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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The change to synthesizers opened up a host of new technical possibilities.

Karlheinz Stockhausen: Klavierstück 11

Stockhausen made two major changes to the superformula when adapting it for the piano here. From this starting disposition, progressive changing of note registers somehow plays a role in shaping the subsequent course of the piece Frisius; Frisius73; Rigoni The surface is created primarily from stoc,hausen “ornaments” and “improvisations” of the superformula Kohl 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 Rainy Day Relaxation Road Trip.

Beginning with XV “Synthi-Fou”,which is part of the ending of Dienstag aus LichtStockhausen began to substitute the synthesizer which he also somewhat misleadingly called elektronisches Klavier in stokchausen of the traditional piano, since the German word Klavier historically could refer to any keyboard instrument, and Stockhausen saw the history of the piano logically continued by the synthesizer Stockjausen Stockhausen drastically revised and expanded this early version, bringing the grace-note groups into less extreme registers, then using the result as a background for an entirely new set of superimposed figurations based on series quite unrelated to the original material Toopklaviersrck This is accomplished by exchanging some of the neighbouring core tones of the melodies.

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Es geht um Vollkommenheit.

Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Second, while the Michael formula is essentially unaltered, both the Eve and Lucifer layers are made to seem to be inverted, by a process stoockhausen Stockhausen called Schein-Spiegelungor “apparent inversion” Stockhausen a 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— Two others on the contrary describe it as a succession of chromatic aggregates, organized primarily by registral position.

Karlheinz Stockhausen, Klavierstück XI Version 1 | Ensemble Musikfabrik

Diese komplette Formel wird dreimal gespielt, je 2: Nevertheless, its “note points”, are collected into groups and layers by means of some features that remain constant e. Within each of these groups there is a “main text” of melody or chords. The music within each fragment is fully notated as to pitch, register, and duration.

By using this site, you agree to the Terms of Use and Privacy Policy. In addition to a basic melody the “nuclear” version of the formulaeach line is also interrupted at intervals by inserted ornamental figurations, including soft noises called “coloured silences”.

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

A rising line indicates accelerandoa descending line represents ritardandoand stockhauswn line vanishes altogether when there is a rest. Klaiverstck 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 Over the course of this second set, it becomes increasingly easier to perceive the overall, as opposed to local, structure, as the basic types of material become more highly differentiated and are isolated from each other by increasingly significant use of silence Smalley I think all the structural material all of a sudden is going to change drastically in the detail.

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Michael, Eva und Luzifer.

It is titled Komet for a klavierstkc, electronic and concrete musik, and sound projectionist. Die Wiederholungen dieser zentralen Noten bringen sie besonders in den Vordergrund.

A basic series beginning with the strongest contrasts and progressing toward the central value was chosen: He is accompanied throughout jlavierstck scene klavoerstck a pianist. Stockhausen abandoned the original plan for this piece, which prescribed three large sections, and replaced it with a new plan based on scales of seven elements. The pieces from XII to XIX are all associated with the opera cycle Licht —and appear not to continue the original organizational plan.

Dezember fertiggestellt, mit einer am Another five squares are derived from this first one, by starting with its second, third, etc. While Stockhausen made novel use of such techniques, such formal experiments find their roots in the music of composers like Henry Cowell, John Cage and Earle Brown.

Die unspezifizierte Tonreihe wird so benutzt, dass einige Noten nur zweimal auftauchen, andere dreimal, viermal usw.

Klavierstücke (Stockhausen) – Wikipedia

Piano Music of Our Century. August und die anderen am 1. Juni in Darmstadt, Nr.

November in dieser Version in die Liste der exzellenten Artikel aufgenommen. Each section is made up of several groups, of great variety and distinctiveness, ranging from a single, short note near the end of the sixth section to a group stokchausen forty-seven notes in the third section Harvey35—