Piano Concerto in a minor, Op. Intermezzo - Allegro Vivace. Chamber music collection by cc HarfeSoft. String quartets Op.
String quartet in A major. Romanzen Romances for oboe and piano, Op. Nicht schnell Moderato. Langsam Adagio melancholico. Carnaval Op. Pierrot - 3. Arlequin - 4. Valse noble - 5. Eusebis - 6. Florestan - 7. Coquette - 8.
Sphinxes - 9. Papillons - Lettres dansantes - Chiarina - Chopin - Estrella - Reconnaissance - Pantalon et Colombine - Aveu - Preomenade - Pause - Symphonic Etudes Quartet version , Op.
Kinderszenen Scenes from Childhood , Op. Der Dichter spricht The poet speaks , in G major. Fantasie Op. His decision to again compose for conventional instruments was prompted chiefly by a renewed interest in unmeasurable, " irrational " factors in instrumental music. 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 notes , to be played "as fast as possible" Toop , Stockhausen's collective term for these kinds of subjective elements is "variable form" Stockhausen , , The first four pieces of this second set, V—VIII , originally conceived to be of about the same size as pieces I—IV , were composed fairly rapidly, during Having gotten this far, however, Stockhausen seems to have found them unsatisfactory for two reasons: 1 they were all quite short, and 2 they were too one-dimensional, each concentrating too obviously on one particular compositional problem.
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 , The original plan for these six pieces, drafted early in , is based on the following number square Toop a , 93; Toop , 21 :.
The first row is an all-interval series , and the remaining rows are transpositions of the first onto each of its members Toop a, 93— One basic idea for this set is that each piece should have a different number of main sections from 1 one to 6 , each identified by a different tempo.
Malawski Artur Synkopa Metamorphosis IV. This is followed by an ascending scale-like figure, filling in the same interval. KONTAKTE CONTACTS for electronic sounds, piano and percussion pianist, percussionist, sound projectionist in two different editions: preface printed on both sides , bound, score primed on one side only , loose leaf, for performances 24 bound pages, 38 loose-leaf pages printed on one side, 5 colour photographs, 24 black-and-white photographs, cover in colour or preface and score printed on both sides , bound , as a study score 62 bound pages, 5 colour photographs, 24 black-and-white photographs, cover in colour. Internet 1. Moeschinger Albert Nachtigall und Philister
Toop a , 94— Another five squares are derived from this first one, by starting with its second, third, etc. 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 a , 95— 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 Toop , The piece is in six sections, each in a different tempo, with the fastest tempos in the middle and the slowest at the end.
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 of forty-seven notes in the third section Harvey , 35— These three possibilities are doubled to six by the use or non-use of the pedal Toop , A specific color tints such a "head"—or core—of a sound structure, by means of the intervals of the notes which ring together. Stockhausen , This piece has been described as "the s counterpart of a Chopin nocturne, elegant and crystalline" Toop , 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 , — On 5 December , shortly after completing the second version, Stockhausen wrote to his friend Henri Pousseur , expressing great satisfaction with his new piece, which had taken three months and now came to fourteen pages quoted in Toop b , 26; Toop , 23 , and to Karel Goeyvaerts he wrote "It's pure, but alive" Toop , By January , however, he had decided the harmony was not "clean" enough, and completely rewrote the piece again Toop b , 26; Toop , A notational innovation introduced in the final version of this piece is the graphical indication of tempo changes on a line staff.
A rising line indicates accelerando , a descending line represents ritardando , and the line vanishes altogether when there is a rest. This notation is more precise than the traditional indications Maconie , ; Rigoni , The process of composition already had entailed a number of revisions, and Stockhausen finally abandoned this version, evidently in part because of the drastic reduction in rhythmic subtlety, but also because of persistent difficulties in avoiding strong tonal implications caused by the chosen serial conception of the pitch structure.
