List of works by Karlheinz Stockhausen

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Karlheinz Stockhausen (2005)

This list is an annotated directory of the published compositions by Karlheinz Stockhausen . The basis is the list of works published by Stockhausen-Verlag (see under web links ). Further information can be found in the literature given, in particular the list of works in the Universal Edition and the composer's collected writings.

Stockhausen wrote 370 individually performable works; these are often parts of larger cycles or excerpts from larger works, especially the operas of the later years. The works with the broken numbers 1 ⁄ 11 in ascending order to 1 ⁄ 2 were originally not recognized by the composer as valid and given a number. It was not until 1971 that Stockhausen released the works; some had already premiered, but were later withdrawn and received post-production over the years. Some were also premiered in 1971.

Stockhausen later also used fractional numbers for pieces derived from other works (e.g. for different instrumentation) and, especially in the opera cycle Licht , for parts of works that could be performed independently. In later works there were again numbered extracts from these, whereby the extract numbers were partly broken again.

Early works

No. Title
• Partial works		 Instruments Composed first
performance
dedication		 Duration Remarks
1 ⁄ 11 Choirs for Doris Choir K: 1950
U: October 21, 1971 (Paris), Marcel Couraud Chamber Choir
W: Doris Stockhausen-Andreae		 9-10 ′ Conservatory work. Based on poems by Paul Verlaine .
•  The nightingale
•  Poor young shepherd
•  Agnus Dei
1 ⁄ 10 Three songs Alto part , chamber orchestra K: 1950
U: October 21, 1971, Paris, director K. Stockhausen
W: Doris Stockhausen-Andreae		 19-20 ′ Composition while on vacation while studying. Submitted to the Darmstadt Summer Course without success . (Texts “too cruel”, music “too old-fashioned”). Submitted later as an examination piece in composition, rated 1 (the best grade).
•  The rebel Text: Charles Baudelaire
•  Free Texts by K. Stockhausen
•  String Man
1 ⁄ 9 Chorale Choir K: 1950
U: October 21, 1971 (Paris), Marcel Couraud Chamber Choir
(was sung by the university choir in 1950 and recorded for the Kölner Rundfunk)
W: Doris Stockhausen-Andreae		 4 ′ Conservatory work. Text by K. Stockhausen.
1 ⁄ 8 Sonatina Violin , piano K: 1951
U: Radio recording in 1951 for WDR with Wolfgang Marschner (violin) and K. Stockhausen (piano). First public performance on October 22, 1971 in Paris with Saschko Gawriloff (violin) and Aloys Kontarsky (piano)		 10–11 ′ Conservatory work. Stockhausen wrote in 1975: "All 3 movements that follow one another without a break are derived from a single row for melody, rhythm, volume".
1 ⁄ 7 Cross game Oboe , bass clarinet , piano, 3 percussionists K: 1951
U: The first performance in 1952 at the Darmstadt Summer Courses ended in a scandal.
W: Doris Stockhausen-Andreae		 11–12 ′ Punctual composition with the superordinate structure of a cross-shaped movement from the edges of the tone area through the middle areas and back to the edges. The arrangement of the musicians on the stage and the seated conductor are precisely specified.
1 ⁄ 6 formula Orchestra (28 players) K: 1951
U: October 22, 1971 in Paris under the direction of K. Stockhausen		 13 ′ Composed after Kreuzspiel . Anticipation of the formula composition technique , because of which he rejected the piece as "too thematic" in 1951, but which he took up again in 1970 for Mantra . Original name of Study for Orchestra ; the current title was only found for publication in 1971.
1 ⁄ 5 Etude Concrete music K: 1952 3'15 ″ Completed in Paris in 1952, after meeting Pierre Schaeffer . It was not until 1992 that Stockhausen rediscovered the tape in his archive; until then the work was considered lost.
1 ⁄ 4 game orchestra K: 1952
U: Donaueschinger Musiktage 1952 (abridged) under Hans Rosbaud . Radio version SWF July 1973 with the Südwestfunk Symphony Orchestra ; first public premiere of the complete version: September 14, 1975 ( Berliner Philharmoniker ); both under the direction of K. Stockhausen.
W: Doris Stockhausen-Andreae		 16 ′ Two sentences. Stockhausen's first commission for a composition. In the world premiere, the second movement was played in a shortened version. The premiere ended in scandal.
Originally intended to form a three-movement work with No. 1 ⁄ 6 as the first movement.
1 ⁄ 3 Beat trio Piano, 2 × 3 timpani , tone control K: 1952
U: 1952 in Hamburg		 15-16 ′ Original name percussion quartet , with one more timpani (3 × 2 instead of 2 × 3 timpani), but the same notes and instruments. Correspondence of the 6 piano octaves to the 6 timpani; the timpani are tuned a quarter tone shifted from the piano . The Schlagtrio is considered to be the most clearly punctually composed work by Stockhausen.
1 ⁄ 2 Points Orchestra, tone control K: 1952, heavily revised 1962 (audible changes in further arrangements up to 1993)
U: October 20, 1963, Donaueschinger Musiktage, conducted by Pierre Boulez 		26 ′ (final version from 1993) The original “points”, which determine the punctual structure of the piece, were internally more differentiated in the revision of 1962. The originally planned title was "Counterpoints", which was then used for another work.

