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.
|Published (Last):||9 May 2018|
|PDF File Size:||6.32 Mb|
|ePub File Size:||12.7 Mb|
|Price:||Free* [*Free Regsitration Required]|
According to the preface to the score, the composer’s offer to rehearse individually with the pianists was rejected, so he did not hear the result but was told afterward that “they were completely lost klavirestcke could not imagine how the piece should be played”.
Classical Net Review – Stockhausen – Klavierstücke I-XI
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.
The varied yet always carefully directed playing is nothing short of inspired. The work was written for the composer’s daughter Majella, and the solo piano version was premiered by her on 10 June in the Teatro Regio in Turin Stockhausen a Shortly before the end of the piece, the Lucifer and Eve formulas converge.
However, these distinct dynamic categories are eroded over the course of the piece by the increasing addition of intermediate dynamic values Frisius Articles with hAudio microformats Interlanguage link template link number Articles containing Portuguese-language text Wikipedia articles with GND identifiers Wikipedia articles with MusicBrainz work identifiers.
The score authorizes the performer to create a personal work against the background of the music of the scene “Children’s War” from Freitag. This was Stockhausen’s first steps towards “aleatory” scoring, that is, writing with some musical elements “free” rhythm and note sequence, usually.
Those curious about developments in the s and 60s who want it interpreted with real style and understanding by a specialist proponent will also want to get stockhauseh CDs.
Isolated short groups, becoming continuous but with changing dynamic envelope. I have had the feeling for some time that Monday will be very klavierstccke new for me too, because I have the feeling Monday is the reverse, because it’s the birth. He acts as a guide but a reserved, yet confident, guide in explaining why Stockhausen chose to distribute notes in the various registers of the piano as he did. Der Spieler benutzt vier Klavierstckw und neun Pedale. Soft grace note satellites, stockhaueen and high sustained pitches, ending w grace notes, flurried klavierztcke groups w wide intervals, long rest followed by brief points.
In this way many different timbres can be created for the same stockhwusen. 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: One basic idea for this set is that each piece should have a different number of main sections from 1 one to 6each identified by a different tempo.
Most probably all the formulas will be upside-down, will be mirrored: A rising line indicates accelerandoa descending line represents ritardandoand the line vanishes altogether when there is a rest. 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.
Composed in the order III – II – IV – I, the first four reflect his transition from “point music” or “pointillism”, where musical structure was determined atomistically, from not to note to “group” composition, where thematic identity depends on still small aggregations of notes. Diese komplette Formel wird dreimal gespielt, je 2: The central tones in green are connected by rising and falling satellite tones.
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. By the end, the figures become unified into a higher supraordinate Gestalt Stockhausen The mobile structure and graphic layout of the piece resembles that of Morton Feldman ‘s Intermission 6 for 1 or 2 pianos ofin which 15 fragments are distributed on a single page of music with the instruction: One of the earliest analysts of this piece, Konrad Boehmer71—84observed 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.
The electronic music is played back over eight loudspeakers, which are arranged in a cube around the listeners. This is suggested by the fact that he originally selected column 6, row 3 for the last fragment marked with an x in the illustrationthen changed his mind in favor of the lower-right cell Truelove All this added activity makes for a very exciting performance, should one be able to attend one live.
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 sand 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.
The relationship of the keys to the production of sound is radically different from the piano. Die als Werk Nr. 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.
Stockhausen and Kohl 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— Es besteht aus zwei Tempogruppen Tempo Nr.
Instead, the performer must choose which notes to perform synchronously with the meticulously notated electronic music Kiec These volumes can of course be ordered from Stockhausen-Verlag. November und am 3. It was first played in October to the jury by the three finalists in that klavierstfke.