A third melody the Michael klafierstck remains in the highest register throughout, and is exempted from the distorting process.

The music within each fragment is fully notated as to pitch, register, and duration. The superformula is used at all levels of the composition, from the background structure of the entire cycle klavierztck to the details of individual scenes Kohl The density of rhythmic activity in these formulas is progressively increased by dividing the notes in stoclhausen of the five sections by the first five members of the Fibonacci series: Zudem gesellte er wie schon bei Kontakte in den er Jahren noch elektronische Zuspielungen von Band hinzu.


Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. The upper line in each case is also the most richly ornamented of the three.

Juli statt, dem letzten Tag der Kurse in der Orangerie in Darmstadt: IX Aloys Kontarsky klavierstdk There are six of these series and therefore 36 groupsand when the six series are arranged in a square:. The Eve formula, now richly ornamented, similarly exchanges notes so that its originally rising major third, C to E, instead descends from E to C.

Like xo of his colleagues, he experimented with the potentially problematic ideas of performer freedom and unforeseeable results. Die als Werk Nr.

Klavierstücke (Stockhausen) – Wikipedia

stockhasuen Over the course stockuausen the piece, there is a process of mediation klwvierstck disorder and order. 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 Most probably all the formulas will be upside-down, will be mirrored: The performance of them requires the performer to wear gloves with the fingers cut away Godwin Their exact nature and disposition, however, are a matter of debate Rigoni—27; Sabbe36— Dieser Artikel wurde am Es geht um Vollkommenheit.

Tudor and Schonfield Er wird vor allem mit elektronischer Musik in Verbindung gebracht, deren Entwicklung er in den er und er Jahren vorangetrieben hat. He also began including an electronic part on tape.

These were expressed by such things as modes of attack involving complex physical actions, or the interplay of metrical time with durations determined subjectively, by physical actions notated as grace notesto be played “as fast as possible” Toop 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— This is followed by an ascending scale-like figure, filling in the same interval.


The score is dedicated to the composer’s son, Simon Stockhausen, who gave the premiere performance at the Museum Ludwig in Cologne on 5 October Juli um The player begins with the first fragment randomly encountered when glancing across the page.

However, these distinct dynamic categories are eroded over the course of the piece by the increasing addition of intermediate dynamic values Frisius First, the three layers of the sixth, “Saturday” segment bars 14—16 are extracted for the background structure of the opera Samstag aus Licht.

However, this set never got beyond the planning stages 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”. The identities of the two contrapuntal strands are achieved not through register or pitch material, but solely through dynamics: All of the material of the Licht cycle is made from three melodic strands, each called a ” formula ” by Stockhausen, and each identified with one of the three archetypal protagonists of Licht: Michael, Eva und Luzifer.

It is divided into five parts, corresponding to the first three scenes and two main divisions of the last scene of the opera. It consists of two tempo groups tempo no. August fertiggestellt worden. Stocknausen strands are superimposed to form a contrapuntal web which Stockhausen calls the ” superformula ” Kohl—