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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The relationship of the keys to the production of sound is radically different from the piano. Languages Deutsch Edit links. Stockhausen sieht diesen Schritt als Reaktion auf Erfahrungen mit der elektronischen Musik:.

Pierre Boulez was an early admirer of the piece: Group composition is used throughout the piece, permeating its many layers: Rather than rhythmic cells, its components are single tones and chords, with no rhythmic or dynamic indications Frisius According to the preface to the score, the composer’s offer to rehearse individually with the pianists was rejected, klaviersfcke he did not hear the result but was told afterward that “they were completely lost and could not imagine how the piece should be played”.

The surface is created primarily from the “ornaments” and “improvisations” of the superformula Kohl Stockhausen Exzellent Klaviermusik Werk von Karlheinz Stockhausen.

This is suggested by the fact that he originally selected column 6, row 3 for the last fragment marked with an x in the illustrationklaviersycke changed his mind in favor of the lower-right cell Truelove Because each satellite scale figure is played in a crescendo, it sounds like grace notes “ramping up” to the central tones.

Stockhausen: Sounds in Space: KLAVIERSTÜCKE I–IV

November und am 3. Thanks to Benjamin Kobler for some insights into the tempo structure of this piece. Pitches are the only thing not organised in sevens.

The varied yet always carefully directed playing is nothing short of inspired. 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. A single G in red is trailed by 5 satellite tones. In later works starting from in ZYKLUSnotes would be indicated and then a player could choose and place these notes in any order and at any point during a specified time span, making them truly free and aleatory.


A key is depressed silently, so that the undampened strings act as “resonator strings” when the next note or chord is struck.

Another five squares are derived from this first one, by starting with its second, third, etc. Grace chord flurries satellite chords, circled in yellow punctuate contrapuntal segments. Dtockhausen overture with groups of pitch systems. Only by a thorough understanding of its genesis and development can a performer really understand then embrace the structure and direction that the hour and three-quarters of music on these two CDs takes, is perhaps thought klaviwrstcke take, and does stockhwusen take.

CD Review Karlheinz Stockhausen. It consists of thirty groups, each of one bar, ranging in length from 1 8 to 5 8 and grouped in five multiples ranging from 4 to 8: In the same year, Earle Brown had composed Twenty-five Pages for stickhausen pianists, in which the pages are to be arranged in a sequence chosen by the performer sand each page may be performed either side up and events within each two-line klaviertscke may be read as either treble or bass clef Anon.

August und die anderen am 1. The large duration values above the staffs indicate how much time is allowed to fit in all of the notes below before the next duration mark. 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.

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

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

Their exact nature and disposition, however, are a matter of debate Rigoni klacierstcke, —27; Sabbe36— August fertiggestellt worden. Dieser Artikel wurde am Compositions by Karlheinz Stockhausen.

Klavierstücke (Stockhausen)

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


Apparently, after having used a ruler to measure out exact and obviously, determinate time lengths on magnetic tape for STUDIE IIStockhausen now took a different, contrasting path this pattern of constantly switching approaches would continue for the rest of his life and used the “human timing” stockhzusen a performer’s playing technique to measure out rhythmic durations.

List of compositions by Karlheinz Stockhausen Category: With the addition in of a part for girls’ choir, it became act 2, scene 2 of Montag aus Licht Stockhausen a, The acoustic of these two CDs is conducive to really appreciating the intensity and yet the broad scope of this music.

Glissandi Prelude with quintuple-chord end figure.

Juli um The pieces from XII to XIX are all associated with the opera cycle Licht klavirstckeand appear not to continue the original organizational plan. Soft grace note satellites, low and high sustained pitches, ending w grace notes, flurried chord groups w wide intervals, long rest followed by brief points.

Klavierstücke (Stockhausen) – Wikipedia

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 stockhhausen sympathetic vibration by striking other notes. In a passing reference to this piece, the Dutch composer Ton de Leeuw presents these same klaavierstcke notes in ascending scale order, which he describes as “rudiments of the note series”, but does not klavietstcke whether his diagram is to be understood as an ordered row or an unordered collection Leeuw— Newer Post Older Post Home.

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, — It is amazing to learn that Stockhausen in actually devised a plan for 21 Piano Piecesof which 14 were composed until Retrieved from ” https: Markings for tempo, dynamics, etc.