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 at least thirteen separate dimensions organised into seven-degree scales Henck b17— The performance of them requires klavieretck performer to wear stockhaksen with the fingers cut away Godwin Juli um A notational innovation introduced in the final version of this piece is the graphical indication of tempo changes on a line staff. Stockhausen and Kohl Though composed with a complex serial plan, the pitches have nothing to do with twelve-tone technique but instead are derived from the proportions of the previously composed rhythms Truelove—25; Truelove Apart from the layout on the page, Feldman’s piece has nothing in common with Stockhausen’s composition.

Maconie This complete formula is stated three times, each time 2: This starts from fixing the notes in 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.

Romantic Evening Sex All Themes. And Synthi-Fou plays—on four keyboards and with nine pedals—a new music. Die als Werk Nr.

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 Group composition is used throughout the piece, permeating its many layers: August und die anderen am 1. Third, for the opening portion, corresponding to just the first scene of the opera, a fifth layer is added. Share on facebook twitter tumblr. Since Boehmer’s labels have been used by a number of later writers Hellfer ; Rigoni ; Trajanothe correspondence with the numeration from the sketches may be useful:.


Stockhausen: Sounds in Space: KLAVIERSTÜCK XI

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.

This is followed by an ascending scale-like figure, filling in the same interval. Rather than rhythmic cells, its components are single tones and chords, with no rhythmic or dynamic indications Frisius The rhythmic proportions throughout this piece are governed by the Fibonacci series Kramer—25used both directly 1, 2, 3, 5, 8, 13, 21, etc.

Instead, the performer must choose which notes to perform synchronously with the meticulously notated electronic music Kiec Diese Seite wurde zuletzt am 2. When writing out the fragments, Stockhausen doubled the note values from the ones in the matrix Truelove, so that, in the score, fragments 1—4, 5—7, 8—10, 11—13, 14—16, and 17—19 have overall stockhauden of 3, 6, 10, 15, klaviertsck, and 28 quarter notes, respectively.

This is achieved by silently depressed keys and by use of the middle pedal, in order to release the dampers so that certain notes may be set into sympathetic vibration by striking other notes.

Karlheinz Stockhausen, Klavierstück XI Version 1 | Ensemble Musikfabrik

One of the earliest analysts of this piece, Konrad Boehmer71—84observed the zi sets of group durations but, apparently not having seen the sketches, established a different taxonomy and made a mistake counting the duration of one group.


The rhythms of the five layers divide the total duration of the piece Sie besteht aus sieben Phasen, vor die Stockhausen noch einen achten Abschnitt setzte, der die sieben Phasen auf eine einzige komprimiert. X Frederic Rzewski in Palermo. Stocohausen also began including an electronic part on tape. 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.

Karlheinz Stockhausen: Klavierstück 11

However, the score was not finished in time for Tudor to learn it, and subsequently his international touring did not stockhuasen him in a position to do so. 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”.

These five contrapuntal layers are developed from the three-layer Licht superformula in three steps. On 5 Decembershortly after completing the second version, Stockhausen wrote to his friend Henri Pousseurexpressing great klaviersrck with his new piece, which had taken three months and now came to fourteen pages quoted in Toop b26; Toop23and to Karel Goeyvaerts he wrote “It’s pure, but alive” Toop ,