No. 1 to No. 10

No. Title
• Partial works		 Instruments Composed first
performance
dedication		 Duration Remarks
1 Contra points 10 instruments (fl, cl, bcl, fg, tr, pos, pi, hrf, vn, vc) K: 1952/53
U: 1953 Part performance in Cologne, completely in Paris, conducted by Hermann Scherchen . Stockhausen speaks of an incredibly strong success of the world premiere
W: Doris Stockhausen-Andreae		 14–15 ′ Stockhausen's first published score. Punctual music with instrumental timbres as parameters . The unpublished original version has a deeper instrumentation: double bass clarinet instead of bcl, double bassoon instead of fg, double bass tuba instead of pos, double bass instead of vc. The second version is rhythmically simplified, has a completely different pitch organization and resolves the punctual events through rapid note movements.
2 Piano pieces I-IV piano K: 1952
U: 1954 on the Darmstadt summer courses by Marcelle Mercenier. The performance ends with a whistle concert
W: Marcelle Mercenier		 8th' The works show the use of the group composition to varying degrees . First part of an unfinished large cycle of 21 piano pieces.
•  Piano piece I 4 ′ pronounced group composition
•  Piano piece II 1' regular quick change between two octave halves
•  Piano piece III 20-30 ″ Stockhausen's shortest work
•  Piano piece IV 2 ′ Two-part polyphony with resulting punctual sound shape
3 Electronic studies I and II Electronic music K: 1952–53
U: October 19, 1954, Cologne		 14 ′ Produced in the studio for electronic music (Cologne) . Both studies are commissioned by the WDR. Complete control of the musical material by the composer. Adequate serial recording of the timbres as well .
•  Study I 9'42 ″ deals with the structure of sounds from sinus tones
•  Study II 3'20 ″ Tone color composition with tone mixes .
4th Piano pieces VX piano K: 1954
 Second part of the unfinished major cycle of 21 pieces. The pianistic inaccuracies and the tonal possibilities of the piano (e.g. string resonance, glissandi) are discussed.
•  Piano piece V U: V: Marcelle Mercenier August 21, 1954 (Darmstadt)
W : David Tudor 		5 ′ Characterized by bunches of suggestion notes
•  Piano piece VI U : Marcelle Mercenier June 1, 1955 (Darmstadt)
W : David Tudor		 24–25 ′ The final version wasn't completed until 1961. Long process structured by caesarean tones and insertions .
•  Piano piece VII 8th' Themed string resonance
•  Piano piece VIII 1–2 ′
•  Piano piece IX K: 1954, revised 1961
U: Aloys Kontarsky, May 21, 1962 (Cologne)
W : Alfons and Aloys Kontarsky		 11–12 ′ two strongly contrasting ideas: a four-part chord that is continually repeated in periodic rhythms and a slowly increasing chromatic scale where each note has a different duration.
•  Piano piece X U : X: Frederic Rzewski October 10, 1962 (Palermo)
W : Alfons and Aloys Kontarsky		 25 ′ Reprocessed several times until 1961. Wild clusters and glissandi move towards an ordered state.
5 Measures of time 5 woodwinds K: 1955–56
U: December 15, 1956 “in front of a quiet and extremely attentive audience” (Stockhausen) Paris, conductor: Pierre Boulez		 13′ – 15 ′ Collective (statistical) form, variable form. The duration of the player's breath partly determines the duration of the group. Accompanied by the theoretical considerations in the essay How time flies, in which sound frequencies, metrics and form are considered uniformly.
6th groups 3 orchestras, microphone amplification for piano and guitar , tone control K: 1955–57
U: Cologne, WDR, March 24, 1958, Kölner Rundfunk-Sinfonie-Orchester, conductors: K. Stockhausen, B. Maderna, P. Boulez		 24–25 ′ Commissioned by the WDR. Group composition. The orchestras are on three sides of the audience. The spatial disposition is an essential part of the composition. This composition also relates to How Time Flies .
7th Piano piece XI piano K: 1956
U: David Tudor , April 22, 1957 (New York)		 15 ′ (variable) Use aleatoric technique: The player should look “unintentionally” at the score sheet, play the passage found and apply the expression at the end of the passage to the next passage. The piece forms the last realized part of the planned 21-part piano cycle, which was not continued afterwards.
8th Song of the young men Electronic music (sine and pulse generators, the boy's voice of twelve-year-old Josef Protschka reworked with tape technology .) K: 1955–56
U: Cologne, May 30, 1956		 13 ′ Produced in the studio for electronic music (Cologne) , commissioned by WDR. Processes a biblical topic from the book of Daniel . The degree of text intelligibility of the post-processed vocal passages is used as a compositional parameter . Early example of the moment shape . During the performance, five groups of loudspeakers are distributed around the audience in the room, the room arrangement is an important compositional element. Stockhausen has created special mono and stereo versions for radio and records.
9 cycle A drummer , tone control K: 1959
U: Christoph Caskel , August 25, 1959 (Darmstadt)		 12–15 ′ Aleatoric technique: ring binder score. The degree of determination is a compositional parameter. Composed as a compulsory piece for the Kranichstein music competition for percussionists in 1959
10 Carré 4 orchestras, 4 choirs sound control K: 1959–60 Cornelius Cardew worked on the score and worked out composition plans on his own.
U: October 28, 1960 (Hamburg), directed by Michael Gielen , Mauricio Kagel , Andrzej Markowski, K. Stockhausen		 36 ′ Commissioned by the NDR. Moment shape. Choirs and orchestras placed around the audience. The text was composed from a purely musical point of view and notated in IPA .

