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.
Seit den er Jahren komponierte Stockhausen meist im Sinne der von ihm entwickelten Formelkomposition. This places the Eve formula in the foreground, which is appropriate because in the Licht cycle Monday is Eve’s day Frisius ; Kiec Scalar satellite shapes, disintegrating into groups score excerpt below.
On 22 December Rzewski made the first recording for commercial release, in the Ariola sound studios in Berlin Henck b5—6.
Stockhausen made two major changes to the superformula when adapting it for the piano here. These five contrapuntal layers are developed from the three-layer Licht superformula in three steps.
Within each of these groups there is a “main text” of melody or chords. From this starting disposition, progressive changing of note registers somehow plays a role in shaping the subsequent course of the piece Frisius; Frisius73; Rigoni However, these distinct dynamic categories are eroded over the course of the piece by the increasing addition of intermediate dynamic values Frisius Although the work has yet to be premiered, one writer speculates that it will likely prove to be.
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. However, this set never got beyond the planning stages Toop Group composition is used throughout the piece, permeating its many layers: There are at least thirteen separate dimensions organised into seven-degree scales Henck b17— The electronic music is played back over eight loudspeakers, which are arranged in a cube around the listeners.
This process of human creativity is true for any creative person, in 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. Frisius Compositions by Karlheinz Stockhausen.
XI is openly aleatoric of texture and timbre more explicitly. Er wird durch die ganze Szene hindurch von einem Pianisten begleitet.
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. CD Review Karlheinz Stockhausen.
Klavierstücke (Stockhausen) – Wikipedia
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 All this added activity makes for a very exciting performance, should one be able to attend one live. 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 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.
August fertiggestellt worden. This is followed by an ascending scale-like figure, filling in the same interval.
Stockhausen: Klavierstücke I to XI CD review – Liebner makes light work of piano cycle’s challenges
Like the original, discarded piece, the new version is divided into five tempo-defined sections MM 40, Er wird vor allem mit elektronischer Musik in Verbindung gebracht, deren Entwicklung er in den er und er Jahren vorangetrieben hat. 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” of a performer’s playing technique to measure out rhythmic durations.
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Brief pedal tone figure, then mixture using wide pitch registers. Zudem gesellte er wie schon bei Kontakte in den er Jahren noch elektronische Zuspielungen von Band hinzu. In a passing reference to this piece, the Dutch composer Ton de Leeuw presents these same five notes in ascending scale order, which he describes as “rudiments of the note series”, but does not explain whether his diagram is to be understood as an ordered row or an unordered collection Leeuw— From a uniform initial state of great disorder, there emerges an increasing number of ever more concentrated figures.
Classical Net Review – Stockhausen – Klavierstücke I-XI
Views Read Edit View history. I have had the feeling for some time that Monday will be very different—very new for me too, because I have the feeling Monday is the reverse, because klacierstcke the birth.
Die unspezifizierte Tonreihe wird so benutzt, dass einige Noten nur zweimal auftauchen, andere dreimal, viermal usw. There are two versions here. This is accomplished by exchanging some of the neighbouring core tones of the melodies.
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 He acts as a guide but klacierstcke reserved, yet confident, guide in explaining why Stockhausen chose to distribute notes in the various registers of the piano as he did.
The original plan for these six pieces, drafted early inis based on the following number square Toop a93; Toop Pierre Boulez was an stochausen admirer of the piece: Opening overture with groups of pitch systems. 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”. According to one writer, the piece is a study in vertical note groups treated as electronic tone mixtures Maconie, though Stockhausen composed it ten months before his first practical experience in an electronic studio.