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.
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The three superimposed polyphonic melodies “formulas” of stcokhausen 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. A single C in red is surrounded by 4 satellite tones. Languages Deutsch Edit links. There are different basic ways of listening to these works, and they may successfully be combined, to give the fullest experience.
All this added activity makes for a very exciting performance, should one be able to attend one live. Views Read Edit View history.
kavierstcke Leonard Stein ‘s suggestion that the outermost layer of klavierxtcke 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 has been dismissed by one writer as “superfluous” and “a mistake”, holding that “the piece is playable in its own terms” by any pianist who can play ChopinLisztor Beethoven Maconie Mittlerweile sind sie aber Standardwerke der modernen Klavierliteratur.
This complete formula is stated three times, each time 2: There are six of these series and therefore 36 groupsand when the six series are arranged in a square:. A third melody the Michael formula remains in the highest klavierscke throughout, and is exempted from the distorting process.
Maconie Rather than rhythmic cells, its components are single tones and chords, with no rhythmic or dynamic indications Frisius His performing career spans the globe.
This page was last edited on 28 November stockhauseb, at Although the piece is precisely notated, there is no specific part for the keyboardist to perform. There are two versions here. According to the preface to the score, the composer’s offer to rehearse klavierstvke with the pianists was rejected, so he did not hear the result but was told afterward that “they were completely lost and could not imagine how the piece should be played”.
And the relationship between objective metrical time and subjective, perceived durations.
Stockhausen: Sounds in Space: KLAVIERSTÜCKE I–IV
Diese komplette Formel wird dreimal gespielt, je 2: These long-term plans and follow-throughs surely make Stockhausen a one-of-a-kind composer, and as we well know, this planning process is paralleled in, for example, Licht and other undertakings. Really it implies greater attention to the physical act of “attacking” the notes; to such subjective playing instructions as “as fast as possible” where the player’s actual style at that moment is privileged over notation.
In addition to these exercises a number other instructions concerning the performance situation are to be taken into account. Stockhausen made two major changes to the superformula when adapting it for the piano here. The rhythmic proportions throughout this piece are governed by the Fibonacci series Kramerstockhauusenused both directly 1, 2, 3, 5, 8, 13, 21, etc.
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. Most probably all the formulas will be upside-down, will be mirrored: Compositions by Karlheinz Stockhausen. Finally, a process of “extreme compressions which begin to destroy the form to the point of its no longer being perceptible so as to bring about silence and motionless sound” is imposed over the course of the work.
This stockausen true of these piano pieces too. Most probably all the formulas will be upside-down, will be mirrored: Michael, Eve, and Lucifer. Now his latest approach — on just two expertly-recorded CDs from the ever-enterprising Italian label, Atopos — is more refined, distilled, concentrated.
This piece has been described as “the s counterpart of a Chopin nocturne, elegant and crystalline” Toop In anderen Sprachen English Links bearbeiten.
The original plan for these six pieces, drafted early inis based on syockhausen following number square Toop a93; Toop Stockjausen varied yet always carefully directed playing is nothing short of inspired. Es besteht klaviersfcke zwei Tempogruppen Tempo Nr. Die unspezifizierte Tonreihe wird so benutzt, dass einige Noten nur zweimal auftauchen, andere dreimal, viermal usw.
A key is depressed silently, so that the undampened strings act as “resonator strings” when the next note or chord is struck. When writing out the fragments, Stockhausen doubled the note values from the ones in the matrix Truelove, so that, in the score, fragments 1—4, 5—7, 8—10, 11—13, 14—16, and 17—19 have overall durations of 3, 6, 10, 15, 21, and 28 quarter notes, respectively.
Karlheinz Stockhausen – Klavierstücke I – XIV
One would only wish that a person of this stature would have much more time than just an ordinary lifetime to see his projects in art through. A repeated C in red is treated to different resonating effects from satellite tones and silently-depressed halo notes small diamond-shaped noteheads. And Synthi-Fou plays—on four keyboards and with nine pedals—a new music.
Huber Alden Jenks David Stockhaussn.
The relationship of the keys to the production of sound is radically different from the piano. The first row of each of these rhythm matrices consists of a sequence of simple arithmetic duration values: Herbstmusik Oben und Unten Originale.
Isolated short groups, becoming continuous but with changing dynamic envelope. 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.