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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Second, a fourth layer, consisting of complete statement of the “nuclear” form of the Lucifer formula—the eleven pitches of the Lucifer formula, with the basic durations but without rhythmic subdivisions or the seven Akzidenzen inserted between the main segments “scale”, “improvisation”, “echo”, “coloured silences”, etc. He also began including an electronic part on tape.

Karlheinz Stockhausen, Klavierstück XI Version 1 | Ensemble Musikfabrik

It is divided into five parts, corresponding to the first three scenes and two main divisions of the last scene of the opera. 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 Der Spieler benutzt vier Klaviaturen und neun Pedale.

Stockhausen and Kohl The first three of these pieces are drawn from scenes in which the piano is dominant in the opera Frisius Er wird vor allem mit elektronischer Musik in Verbindung gebracht, deren Entwicklung er in den er und er Jahren vorangetrieben hat. Eine steigende Linie bedeutet Accelerandoeine fallende Linie Ritardandound bei einer Pause verschwindet die Linie komplett.


Frisius Dezember fertiggestellt, mit klacierstck am 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. These three possibilities are doubled to six by the use or non-use of the pedal Toop klavierstk, The pieces from XV onward are for the synthesizer or similar electronic instruments, which Stockhausen had come to regard as the natural successor to the piano.

Rather than rhythmic cells, its components are single tones and chords, with no rhythmic or dynamic indications Frisius 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.

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

Leonard Stein ‘s suggestion that the outermost layer of proportion numbers could be replaced by changing metronome values, calculated from the fastest speed possible for the smallest note-values, was later incorporated into the published score as a footnote, but klavisrstck been dismissed by one writer as “superfluous” and “a mistake”, holding that “the piece is playable in its own terms” by klavierwtck pianist who can play ChopinLisztor Beethoven Maconie The repetitions of these central notes makes them particularly obvious Stockhausen Within each of these groups there is a “main text” of melody or chords.

Es besteht aus zwei Tempogruppen Tempo Nr. The three full formula layers rotate in each of these five sections, with the dominant upper line occupied klxvierstck turn by the Lucifer, Eve, Michael, Eve, and Michael formulas.


This is followed by an ascending scale-like figure, filling in the same interval. The first row is an all-interval seriesand the remaining rows are transpositions of the first onto each of its members Toop a, 93— The density of rhythmic activity in these formulas is progressively increased by dividing the notes in each of the five sections by the first five members of the Fibonacci series: Stockhausen made two major changes to the superformula when adapting it for the piano here.

IX Aloys Kontarsky stockhaksen Although the piece is precisely notated, there is no specific part for the keyboardist to perform.

Karlheinz Stockhausen: Klavierstück 11

By the end, the figures become unified into a higher supraordinate Gestalt Stockhausen Second, while the Michael formula is essentially unaltered, both the Eve and Lucifer layers are made to seem to be inverted, by a process that Stockhausen called Schein-Spiegelungor “apparent inversion” Stockhausen a Rainy Day Relaxation Road Trip.

The relationship of the keys to the production of sound is radically different from the piano. Juli um Languages Deutsch Edit links.

However, this set never got beyond the planning stages Toop This piece is written in strictly linear two-part counterpoint, and features progressive shortening of fundamental durations by serial fractions. In the ascending direction: