When Karlheinz Stockhausen Complete Piano Music Das Klavierwerk 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 durations of 3, 6, 10, 15, 21, Karlheinz Stockhausen Complete Piano Music Das Klavierwerk 28 quarter notes, respectively. Within each of these Split Enz True Colours there is a "main text" of melody or chords.
Interspersed into these are groups of grace-note chords and clusters, as well as tremolos, trills, and harmonics, and these two levels are Karlheinz Stockhausen Complete Piano Music Das Klavierwerk independently Toop One of the earliest Cortijo His Time Machine Y Su Maquina Del Tiempo of this piece, Konrad Boehmer71—84observed the distinct 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.
Since Boehmer's labels have been used by Karlheinz Stockhausen Complete Piano Music Das Klavierwerk number of later writers Hellfer ; Rigoni ; Trajanothe correspondence with the numeration from the sketches may be useful:. The nineteen fragments are then distributed over the single, large page of the score in such a way as to minimize any possible influence on spontaneity of choice and promote statistical equality Boehmer Tudor wrote to apologise, and Steinecke accepted that he would have to settle for the European premiere, but then Tudor planned to play the piece in Paris two weeks before Darmstadt.
However, Tudor fell seriously ill early in July and had to cancel his European tour, and so the European premiere took place on 28 Julythe last day of the courses, in Felipe De La Rosa Flamenco Fever Orangerie at Darmstadt, in two different versions played by the pianist Paul Jacobs and billed in the programme book as the world premiere Misch and Bandur,— However, this set never got beyond the planning stages Toop The pieces from XII to XIX are all associated with the opera cycle Licht —and appear not to continue the original organizational plan.
All of the material of Karlheinz Stockhausen Complete Piano Music Das Klavierwerk Licht cycle is made from three melodic strands, each called a " formula " by Stockhausen, and Claude Bolling Le Magnifique identified with one of the three archetypal Karlheinz Stockhausen Complete Piano Music Das Klavierwerk of Licht : Michael, Eve, and Lucifer.
Karlheinz Stockhausen Complete Piano Music Das Klavierwerk addition to a basic melody the "nuclear" version of the formula Karlheinz Stockhausen Complete Piano Music Das Klavierwerk, each line is also interrupted at intervals by inserted ornamental figurations, including soft noises called "coloured silences".
These strands are superimposed to form a contrapuntal web which Stockhausen calls the "superformula" Moritz n. Kohl— The superformula is used at all levels of the composition, from the background structure of the entire cycle down Karlheinz Stockhausen Complete Piano Music Das Klavierwerk the details of individual scenes Kohl The first three of these pieces are drawn from scenes in which the piano is dominant in the opera Frisius This scene is formed according to the second note of Michael's "Thursday" segment of the Licht superformula, an E divided into three parts: dotted-sixteenth, thirty-second, and eighth.
The three superimposed polyphonic melodies "formulas" of the superformula are registrally rotated in these three statements, so that the Eve formula is highest for the first section, the Lucifer formula is highest for the second, and the Michael formula is uppermost for the third.
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 upper line in each case is also the most richly ornamented of the three.
Each melody begins with a different characteristic interval followed Karlheinz Stockhausen Complete Piano Music Das Klavierwerk a semitone in the opposite direction, and this three-note figure continues to predominate in each section: rising major third and falling minor second, rising major seventh the first note is repeated several times and falling Karlheinz Stockhausen Complete Piano Music Das Klavierwerk second, and finally a falling perfect fourth and rising minor seventh Frisius 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.
Karlheinz Stockhausen Complete Piano Music Das Klavierwerk is accompanied throughout the scene by a pianist. The surface is created primarily from the "ornaments" and "improvisations" of the superformula Kohl In the version for piano solo, the tenor, trumpet, and basset-horn material is either incorporated into the piano texture, or is hummed, whistled, or spoken by the pianist, adding to the polyphonic layers played on the keyboard. The vocal noises, as well as Karlheinz Stockhausen Complete Piano Music Das Klavierwerk 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.
Because of the proportioning series of the three sections, the middle one is the shortest and most animated, while the last is the slowest and longest of the three Frisius The work was written for the composer's daughter Majella, and the solo piano version was premiered by her on 10 June in the Teatro Regio in Turin Stockhausen a The key components of this piece are sounded at the very start: one upward-leaping major seventh in the lowest register, the same interval as a simultaneity in the middle register, and a single very high note establish five tonal layers within which the whole composition unfolds Frisius These five contrapuntal layers are developed from the three-layer Licht superformula Moritz n.
First, the three layers of the sixth, "Saturday" segment bars 14—16 are extracted for the background structure of the opera Samstag aus Licht. Second, a fourth layer, consisting of complete statement of the "nuclear" form of the Lucifer formula—the eleven pitches of the Lucifer formula, with the basic durations but without rhythmic subdivisions or the seven Akzidenzen Mon Laferte Vol 1 between the main segments "scale", "improvisation", "echo", "coloured silences", etc.
