KLAVIERSTCKE STOCKHAUSEN PDF

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. The set is dedicated to Marcelle Mercenier , the Belgian pianist who performed the world premiere in Darmstadt on 21 August Decroupet , Group composition is used throughout the piece, permeating its many layers: not only is each group distinguished by the number of notes, range, direction, etc. There are six of these series and therefore 36 groups , and when the six series are arranged in a square:. These two hexachords alternate regularly throughout the piece, but the internal order of the notes is freely permuted from one occurrence to the next Harvey , 23; Kohl , ; Rigoni ,

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The exploration of "point music" isolated and scattered pitches in space and "groups of points" continues from his first set of piano pieces, but added to these were new playing techniques, compositional pitch-grouping concepts and notational innovations.

As a group of piano pieces, all 6 of these works also use different compositional devices and playing techniques to summon a new spectrum of resonating colors out of the modern piano.

This was Stockhausen's first steps towards "aleatory" scoring, that is, writing with some musical elements "free" rhythm and note sequence, usually. Apparently, after having used a ruler to measure out exact and obviously, determinate time lengths on magnetic tape for STUDIE II , Stockhausen 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.

In later works starting from in ZYKLUS , notes 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. This results in what is sometimes referred to as "halo notes".

Gradually release a depressed key the note becomes more and more soft and bright. Additionally, a chord's "spectral layers" could be organized, in that a chord's harmonic color could be built up through anticipatory grace notes indeterminately-paced "satellite tones" , and then "taken apart" by the individual fade out of each note of a chord and it's overtones. The central tones in green are connected by rising and falling satellite tones.

Because each satellite scale figure is played in a crescendo, it sounds like grace notes "ramping up" to the central tones. Thanks to Benjamin Kobler for some insights into the tempo structure of this piece.

Email This BlogThis! Ed Chang. Newer Post Older Post Home. Stockhausen at the Mozarteum in Salzburg, A single G in red is trailed by 5 satellite tones. A single C in red is surrounded by 4 satellite tones. This is followed by Insert 1: a sequence of different intensity attacks "loudness row". CD Time. Structure per Jonathan Harvey's analysis. 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.

Scaled dynamics in bass chord sequence Insert 2, , followed by a fully-notated cloud of tones 47 non-grace notes. As the "principle tempo" speeds up M. This passage from the score is a fairly good example of the phenomenon Stockhausen describes in the letter to Tudor. Some Highlights? Score Page. Opening overture with groups of pitch systems. At , a loud, low E with delayed pedal sustains to its final "time field" decay, colored by preceding satellite tones, and with traffic noise bleeding in, pg.

Dense satellite cloud followed by "time field" fermata waiting for high A decay end. Continuation after long "time field" rest. Isolated short groups, becoming continuous but with changing dynamic envelope. Continuation after "time field" rest, slightly more restricted dynamics. Continuation after long "time field" rest, then another rest. Brief pedal tone figure, then mixture using wide pitch registers. Scalar satellite shapes, disintegrating into groups score excerpt below.

Section 1. Section 2. Section 3. C placed in 4 registers. Section 4. A 3 octaves lower from , then A with satellites Section 5. A repeated C in red is treated to different resonating effects from satellite tones and silently-depressed halo notes small diamond-shaped noteheads.

Grace chord flurries satellite chords, circled in yellow punctuate contrapuntal segments. Forearm cluster chords circled in brown lead to hand cluster glissandi circled in red. 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. Main Musical Gesture. Tremolo figures blend in can be thought of as clusters "lying on their side". Cluster Group with tremolo element.

Glissandi Prelude with quintuple-chord end figure. Descending bass and ascending high melodic figures.

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