No. 11 to No. 20

No. title Instruments Composed first
performance
dedication		 Duration Remarks
11 refrain 3 players (piano, vibraphone , celesta or synthesizer ), tone control K : October 2, 1959, 1968 slightly edited
U : Berlin 1959
W : Ernst Brücher		 12 ′ Stockhausen: "A quiet and spaciously composed sound structure is disturbed six times by a short refrain ." The refrain is attached to a transparent, rotatable strip above the largely circular score and can thus be positioned by the players before the performance.
11 1 ⁄ 2  3 × refrain 2000 Piano with 3 wood blocks , sampler -Celesta 3 antiques Cymbales , Vibraphon 3 Almglocken and chime , sound control K : 2000 61 ′ Recording on CD, composed for teaching purposes, with three versions of the piece
12 contacts Electronic sounds K : 1958-60 35 ′ 30 ″ Produced in the studio for electronic music (Cologne) , commissioned by WDR. Moment shape. Four audio channels that were combined into two for the stereo record version.
A reading score has been published.
The electronic sounds refer to instrumental categories such as metal sound, skin sound, wood sound. From minute 17 contains four minutes that were not included in the form plan but were spontaneously added by Stockhausen.
12 1 ⁄ 2  contacts Electronic sounds, piano, drums, tone controls K : 1958–60
U : June 11, 1960 in Cologne by Christoph Caskel and David Tudor		 35 ′ 30 ″ Commissioned by the WDR. The composition Kontakt (No. 12) can be heard from the tape; the (composed) parts for piano and percussion are played live. The spatial movements of electronic music correspond with and contrast with the spatially fixed instrumental sounds.
12 2 ⁄ 3  Originals Musical theater with contacts (electronic music, piano, drums, tone control). K : 1961
U : October 26, 1961 in the Cologne Theater am Dom
W : Mary Bauermeister and the Cologne originals 		90 ′ After the premiere, the city withdrew the subsidies and the classification as "culturally valuable", so that entertainment tax was due. The 12 performances were sold out.
The scenic representation is organized serially using scales of course – artificial, unambiguous – ambiguous, of course – absurdly.
In addition to the actors, well-known Cologne city originals, exponents of the Cologne Fluxus scene (e.g. Nam June Paik and Hans G Helms ), and alternately two children from Stockhausen took part in the performances .
13 Moments Soprano , 4 choir groups (voice and body noises), 13 instrumentalists (4 trumpets , 4 trombones , 2 electric organs or synthesizers, 3 drums, tone control) K : 1961–62 / 1964/1972 Europe version / 1998
U : Cologne, May 21, 1962, Martina Arroyo, Kölner Rundfunkchor, members of the Kölner Rundfunk-Sinfonie-Orchester, headed by K. Stockhausen; extended version 1964: the same, Donaueschingen, October 16, 1965; Version 1972: Bonn December 8, 1972, Gloria Davy, Harald Bojé, Roger Smalley, Kölner Rundfunkchor, Ensemble Musique Vivante, headed by Karlheinz Stockhausen; Version 1998: Cologne, September 25, 1998, Angela Tunsdall, Kölner-Rundfunkchor, musikFabrik, led by Rupert Huber
W : Mary Bauermeister		 113 ′ Commissioned by the WDR. open moment form; Selection and sequence of the moments and inserts variable.
A tour with the moments completed by 1965 was filmed by Gérard Patris and Luc Ferrari .
The composition process was marked by a personal crisis in connection with his liaison with his future wife Mary Bauermeister; the work contains hidden references to the triangular relationship.
14th Plus minus 2x7 pages for elaborations K : 1963
U : June 14, 1964, Rome (Cornelius Cardew, Frederic Rzewski)		 Duration indefinite Meta-Composition: In the form of symbols and instructions, it represents a system of rules as a framework for creating your own compositions (“elaborations”). From 1963 Stockhausen used it as the basis for several months of composition courses. By 1968, over 30 drafts by course participants had been completed. Stockhausen particularly highlights the version by Frederic Rzewski and Cornelius Cardew.
15th Microphone I 6 players ( tam-tam , live electronics) K : 1964
U : Brussels, December 9, 1964
W : Alexander Schlee		 28 ′ Produced with the funds of the Studio for Electronic Music (Cologne) . A great hoopla is set in vibration by two players with materials in different ways; two other players hold microphones in different positions to the sound source; two more control the sound filtering with controllers and mix filtered and unfiltered sound
16 mixture Orchestra, 4 sine wave generators , 4 ring modulators , microphones, mixer, tone control K : 1964
U : Hamburg, November 9, 1965, NDR Symphony Orchestra, conducted by Michael Gielen 		27 ′ Produced with the funds of the Studio for Electronic Music (Cologne) . Original sounds and their live-electronically modulated versions are mixed according to the score.
16 1 ⁄ 2  mixture small instrumentation ( flute , oboe , clarinet , bassoon , trumpet, 2 horns , trombone, 3 percussion, 8 violins, 4 violas , 2 cellos , 2 double basses , 4 sine generators, 4 ring modulators, microphones, mixer, tone control) K : 1967
U : 23 August 1967, Frankfurt am Main. Ensemble Hudba Dneska Bratislava, conductor Ladislav Kupkovič
W : Ladislav Kupkovič		 27 ′ Changes to the musical text for small instrumentation
16 2 ⁄ 3  Mixture 2003 like 16 1 ⁄ 2  K : 2003
U : August 30, 2003, Salzburg Festival. German Symphony Orchestra (Berlin) conducted by Wolfgang Lischke. Rehearsal by K. Stockhausen		 27 ′ Slightly revised version of No. 16
17th Microphone II 12 singers, Hammond organ or synthesizer, 4 ring modulators, tape, microphones, loudspeakers, tone control K : 1964
June 11, 1965, Kölner Funkhaus, Kölner Rundfunkchor, Studio Choir for New Music Cologne, Alfons Kontarsky, Johannes Fritsch, Jaap Speck, Karlheinz Stockhausen, conductor Herbert Schernus		 20 ′ Produced with the funds of the Studio for Electronic Music (Cologne) , commissioned by WDR. Singing and organ sounds are modulated live according to compositional specifications.
18th stop Orchestra, microphones, loudspeakers, tone control K : 1965
U : June 2, 1969, Paris, conductor Diego Masson
W : Diego Masson		 20 ′ The piece was composed directly on the blackboard as part of a seven-hour composition course as part of the Cologne Courses for New Music 1964–65 , explaining every decision.
6 orchestral groups, the musicians have structural characteristics "to be invigorated internally" sounds and noises as default. The conductor has to take care of the instrumentation and combine the noises into an "organic process". This process is stopped by noises . Typical representative of the process composition
18 1 ⁄ 2  Stop (Paris version) 6 groups of instruments, microphones, loudspeakers, tone control See No. 18 20 ′ Elaboration for the world premiere
18 2 ⁄ 3  Stop and start 6 instrumental groups (synthesizer and bass clarinet, synthesizer and trombone, synthesizer and basset horn , synthesizer and saxophone, synthesizer and trumpet, synthesizer or percussionist and flute, microphones, loudspeakers, tone control) K : 2001 21 ′ 30 ″ Version that was composed for the Stockhausen courses in Kürten in 2002
19th solo Melody instrument and feedback (special electroacoustic equipment, loudspeakers, tone control) K : March / April 1966 for Japanese Radio ( NHK )
U : April 25, 1966 in Tokyo
W : Alfred Schlee		 variable 10 ′ 30 ″ to 20 ′ Process composition. The soloist's playing is recorded and played back over loudspeakers with a variable delay. In addition to the sheet music, the score contains instructions on how the soloist should react to the reproduction of his earlier performance
20th Telemusic Electronic music K : 1966 for the NHK
W : the Japanese people		 17 ′ 30 ″ Recorded pieces of music from different parts of the world are not processed as a collage, but electronically modulated with one another. Moment shape