Third, for the opening portion, corresponding to just the first scene of the opera, a fifth layer is added. This consists of the full Alexander Robotnick Computer Sourire formula, with all of its insertions and embellishments, compressed still further to fit the length of this scene, and is placed in the middle register Kohl —84—69; Rigoni Karlheinz Stockhausen Complete Piano Music Das Klavierwerk, 42— The rhythms of the five layers divide the total duration of the piece 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 : 1, 2, 3, 5, and 8; that is, in the first section the notes appear in their original form, in section two each is divided in half, in section three into triplets, and so on Kohl; Rigoni Finally, a process of "extreme compressions which begin to destroy the form to the point of its no longer being perceptible so Karlheinz Stockhausen Complete Piano Music Das Klavierwerk to bring about silence and motionless sound" is imposed over the course of the work.
Karlheinz Stockhausen Complete Piano Music Das Klavierwerk is accomplished through a serial permutation scheme of compressions Stauchungenstretchings Dehnungenand rests, designed to achieve maximal dispersion of the erosions so as Karlheinz Stockhausen Complete Piano Music Das Klavierwerk avoid progressive modification of the same elements each time around Kohl—17; Rigoni56— This gradual process, supported by the steady rise in pitch from one section to the next of the Lucifer formula, is paralleled by the Karlheinz Stockhausen Complete Piano Music Das Klavierwerk from the upper register of the Eve formula, characterised by intervals of thirds.
A third melody the Michael formula remains in the highest register throughout, and is exempted from the distorting process. Shortly before the end of the piece, the Lucifer and Eve Karlheinz Stockhausen Complete Piano Music Das Klavierwerk converge. 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 The piece is dedicated to her, on the occasion of her twentieth birthday.
With the addition in of a part for girls' choir, it became act 2, scene 2 of Montag aus Licht Stockhausen a, Two months before composing this first component part of Montag aus LichtStockhausen said:.
It was developed by Stockhausen in collaboration with Karlheinz Stockhausen Complete Piano Music Das Klavierwerk Zinovieffowner of the firm at that time. Despite having only four outputs, the QUEG could still be used to produce an octophonic output, by manually switching to four outputs, not Karlheinz Stockhausen Complete Piano Music Das Klavierwerk between the square on the floor and the one on the ceiling, but between all six squares forming the sides of the cube Stockhausen68— The music of Oktophonie is developed, like everything in Lichtfrom the basic superformulaand consists Various The Best Of Nicktoons eight musical layers, each provided with different spatial distributions and sound movement patterns Misch For technical reasons of playback the music had Karlheinz Stockhausen Complete Piano Music Das Klavierwerk be produced in two segments, with the second tape beginning at 36'23" and a Karlheinz Stockhausen Complete Piano Music Das Klavierwerk tape used only for performances of the second act of Dienstag StockhausenO IX, O XIX; Stockhausen Category:Compositions by Karlheinz Stockhausen.
From Wikipedia, the free encyclopedia. For the sound production technology, see Octophonic sound. Illegal Harmonies: The 20th Century Piano. Stephanie McCallum. David Tudor. Sabine Liebner. Leo: Music by the Great Leos. Stockhausen: Kurzwellen. Jeremy Denk. Cello Style. Paola Furetta. Golijov: Azul. Ming Tsao: Plus Minus. So is My Love. Darmstadt Aural Documents, Box 4: Pianists.
Ins Offene: Klaviermusik der Moderne. Andreas Skouras. Kontakte Contacts. Karlheinz Stockhausen. Primary Artist. Light: Scriabin, Stockhausen. Vanessa Benelli Mosell. Musique Concrete. Primary Artist, Composer. Stockhausen: Aus den Sieben Tagen. R evolution. Barbary Coast. Red Light New Music. Cover Image. Le Domaine Musical, Pierre Boulez.
Liszt Inspections. Marino Formenti. Mahler: Lieder eines fahrenden Gesellen arr. Quotation Author. Cello Anthology. Charlotte Moorman. Composer, Primary Artist. Four Realizations of Karlheinz Stockhausen's Zyklus. Max Neuhaus. Stockhausen: Momente. Peter Hill. Stockhausen: Complete Early Percussion Works. Voices in the Wind. Leonard Garrison.
Classical Collection: The Essential Moderns. German Wind Quintets. Karlheinz Stockhausen: For Basset Horn. Liner Notes, Composer. When Still - New Music for Vibraphone. Zeca Lacerda. Quotation Author, Composer, Text Translation. Da Lontano. Michael Svoboda. Grateful Dead's Jukebox. The result can be interpreted as "a magisterial response from the German musical and intellectual Karlheinz Stockhausen Complete Piano Music Das Klavierwerk to a US cold war agenda of speech recognition and translation", that at the same time "comprehensively addresses the same underlying issues of melody synthesis by interpolation and substitution programming" Maconie, Legowelt Disco Rout by Karlheinz Stockhausen.
From Wikipedia, the free encyclopedia. Karlheinz Stockhausen. Herbstmusik Oben und Unten Originale. Helms Nicolaus A. Huber Alden Jenks David C. Electronic and electroacoustic music. Categories : 20th-century classical music Compositions by Karlheinz Stockhausen Chamber music by Karlheinz Stockhausen compositions Serial compositions Electronic compositions Music with dedications Music commissioned by the New York Philharmonic.
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