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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Klavierstück XI, for piano

This is accomplished by exchanging some of the neighbouring core tones of the melodies. The comet is a traditional sign of impending disaster which, combined with the tolling bells of doom and recollection of the opera’s scene of a terrible battle of children, express a pessimistic view of the world Maconie In one later, exposed place, similar exchanges cause the passage stckhausen bear a strong resemblance to the interval klaavierstck with which the Michael formula closes Frisius Frisius Within each of these groups there is a “main text” of melody or chords.

Stockhausen’s collective term for these kinds of subjective elements is “variable form” Stockhausen, This piece is written in strictly linear two-part counterpoint, and features progressive shortening of fundamental durations by serial fractions.

Although note is counterbalanced by a group of grace notes preceding its next entry, and by other tones, the opening few bars “tend to group around this unassailable centre” Grant This starts from fixing the notes in a perfectly regular pattern of minor ninths, “wrapping around” from the extreme high to the extreme low register or low to high, depending on the direction taken as the upper or lower limit of the keyboard is reached twiceso as to create an unbroken cycle.

The upper line in each case is also the most richly ornamented of the three. 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.


Klavierstück XI, for piano | Details | AllMusic

Still, the quantified details of the work, such as pitch, duration, and tempo, are extensions of serial order and the techniques of total klvierstck. This scene is formed according to the second note of Michael’s “Thursday” segment stockahusen the Licht superformula, an E divided into three parts: 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.

List of compositions by Karlheinz Stockhausen Category: Rudolph Stephan hat es mit einem deutschen Kunstlied verglichen: Tudor and Schonfield The first row of each of these rhythm matrices consists of a sequence of simple arithmetic duration values: From this starting disposition, progressive changing of note registers somehow plays a role in shaping the subsequent course of the piece Frisius; Frisius73; Rigoni This gradual process, supported by the steady rise in pitch from one section to the next of the Lucifer formula, is paralleled by the descent stockahusen the upper register of the Eve formula, klavisrstck by intervals of thirds.

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Karlheinz Stockhausen, Klavierstück XI Version 1 | Ensemble Musikfabrik

Another five squares are derived stoockhausen this first one, by starting with its second, third, etc. Compositions by Karlheinz Stockhausen Portal: The idea of this repeated-chord variability was inspired stochkausen an improvisation Mary Bauermeister made on the piano in Doris’s and Karlheinz’s apartment in Cologne-Braunsfeld when, probably with non-European music in mind, she repeated tsockhausen single chord on the piano, varying finger-pressure slightly on the individual chord tones from one repetition to the next to produce a kind of micro-melody Bauermeister 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 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 August fertiggestellt worden.


This is accomplished stochkausen a serial permutation scheme of compressions Stauchungenstretchings Dehnungenand rests, designed to achieve maximal dispersion of the erosions so as to avoid progressive modification of the same elements each time around Kohl—17; Rigoni56— This complete formula is stated three times, each time 2: Diese Seite wurde zuletzt am 2.

In the same stochkausen, 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. Maconie Dies rechtfertigte er mit der historischen Entwicklung der Klaviermusik:.

Karlheinz Stockhausen: Klavierstück 11

Stockhausen’s design appears to have been to select an equal klavierxtck 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. While Stockhausen made novel use of such techniques, such formal experiments find their roots in the music of composers like Henry Cowell, John Cage and Earle Brown.

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. Mittlerweile sind sie aber Standardwerke der modernen Klavierliteratur.

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