No. 21 to No. 30

No. Title
• Partial works		 Instruments Composed first
performance
dedication		 Duration Remarks
21st Adieu Wind quintet K : 1966
U : January 30, 1967, Calcutta, WDR Wind Quintet
W : Wolfgang Sebastian Meyer		 16 ′ Dedicated to a musician who died young. "In the composition, short cadence fragments are confronted with long parts in which new passages unfold freely without tonal ties."
22nd Hymns Electronic and concrete music K : 1966–67
W : Pierre Boulez (Region 1), Henri Pousseur (Region 2) John Cage (Region 3), Luciano Berio (Region 4)		 114 ′ Produced in the studio for electronic music (Cologne) , commissioned by WDR. Based on recordings of numerous national anthems (including the international one ) and an invented anthem of a utopian empire as well as snippets of noise and speech from shortwave radio . Continuation of the composition of No. 20 Telemusik . Divided into four regions of different character, each of which develops around a small group of hymns whose political character is thematized.
22 1 ⁄ 2  Hymns Electronic and concrete music with 4 soloists K : 1966–67
U : Cologne November 30, 1967, Aloys Kontarsky, Johannes Fritsch, Harald Bojé, Rolf Gelhaar, David Johnson		 126 ′ Produced with the funds of the Studio for Electronic Music (Cologne) . Stockhausen: “The soloists react freely to what they hear from the tape. This freedom is relative because we rehearsed the piece over and over again for a very long time and I kept making suggestions, giving hints, and correcting until we finally agreed on the form and the course. "; meanwhile withdrawn.
22 2 ⁄ 3  Hymns (Third Region) Electronic and concrete music with orchestra K : 1969
U : February 25, 1971, New York (New York Philharmonic Orchestra)		 42 ′ Produced with the funds of the Studio for Electronic Music (Cologne) . Procedures that arose while working with the soloist version (No. 22 2 ⁄ 3  ) were laid down in writing for the orchestral version. Under the direction of the conductor on the basis of the score, the musicians function "as transformers: as transposing elements, time transformers, filters (for example, when I dictate that the sound should become lighter or darker while it is repeated), amplitude modulators, frequency modulators (for tremolos, which should be made with selected tones), etc. "
23 procession Tamtam, viola, electronium or synthesizer, piano, tone control K : May 1967
U : 21 May 1967, Helsinki (Stockhausen Ensemble with Alfred Alings and Rolf Gehlhaar (tamtam), Johannes Fritsch (viola), Harald Bojé (electronium), Aloys Kontarsky (piano))		 114 ′ Produced with the funds of the Studio for Electronic Music (Cologne) . Process composition. Musical material is parts of earlier compositions that the players play from memory. In detail microphony I , singing of the youngsters , contacts , moments , telemusic , solo , piano pieces I-XI . The type of reaction and the degree of change between the musical events are prescribed in the score. It was only after several performances that there was a degree of interplay with real interaction that satisfied the composer.
24 Mood 6 vocalists, tone control K : February, March 1968
U : December 9 and 10, 1968, Paris ( Collegium Vocale Cologne . Studio recordings in Cologne at the end of October)		 70 ′ Overtone music . The singers have 8 or 9 models and 11 magical names to choose from, which they freely bring into play according to a form scheme.
24 1 ⁄ 2  Mood (Paris version) 6 vocalists, tone control K : February, March 1968
U : December 9 and 10, 1968, Paris (Collegium Vocale Kön)		 70 ′ Written fixation of the elaboration for the Paris premiere and the Cologne recording.
25th Shortwave Piano, electronium or synthesizer, tam-tam each with shortwave receiver, tone control K : 1968
U : 5. May 1968 in Bremen by Stockhausen's Ensemble
W : Wolfram Schmidt
 55 ′ Process composition. The players look for suitable programs (quietly but audibly for the audience) and react to them according to the score.
26th From the seven days Instrumental ensemble, electronic equipment K : 1968
U : September 1, 1969 (complete cycle without correct durations )		 Duration variable, CD output takes 7 hours 15 text compositions (some with drawings) for intuitive music . The "seven days" from the title denote Stockhausen's seven-day hunger strike, with which he wanted to persuade Mary Bauermeister to return. During this time spent in meditation, the first text compositions were written.
•  Correct durations about 4 players U : August 26, 1969 (studio recording with Carlos Roqué Alsina , piano and Hammond organ; Jean-François Jenny-Clark , double bass; Jean-Pierre Drouet , drums; Vinko Globokar , trombone) From the score: ... "Play a note / play it until you feel / that you should stop // play a note again" ...
•  Unlimited ensemble U : 26./27. July 1969, 7:30 p.m. to around 2 a.m., Paris (Guy Arnaud, Harald Bojé, Jean-François Jenny-Clark, Jean-Pierre Drouet, Johannes G. Fritsch, Roy Hart, Diego Masson, Michel Portal , Michael Vetter , Karlheinz Stockhausen) ... "Play a tone / with the certainty / that you have any amount of time and space" ... with the drawing of a parabolic curve
•  Connection ensemble U : June 7, 1969 (studio recording in Paris with the Stockhausen Ensemble) The players should play vibrations in the rhythm of their body - heart - breathing - thinking - intuition - enlightenment - of the universe. "It is clear that a player who cannot think of certain instructions in these performance regulations remains silent during these times - which is also advantageous for the ensemble, since the density of the performance then becomes more transparent." (Stockhausen)
•  Meeting point ensemble U : August 27, 1969 (studio recording) From the score: "Everyone plays the same note // Lead the note wherever your thoughts / you lead / don't leave it, stay with it / keep coming back / to the same place"
•  Night music ensemble U : August 31, 1969 (studio recording) From the score: "An oscillation in the rhythm of the universe" and "An oscillation in the rhythm of the dream" alternately
•  Down ensemble U : August 28, 1969 (studio recording) From the score: "Play a vibration in the rhythm of your limbs" ... "in the rhythm of your cells" ... "in the rhythm of your molecules" ... "in the rhythm of your atoms" ... "in the rhythm of your smallest components / to which your inner ear can still reach"
•  Up ensemble U : August 29, 1969 (studio recording) Similar instructions as in Down , but in reverse order
•  Up and down Play for man, woman, child, 4 instruments People with certain fates in life are expected as actors, e. B. a man who "has landed at the bottom of the trough of life". Stockhausen writes that he did not see a convincing performance.
•  intensity ensemble U : August 29, 1969 (studio recording) From the score: "Play individual notes so surrendered until you feel the warmth that radiates from you"
•  Set sail for the sun ensemble U : May 30, 1969 (studio recording) From the score: "Play a note until you hear its individual vibrations // Hold it / and listen to the tones of the others - to all at the same time, not to individual ones - and slowly move your tone / until you achieve perfect harmony / and the whole sound becomes gold / pure, calmly shining fire "
•  Communion ensemble U : August 27, 1969 (studio recording) Similar instructions as in Downwards , but now it's about the components of another player. Stockhausen observed that this composition triggered aggressive sharpness in the players
•  litany Speaker or choir U : Schwäbisch Gmünd , 1997
•  It ensemble U : August 31, 1969 (studio recording) One should only play when the state of non-thinking is reached.
•  gold dust ensemble
•  Arrival Speaker or speaking choir
27 Spiral A soloist with a shortwave receiver, tone control K : September 1968
U : May 1969, Heinz Holliger (oboe)		 135 ′ Process composition with elements of intuitive music.
28 Dr. K sextet Flute, violon celleo, tubular bells or vibraphone, bass clarinet, viola, piano K : 1968–69
U : April 22, 1969
W : Dr. Alfred Kalmus		 2 ′ 32 ″
29 Fresco 4 orchestral groups K : 1969
U : 1969 (Bonn)		 about 5 hours the orchestral groups are distributed in the corridors of Bonn 's Beethoven Hall; walking audience
30th Pole 2 players / singers, 2 shortwave receivers, tone control K : February 1970 (Bali)
U : At the Expo '70 in Osaka 		65 ′

