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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This places the Eve formula in the foreground, which is appropriate because in the Licht cycle Monday is Eve’s day Frisius ; Kiec As the “principle tempo” speeds up M. Additionally, a chord’s “spectral layers” could be organized, in that a chord’s harmonic color could be built up through anticipatory grace notes indeterminately-paced “satellite tones”and then “taken apart” by the individual fade out of each note of a chord and it’s overtones.

The durations are founded on a set of matrices all of which have six rows, but with numbers of columns varying from two to seven.

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: Pierre Boulez was an early admirer of the piece: This process has been compared by one writer to the realization of a figured bass in Baroque performance practice Maconie This is followed by Insert 1: It is divided into five parts, corresponding to the first three scenes and two main divisions of the last scene of the opera.

In part because he used Stockhausen’s compositional notes the textual commentary and plan as reference, he has rethought the scope, scale and nature of the music. Toop a94— First, the Eve formula the middle line of the original superformula is transposed into the upper register, exchanging with the Michael formula which is lowered to the middle, while the Lucifer formula remains in its original position in the bass.

Die erste Zeile ist eine Allintervallreiheund anderen Zeilen sind Transpositionen der ersten Zeile auf jedes ihrer Elemente. Er wird durch die ganze Szene hindurch von einem Pianisten begleitet.

Cluster Group with tremolo element. From a uniform initial state of great disorder, there emerges an increasing number of ever more concentrated figures. Enthusiasts for Stockhausen and his world can hardly afford to miss this landmark recording, which must now be considered the leading one.

Classical Net Review – Stockhausen – Klavierstücke I-XI

She is, sinceshockhausen piano professor at the Royal Conservatory in The Hague. These ideas are alternated and juxtaposed, and finally resolved in the appearance of stockhaausen new texture of irregularly spaced fast periodic groups in the upper register Smalley31— Huber Alden Jenks David C.


With stockhaisen addition in of a part for girls’ choir, it became act 2, scene 2 of Montag aus Licht Stockhausen a, Consequently, the piece was finally premiered by Frederic Rzewski on 10 Octoberduring the third Settimano Internazionale Nuova Musica in Palermo.

On the one hand you have the barren, intellectual analysis of the construction of the pieces, with an added musicologically scientific approach as to the skeleton of the gesture.

Stockhausen: Sounds in Space: KLAVIERSTÜCKE I–IV

These matrices “amount to sets of two-dimensional ‘scales'” Truelove The vocal noises, as well as sweeping 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.

The first row is an all-interval seriesand the remaining rows are transpositions of the first onto each of its members Toop a, 93— Stockhausen deliberately exploits the impossibility of playing all four tones of the repeated chords at exactly the same time and intensity another example of “variable form”so that the tones constantly and involuntarily shift in prominence.

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 Really it implies greater attention to the physical act of “attacking” the notes; to such subjective playing instructions as “as fast as possible” where the player’s actual style at that moment is privileged over notation.

There are different basic ways of listening to these works, and they may successfully be combined, to give the fullest klavidrstcke. He also began including an electronic part on tape.

Now his latest approach — on just two expertly-recorded CDs from the ever-enterprising Italian label, Atopos — is more refined, distilled, concentrated.

These six squares “furnish a sufficiently large number of proportions for all the pieces in the cycle, but apart from determining the tempo groups and main subdivisions, they do very little to precondition the actual content of each piece, or indeed the number of features to which the squares are applied” Toop a95— Instead, the performer must choose which notes to perform synchronously with the meticulously notated electronic music Kiec 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.


There are at least thirteen separate dimensions organised into seven-degree scales Henck b17— Markings for tempo, dynamics, etc. The more you look, the more you see, and the more there is to still find.

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

Stockhausen’s design appears to have been to select stockhauusen 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.

Dieser Artikel wurde am Die Wiederholungen dieser zentralen Noten bringen sie besonders in den Vordergrund. The varied yet always carefully directed playing is nothing short of inspired. This gradual process, supported by the steady rise in pitch from one section to the next of the Lucifer formula, is paralleled by the descent from the upper register stckhausen the Eve formula, characterised by intervals of thirds.

And Synthi-Fou plays—on four keyboards and with nine stpckhausen new music. Continuation after long “time field” rest.

In anderen Sprachen English Links bearbeiten. This process of human creativity is true for any creative person, klavierstckf any discipline, but it is rarely so clearly manifested as in the case of Stockhausen and his enormous output, always of the highest artistic quality and personal integrity.

In the ascending direction: Opening overture with groups of pitch systems. Forearm cluster chords circled in brown lead to hand cluster glissandi circled in red.

On 5 Decembershortly after completing the second version, Stockhausen wrote to his friend Henri Pousseurexpressing great satisfaction with his new piece, which klavjerstcke 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 Karlheinz Stockhausen is letting the waves of universal creativity flow freely through his being, filtering the energies through his very own personality, with its refined artistic and musical genius, towards these emergences in the physical world of intricate and crystalline sound patterns.

This is suggested by the fact that he originally selected column 6, row 3 for the last fragment marked klaiverstcke an x in the illustrationthen changed his mind in favor of the lower-right cell Truelove Descending bass and ascending high melodic figures. August und die anderen am 1.