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Analysis and appreciation of KLAVIERSTÜCKE I–IV (Piano Pieces 1 – 4), Karlheinz Stockhausen’s avant-garde works for piano. Stockhausen’s Klavierstücke: A world of crystalline light in a wooden Karelian church with high windows, or the filtered rays of photons through the walls of an. Karlheinz Stockhausen: Nr. 2 Piano Pieces I-IV. Catalogue number: Nr. 2; Year of composition: ; Scored for: for piano; Composer: Karlheinz.

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Grace chord flurries satellite chords, circled in yellow punctuate contrapuntal segments.

Stockhausen: Sounds in Space: KLAVIERSTÜCKE V – X

Analyses of the pitch material have fallen broadly into two camps. Pitches are the only thing not organised in sevens. So it’s the reverse of everything that I have done up to now.

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. Because of the proportioning series of klavierstckf three sections, the middle one is the shortest and most animated, while the last is the slowest and longest of the three Frisius Articles with hAudio microformats Interlanguage link template link number Articles containing Portuguese-language text Wikipedia klavierxtcke with GND identifiers Wikipedia articles with MusicBrainz work identifiers.

Two others on the contrary describe it as a succession of chromatic aggregates, organized primarily by registral position.

The performer may begin with any fragment, and continue to any other, proceeding through the labyrinth until a fragment has been reached for the third time, when the performance ends. The Eve formula, now stockhauwen ornamented, similarly exchanges notes so that its originally rising major third, C to E, instead descends from E to C. The relationship of the keys to the production of sound is radically different from the piano.

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

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. These “two-dimensional scales” are then permuted systematically Truelove, —and the six resulting, increasingly larger matrices were combined together to form the columns of a new, complex Final Rhythm Matrix of six columns and six rows Truelove, — Continuation after “time field” rest, slightly more restricted dynamics.


These two hexachords alternate regularly throughout the piece, but the internal order of the notes is freely permuted from one occurrence to the next Harvey23; Kohl; Rigoni In one later, exposed place, similar exchanges cause the passage to bear a strong resemblance to the interval sequence with which the Michael formula closes Frisius 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 the 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,— This may not be the most easily understood of descriptions.

Wambach does, perhaps, expose the relationships between tempishifting tonal centers, the resulting mobility some of it left to chance: The score is dedicated to “all pianists who do not only play the traditional stringed piano but who also include electronic keyboard instruments in their instrumentarium”.

This page was last edited on 28 Novemberat X Frederic Rzewski in Palermo. A single C in red is surrounded by 4 satellite tones.

And the relationship between objective metrical time ztockhausen subjective, perceived durations. A notational innovation introduced in the final version of this piece is the graphical indication of tempo changes on a line staff.

The repetitions of these central notes makes them particularly obvious Stockhausen Languages Deutsch Edit links. I think all the structural material all of a sudden is going to change drastically in the detail.

Karlheinz Stockhausen – Klavierstücke I – XIV

Maconie As always with the CD-volumes emerging from the Stockhausen-Verlagthe booklets that accompany the CDs are highly informative and detailed, bringing an extra quality and an extra pleasure to these releases. Each melody begins with a different characteristic interval followed by a semitone in the opposite direction, and this three-note figure continues to predominate in each section: Stockhausen’s design appears to have been to select an equal number of fragments from each row degree of complexity of subdivision and each column overall duration of the fragmentexcept for the first column shortest duration and last row most complex subdivision.


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 Stockhausen’s collective term for these kinds of subjective elements is “variable form” Stockhausen, The surface is created primarily from the “ornaments” and “improvisations” of the superformula Kohl However, this set never got beyond the planning stages Toop Die erste Zeile ist eine Allintervallreiheund anderen Zeilen sind Transpositionen der ersten Zeile auf jedes ihrer Elemente.

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 Like the original, discarded piece, the new version is divided into five tempo-defined sections MM 40, On 5 Decembershortly after completing the second version, Stockhausen wrote to his friend Henri Pousseurexpressing great satisfaction 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 The more you look, the more you see, and the more there is to still find.

Group composition is used throughout the piece, permeating its many layers: Views Read Edit View history. 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.

Stockhausen at the Mozarteum in Salzburg, The first three of these pieces are drawn from scenes in which the piano is dominant in the opera 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 stocmhausen by a dancer. Juli statt, dem letzten Tag der Kurse in der Orangerie in Darmstadt: These volumes can of course be ordered from Stockhausen-Verlag.