No. 31 to No. 40

No. Title
• Partial works		 Instruments Composed first
performance
dedication		 Duration Remarks
31 Expo 3 players / singers, 3 shortwave receivers K : 1970
U : At the Expo 70		 70 ′
32 Mantra 2 pianos with woodblocks and cymbals antiques, 2 sine generators, 2 ring modulators, tone control K : May and June 1970 in Osaka.
U : October 18, 1970 at the Donaueschinger Musiktage by Aloys and Alfons Kontarsky		 65′ – 72 ′ Return to the precisely notated music. First work in which the technique of formula composition is used.
33 For times to come Special ensemble, electroacoustic apparatus K : 1968–70
W : Markus Stockhausen 		variable 17 lyrics for intuitive music
•  consistency ensemble K : August 1968, Darmstadt summer courses
•  Extension ensemble
•  shortening ensemble
•  Across the border smaller ensemble
•  communication small ensemble
•  interval Piano duo for four hands K : September 22, 1969 In Corsica
U : May 5, 1972, Royal Festival Hall , London , Roger Woodward and Jerzy Romaniuk
W : Henry-Louis de la Grange and Maurice Fleuret
•  Outside small ensemble K : February 4, 1970 (Bali)
•  Inside small ensemble
•  Stop small ensemble
•  vibration ensemble K : July 4th to 7th, 1970 on what was then called Ceylon
•  Spectra small ensemble
•  waves ensemble
•  Migratory bird ensemble
•  Premonition 4–7 artists
•  Japan ensemble
•  Awake ensemble
•  Ceylon small ensemble K : 4th to 7th July 1970
U : 22nd November 1973 ( Metz )		 23 ′
34 Star sound Park music for 5 groups (21 singers and instrumentalists, microphones, 10 synthesizers, tone control) K : 1971 (commissioned by Sender Freie Berlin )
U : June 5, 1971 in the English Garden in Berlin
W : Mary Stockhausen-Bauermeister		 150 ′ The five groups are spread over the park at an average distance of 70 m. Meditative overtone music.
35 Trans Orchestra, tape, tone control K : 1971
U : October 16, 1971 in Donaueschingen
W : Suja Stockhausen		 27 ′ Staged music in which the movements of the performers and the visual design of the performance are well composed.
36 Alphabet for Liège 13 musical images for soloists and duos, electro-acoustic instruments K : 1972
U : September 23, 1972 in the basement of the Belgian Radio		 4h Scenic music that takes place in 13 white painted rooms with hung doors (+ a fourteenth for the leader), which can be reached via a corridor (also painted white). In the rooms, various situations are staged that have to do with vibrations and waves (e.g. sound patterns generated in sand, glass shattered, sound vibrations in liquid, rays of light, flames made visible, beats generated with two recorders, breathing and Heart rhythms of fish influenced by sounds and made visible via oscilloscopes etc.). Work No. 36 1 ⁄ 2  (The Indian songs ) is performed in one room . The performers of the situations make contact with other situations; these contacts are each assigned two letters of the alphabet (hence the title). These letters are in turn the first letters of words that, written on cards, control the playful, ritualistic course of the performance
36 1 ⁄ 2  I wander in the sky (Indian songs ) 2 voices, tone control K : 1972
U 1972 by Helga Hamm-Albrecht (mezzo-soprano) and Karl O. Barkey (tenor)
W : Helga Hamm-Albrecht and Karl O. Barkey		 51 ′ 30 ″ Can be performed alone or as part of the alphabet (No. 36) (then repeated several times). Twelve short texts from the Native American tradition become twelve songs. The first song only has a single note, each one adding another until the twelve- note series is complete.
•  Dream song
•  love song
•  War song
•  love song
•  Death song
•  Opening of the sun dance
•  Peruvian dance song
•  Song against fog
•  A song Nezahualcoyotl
•  Good weather song
•  love song
•  Song of a man who had a vision
37 Ylem 19 players / singers, tone control K : December 1972
U : March 9, 1973, by the London Sinfonietta under the direction of the composer in London
W : Simon Stockhausen 		26 ′ Stockhausen: “YLEM… is music that works best when the players have a telepathic connection with one another (they play with their eyes closed) and with a 'conductor' who listens with great concentration in the middle of the hall but does not otherwise take action. "
38 Inori Adoration for one or two soloists (dancers / mimes) and large or small orchestra or tape, tone control K : 1973
U : October 18, 1974, Donaueschingen		 70 ′ Formula composition; the formula here is also called Urgestalt . Composed prayer gestures by the two soloists. 60-part "chromatic tempo scale". A scale of 60 volume levels is realized by the number of musicians who play the respective tone. This means that the volumes are also linked to the spatial movements of the music. Melody, harmony and polyphony are developed in the course of the work.
38 1 ⁄ 2  Lecture on Hu for a singer K : 1974
U : October 18, 1974, Donaueschingen		 83 ′ musical analysis by Inori, should be performed in conjunction with Inori. “HU is the most sacred of all sounds. The sound HU is the origin and end of all sounds, be they human, bird, animal or thing ... "
39 Breathing gives life Choral opera with orchestra or tape, tone control K : 1974 (first part), 1976/77 (completion)
U : May 16, 1975 (first part), Hamburg; Continuations: May 9, 1977 Zagreb, May 22, 1977, Nice
W : Doris Stockhausen-Andreae (first part), Christel Stockhausen (continuations)		 53 ′ Text, choreography and music conceived as a “uniform ritual”. From sleep-like breathing noises, voices, words, songs and harmonious sentences develop.
40 Autumn music Musical theater for 4 players, tone control K : 1974
U : May 4, 1974 (Bremen)
W : Péter Eötvös , Joachim Krist, Suzee Stephens 		50 ′
• Nail up  a roof Duo with accompaniment Transition from synchronous to asynchronous striking, plus a melody
•  Break wood quartet dry branches are broken; the sound is amplified
•  Threshing trio partly silently miming
•  Leaves and rain duo Movement of a couple in the initially dry, later increasingly wet leaves
40 1 ⁄ 2  Leaves and rain Clarinet and viola, tone control K : 1974 11 ′ Final duet from autumn music , can be performed in concert

