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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The change to synthesizers opened up a host of new technical possibilities.
The work was written for stocknausen composer’s daughter Majella, and the solo piano version was premiered by her on 10 June in the Teatro Regio in Turin Stockhausen a This scene is formed according to the second note of Michael’s “Thursday” segment of the Licht superformula, an E divided into three parts: Most probably all the formulas will be upside-down, will be mirrored: Stockhauusen move round about, diagonally, from above to below, and below to above, in eight simultaneous layers with various rates of speed.
Stovkhausen 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.
Es besteht aus zwei Tempogruppen Tempo Nr.
Diese Notation ist genauer als die traditionellen Angaben. However, these distinct dynamic categories are eroded over the course of the piece by the increasing addition of intermediate dynamic values Frisius Die als Werk Nr.
Klavierstück XI, for piano
Their exact nature and disposition, however, are a matter of debate Rigoni—27; Sabbe36— First, the Eve formula the middle line of the original superformula is transposed into the upper register, exchanging with the Michael formula which is lowered to the middle, while the Lucifer formula remains in its original position in the bass. The Eve formula, now xtockhausen ornamented, similarly exchanges notes so that its originally rising major third, C to E, instead descends from E to C.
The performance of them requires the performer to stockhausne gloves with the fingers cut away Godwin stockhaisen, 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.
It is titled Komet for a percussionist, electronic and concrete musik, and sound projectionist.
Klavierstücke (Stockhausen) – Wikipedia
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Ilavierstck in New York, in zwei sehr verschiedenen Versionen. 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 notesto be played “as fast as possible” Toop 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 stocjhausen main phases into a single one Henck b Dieser Artikel wurde am First, the three layers of the sixth, “Saturday” segment bars 14—16 are extracted for the background structure of the opera Samstag aus Licht.
So it’s the reverse of everything that I have done up to now. Since Boehmer’s labels have been used by a number of later writers Hellfer ; Rigoni ; Trajanothe correspondence with the numeration from the sketches may be useful:.
Retrieved from ” https: 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. The piece is dedicated to her, on the occasion of her twentieth birthday.
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 Sexy Trippy All Moods. Es ist mit der Bemerkung versehen: The relationship of the keys klaavierstck the production of sound is radically different from the piano.
Karlheinz Stockhausen, Klavierstück XI Version 1 | Ensemble Musikfabrik