Like the original, discarded piece, the new version is divided into five tempo-defined sections MM 40, 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 , 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.
In this way many different timbres can be created for the same pitch. The repetitions of these central notes makes them particularly obvious Stockhausen , It consists of two tempo groups tempo no. These ideas are alternated and juxtaposed, and finally resolved in the appearance of a new texture of irregularly spaced fast periodic groups in the upper register Smalley , 31— 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.
Aloys Kontarsky's touch was so even that Stockhausen had to ask him purposefully to help this fortuitousness along, in order to "dissect" the chord Henck , The idea of this repeated-chord variability was inspired by an improvisation Mary Bauermeister made on the piano in Doris's and Karlheinz's apartment in Cologne-Braunsfeld when, probably with non-European music in mind, she repeated a single chord on the piano, varying finger-pressure slightly on the individual chord tones from one repetition to the next to produce a kind of micro-melody Bauermeister , The rhythmic proportions throughout this piece are governed by the Fibonacci series Kramer , —25 , used both directly 1, 2, 3, 5, 8, 13, 21, etc.
Frisius , The performance of them requires the performer to wear gloves with the fingers cut away Godwin , Over the course of the piece, there is a process of mediation between disorder and order. From a uniform initial state of great disorder, there emerges an increasing number of ever more concentrated figures. By the end, the figures become unified into a higher supraordinate Gestalt Stockhausen , 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.
A basic series beginning with the strongest contrasts and progressing toward the central value was chosen: 7 1 3 2 5 6 4 Henck b , The overall form is produced from this series in a complex way, resulting in a seven-phase form, to which Stockhausen added an eighth, preliminary section which compresses the seven main phases into a single one Henck b , There are at least thirteen separate dimensions organised into seven-degree scales Henck b , 17—48 :.
Pitches are the only thing not organised in sevens. However, the score was not finished in time for Tudor to learn it, and subsequently his international touring did not leave him in a position to do so. Consequently, the piece was finally premiered by Frederic Rzewski on 10 October , during the third Settimano Internazionale Nuova Musica in Palermo.
On 22 December Rzewski made the first recording for commercial release, in the Ariola sound studios in Berlin Henck b , 5—6. The mobile structure and graphic layout of the piece resembles that of Morton Feldman 's Intermission 6 for 1 or 2 pianos of , in which 15 fragments are distributed on a single page of music with the instruction: "Composition begins with any sound and proceeds to any other" Emons , In the same year, Earle Brown had composed Twenty-five Pages for 1—25 pianists, in which the pages are to be arranged in a sequence chosen by the performer s , and each page may be performed either side up and events within each two-line system may be read as either treble or bass clef Anon.
When David Tudor, who at the time was preparing a version of Feldman's piece, was in Cologne in , Stockhausen asked him,. Tudor and Schonfield , Apart from the layout on the page, Feldman's piece has nothing in common with Stockhausen's composition.
Rather than rhythmic cells, its components are single tones and chords, with no rhythmic or dynamic indications Frisius , 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. Markings for tempo, dynamics, etc. 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 , 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.
These matrices "amount to sets of two-dimensional 'scales'" Truelove , 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 , , — 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 fragment , except for the first column shortest duration and last row most complex subdivision.
This is suggested by the fact that he originally selected column 6, row 3 for the last fragment marked with an x in the illustration , then changed his mind in favor of the lower-right cell Truelove , 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 durations of 3, 6, 10, 15, 21, and 28 quarter notes, respectively. Within each of these groups 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 constructed independently Toop , One of the earliest analysts of this piece, Konrad Boehmer , 71—84 , observed 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 a number of later writers Hellfer ; Rigoni ; Trajano , the 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 July , the 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 , , , — 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 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 : Michael, Eve, and Lucifer. In addition to a basic melody the "nuclear" version of the formula , 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 to 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 by 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 minor 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-horn , and in the third by a dancer.
He 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 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.
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