No. 41 to No. 46

No. Title
partial works		 Instruments Composed first
performance
dedication		 Duration Remarks
41 Music in the stomach 6 percussionists, 6 music boxes, tone control K : 1975
U : 1975 (Royan Festival) with Les Percussion de Strasbourg
W : Julika Stockhausen		 38 ′ Music theater (also, but not exclusively for children) about a bird figure Miron , in whose stomach there are music boxes. The focus is on 12 melodies that are assigned to the signs of the zodiac . The music boxes have rollers and 28, 36 and 50 slats, which are plucked by the rollers. The reel rotation time is typically 24 seconds; However, Stockhausen provides for changes to the mechanism that extend the period of rotation.
41 1 ⁄ 2  Zodiac - 12 melodies of the zodiac signs A melody and / or chord instrument K : 1974/75 26 ′ Instrumental version of the music box melodies
•  Aquarius
•  Pisces
•  Aries
•  Taurus
•  Gemini
•  Cancer
•  Leo
•  Virgo
•  Libra
•  Scorpio
•  Saggitarius
•  Capricorn
41 2 ⁄ 3  Zodiac for singing voice high soprano or high tenor and chord instrument K : 1974/75 26 ′
41 3 ⁄ 4  Zodiac for singing voice Soprano or tenor and chord instrument K : 1974/75 26 ′
41 4 ⁄ 5  Zodiac for singing voice Mezzo-soprano or alto or lower tenor and chord instrument K : 1974/75 26 ′
41 5 ⁄ 6  Zodiac for singing voice Baritone and accord instrument K : 1974/75 26 ′
41 6 ⁄ 7  Zodiac for singing voice Bass and chord instrument K : 1974/75 26 ′
41 7 ⁄ 8  Zodiac for chamber orchestra Clarinet, horn, bassoon, strings K : 1974/77
U : Octet of the Berliner Philharmoniker 		24 ′
41 8 ⁄ 9  Zodiac Clarinet and piano K : 1974/81 24 ′
41 9 ⁄ 10  Zodiac - trio version Clarinet, flute and piccolo, trumpet and piano, tone control K : 1974/83 29 ′
41 10 ⁄ 11  Zodiac - 2003 version Tenor or soprano and chord instrument, tone control K : 1974/2003
U : Kürten 2003		 30 ′
41 11 ⁄ 12  Five zodiac signs orchestra K : 1974/2004
U : November 28, 2004 in Bad Brückenau		 11 ′
41 12 ⁄ 13  Five more zodiac signs orchestra K : 1974/2007 11 ′ Completed the day before Stockhausen's death
1. ex 41 12 ⁄ 13  Taurus bassoon K : 1974/2007 4 ′
42 harlequin clarinet K : 1975
U : Cologne, March 7, 1976, Suzanne Stephens
W : Suzanne Stephens		 45 ′ Commissioned by the WDR. Staged music for a clarinetist who portrays a harlequin who successively assumes archetypal identities (e.g. playful constructor, lyric poet in love, etc.).
42 1 ⁄ 2  The little harlequin clarinet K : 1975 9 ′ Excerpt from Harlequin : The identity of the exuberant dancer .
43 Sirius Electronic music, optional + trumpet, soprano, bass clarinet, bass, tone control K : 1975–77
U August 8, 1977, Aix-en-Provence - world premiere of the complete version (in the years before that, different degrees of completion of the work were performed at different locations)		 96 ′ Produced with the funds of the Studio for Electronic Music (Cologne) . The middle section leads in a circle through four melodies that correspond to the seasons. They are each transformed and developed, in very detailed notation. The performance date determines where the circle is entered. Melodies from No. 41 1 ⁄ 2  Zodiac are used.
Beginning of the multiformal composition technique, in which formulas are filtered from a polyphonically applied "super formula", which are the basis for parts.
1. ex 43 Spring version
2nd ex 43 Summer version
3rd ex 43 Fall version
4th ex 43 Winter version
43 1 ⁄ 2  Aries Trumpet and Electronic Music K : 1977/80 15 ′ Detailed analysis in "Musical Metamorphosis" (Stockhausen, Texte 5, p. 701 ff)
43 2 ⁄ 3  Libra Bass clarinet and electronic music K : 1977
U : 1996 Copenhagen		 33 ′
43 3 ⁄ 4  Capricorn Bass and electronic music K : 1977/80
U : Orléans 1997		 27 ′
44 Amour clarinet K : 1974/1976
U : January 9, 1978 (Stuttgart) by Suzanne Stephens		 26 ′ five melodic pieces, thematizing Stockhausen's relationships.
•  Be happy again K : December 1974
W : Suzee (Suzanne) Stephens
•  Your angel is watching over you K : December 1976
W : Mary Stockhausen-Bauermeister
•  The butterflies are playing K : December 1976
W : Jaynee Stephens
•  A bird is singing at your window K : December 1976
W : Suzee Stephens
•  Four stars show you the way K : December 1976
W : Doris Stockhausen-Andreae		 The stars are the four children of Doris and Karlheinz: Suja, Christel, Markus and Majella
44 1 ⁄ 2  Amour flute K : 1976/81 29 ′
44 2 ⁄ 3  Four stars from Amour violoncello K : 1976/98 12 ′
44 3 ⁄ 4  Amour saxophone K : 1976/2003 29 ′
45 anniversary Orchestra, tone control K : 1977
U : October 10, 1977 ( Hanover ) under George Albrecht 		16 ′ Commissioned for the 125th anniversary of the Hanover Opera House. Based on a polyphonic formula "in the character of a hymn ".
46 In friendship clarinet K : July 24, 1977
W : Suzanne Stephens		 15 ′ 1978 further elaborated. Stockhausen gave a very detailed analysis and listening guide in a lecture in Mainz in 1980. The text is printed under the name Die Kunst zu Hör in Volume 5 of his texts on music.
46 1 ⁄ 2  In friendship flute K : 1977
U : August 6, 1977 by Lucille Goeres in Aix-en-Provence		 15 ′ The first performance of the flute version was also the first performance of the work
46 2 ⁄ 3  In friendship oboe 15 ′
46 3 ⁄ 4  In friendship bassoon 15 ′
46 4 ⁄ 5  In friendship Basset horn or bass clarinet 15 ′
46 5 ⁄ 6  In friendship violin 15 ′
46 6 ⁄ 7  In friendship viola 15 ′
46 7 ⁄ 8  In friendship Violoncello or double bass 15 ′
46 9 ⁄ 10  In friendship saxophone 15 ′
46 10 ⁄ 11  In friendship Trumpet in Eb with quart valve 15 ′
46 11 ⁄ 12  In friendship horn 15 ′
46 12 ⁄ 13  In friendship trombone 15 ′
46 13 ⁄ 14  In friendship tuba 15 ′
46 14 ⁄ 15  In friendship recorder 15 ′

Cadences

No. Title
partial works		 Instruments Composed first
performance
dedication		 Duration Remarks
o. no. Cadenzas for Mozart's Clarinet Concerto clarinet K : 1978
U : February 3, 1975 with the Südwestfunk Symphony Orchestra (conductor: K. Stockhausen, clarinet: Suzee Stephens), Baden-Baden.
o. no. Cadenzas for Mozart's Flute Concerto in G flute K : 1984/85
U : June 3, 1985 with the Freiburg Philharmonic Orchestra (conductor Eberhard Kloke , flute: Kathinka Pasveer ), Freiburg
W : Suzee Stephens
o. no. Cadenzas for Mozart's Flute Concerto in D flute K : 1984/85
U : April 20, 1985 with the Radio Kamer Orkest Hilversum (conductor Ernest Bour, flute: Kathinka Pasveer), Zaandam
W : Kathinka Pasveer
o. no. Cadenza for Leopold Mozart's Trumpet Concerto Trumpet K : June 12, 1984
U : June 20, 1984 with the Südwestfunk Symphony Orchestra (conductor: Martin Fischer-Dieskau , trumpet: Markus Stockhausen), Baden-Baden.
W : Markus Stockhausen
o. no. Cadenzas for Haydn's Trumpet Concerto Trumpet W : Markus Stockhausen
Cadence for the first movement K : 1983
U : February 13, 1983 with the Orchestra Regionale Toscana (conductor: Gerald Schwarz, trumpet: Markus Stockhausen), Florence
Cadence for the third movement K : 1985
U : June 1985 with the Freiburg Philharmonic Orchestra (conductor: Eberhard Kloke, trumpet: Markus Stockhausen), Freiburg

No. 47 to 80: light

The opera cycle light - the seven days of the week has a total duration of 29 hours.

No. 47: Course of the year (first act of Tuesday made of light )

No. title Instruments Composed first
performance
dedication		 Duration Remarks
47 Annual course Gagaku ensemble: dancers, 3 Shō , 3 Ryūteki , 3 Hichiriki , Gakuso , Biwa , Shōko , Kakko , Taiko K : 1977 on behalf of the Japanese National Theater
U : 1977, Tokyo by the Imperial Gagaku Ensemble
W : Jaynee Stephens		 61 ′ The staging has the year of the respective performance year as the center, which is marked on the stage floor. A procession moves along the digits.
Tenor, bass, modern orchestra, tape, tone control
optional 4 dancers / mimes, 1 actor / singer, 3 mimes, little girl, beautiful woman.
Modern orchestra consisting of 3 synthesizers, 3 piccolo flutes, 3 soprano saxonphones, electr. Harpsichord or synthesizer, guitar, 3 percussionists		 K : 1977/91
U : 1991 (Frankfurt)
47 1 ⁄ 2  The course of the year Modern orchestra, tape, tone control
optional 4 dancers / mimes, 1 actor / singer, 3 mimes, little girl, beautiful woman.
Modern orchestra consisting of 3 synthesizers, 3 piccolo flutes, 3 soprano saxonphones, electr. Harpsichord or synthesizer, guitar, 3 percussionists		 K : 1977/91 46 ′

No. 48 to 50: Thursday made of light

Thursday from light : opera in three acts, a greeting and a farewell for 14 musical performers (3 solo voices, 8 solo instrumentalists, 3 solo dancers), choir, orchestra and tapes

  • Thursday greetings
  • Act 1: Michael's youth
    • childhood
    • Mondeva
    • exam
  • Act 2: Michael's journey around the world
  • 3rd act: Michael's homecoming
    • festival
    • vision
  • Thursday farewell

Total duration 240 ′, composed 1978 to 1980, premiered March 15 and April 3, 1981 at La Scala in Milan

No. title Instruments Composed world
premiere		 Duration Remarks
48 Michael's trip around the earth Trumpet and orchestra, tone control K October 1977 to the end of August 1978
U 21 October 1978 in Donaueschingen (in concert), led by Karlheinz Stockhausen
W : Markus Stockhausen		 50 ′ Second act of Thursday made of light . Michael, represented by a trumpeter, climbs into the globe, which is turning eastward. In several stations he meets musicians who represent the world. Finally (on a signal from the basset horn) the globe rotates backwards and stops. Michael gets out and meets Eva, the basset horn player, and takes him away while dancing. Other instruments try to disturb the couple.
1. ex 48 Entrance and formula (from Michael's trip ) Trumpet, tone control K : 1978 2 ′ 30 ″
2nd ex 48 Halt (from Michael's trip ) Trumpet, double bass, tone control K : 1978 15 ′
3rd ex 48 Crucifixion (from Michael's journey ) Trumpet, basset horns, clarinet, horns, trombones, tuba, tone control K : 1978 18 ′
4th ex 48 Mission and Ascension (from Michael's journey ) Trumpet, basset horn, tone control K : 1978 18 ′
48 1 ⁄ 2  Thursday greetings (Michaels greetings) 8 brass instruments, piano, 3 percussionists K : 1978
U : March 15, 1981 Scala in Milan, director, Peter Eötvös		 11 ′ The title Michaels-Gruß is used when the piece is performed independently of the opera.
1. ex 48 1 ⁄ 2  Michael's reputation variable ensemble (8 orchestral instruments) K : 1978 2 ′
2. ex 48 1 ⁄ 2  Michael's reputation four trumpets K : 1978 2 ′
48 2 ⁄ 3  Soloist version of Michael's journey 1 trumpeter, 9 players (1 basset horn, 1 basset horn with bass clarinet, alto flute, trombone with euphonium, 2 synthesizer players, 2 percussionists) K : 1978/84 48 ′
49 Michael's youth Tenor, soprano, bass, trumpet, basset horn, trombone, piano / electric organ or synthesizer, 3 dancer mimes, tapes with choir and instruments, tone control K : February to August 1979
U : October 16, 1979 in Jerusalem (concert)		 64 ′ First act of Thursday made of light . Order: Recha Freier . Produced with the funds of the Studio for Electronic Music (Cologne) .
ex 49 Invisible choirs 16-channel a cappella recording K : July / August 1979
The tape was recorded and mixed with the WDR choir in August and September		 50 ′ The texts are sung in Hebrew and German and come from the Hebrew tradition
49 1 ⁄ 2  childhood Tenor, soprano, bass, trumpet, basset horn, trombone, dancer, tapes, tone control K : 1979
W : Recha Freier		 29 ′ First scene from Michael's youth . The plot shows strong echoes of Karlheinz Stockhausen's childhood and the fate of his parents.
1. ex 49 1 ⁄ 2  Dance, Luzefa! Basset horn or bass clarinet, tone control K : 1980 6 ′ from Michael's youth
2. ex 49 1 ⁄ 2  Bijou Alto flute, bass clarinet, tape K : 1980
U : 1996 in Huddersfield 		15 ′ from Michael's youth
49 2 ⁄ 3  Mondeva Tenor, basset horn + optional soprano, bass, trombone, mime, electric organ or synthesizer, tapes; Tone control K : 1978/1979 13 ′ Scene from Michael's youth . Michael falls in love with the star girl Mondeva.
49 3 ⁄ 4  exam Tenor, trumpet, dancer / piano, basset horn + optional “jury”: soprano, bass, dancer / mimes, 2 tapes; Tone control K : 1979
W : Majella Stockhausen		 22 ′ Scene from Michael's youth . Michael is taking a three-part exam for the high school of music. Majella played the piano in all performances until the score was published. The dedication took place on the 18th birthday.
ex 49 3 ⁄ 4  Piano piece XII ( exam from Thursday from light ) piano K : 1979/1983 22 ′
50 Michael's homecoming Tenor, soprano, bass, trumpet, basset horn, trombone, 2 soprano saxophones, electric organ or synthesizer, 3 dancers / mimes / old woman, choir and orchestra, tapes, tone control K : 1980 78 ′ 3rd act of Thursday made of light.
50 1 ⁄ 2  festival Tenor, soprano, bass, trumpet, basset horn, trombone, 2 soprano saxophones, electric organ or synthesizer, 3 dancers / mimes / old woman, choir and orchestra, tapes, tone control K : December 1979 to April 1980
U : June 14, 1980 in Amsterdam (concert), conductor: Peter Eötvös
W : Simon Stockhausen 		50 ′ First scene from Michael's homecoming . Simon (then 12 years old) played the soprano saxophone. Michael is portrayed by a tenor, trumpeter and dancer. Eva, represented by soprano, basset horn player and dancer, is holding a festival to celebrate Michael's return to his heavenly residence. The devil (trumpeting tap dancer) fights with Michael. Lucifer (bass) makes fun of everyone. but Michael drives him off in an exchange.
1. ex 50 1 ⁄ 2  Dragon fight Trumpet, trombone, electric organ or synthesizer, 2 dancers ad lib. / 1 percussionist ad lib., Tone control K : 1980 13 ′ from Michael's homecoming
2. ex 50 1 ⁄ 2  Boy duet two soprano saxophones or other instruments K : 1980 4 ′ from Michael's homecoming
3. ex 50 1 ⁄ 2  argument Tenor, bass, electric organ or synthesizer, tone control K : 1980 11 ′ from Michael's homecoming
50 2 ⁄ 3  vision Tenor, trumpet, Hammond organ or synthesizer, dancer, tape, optional shadow plays; Tone control K : November to Christmas 1980
U : As part of the overall premiere of the opera in Milan
Wolfgang Becker		 28 ′ second scene from Michael's homecoming . Wolfgang Becker from WDR supervised the world premiere of the opera technically and organisationally. Synopsis: Michael has a vision of seven moments in his life in shadow plays.
50 3 ⁄ 4  Thursday farewell (Michaels farewell) 5 trumpets (variants with multi-track recordings possible) K : 1980 11′ – 30 ′ variable The 5 trumpeters each repeat a term of the Michaels formula like a signal, interspersed with long pauses.

No. 51 to 54: Saturday of light

Saturday of light : opera in one greeting and four scenes for 13 musical performers (1 solo voice, 10 solo instrumentalists, 2 solo dancers), harmony orchestra, ballet or mimes / male choir with organ

  • Saturday greeting
  • 1st scene: Lucifer's dream
  • 2nd scene: Kathinka's singing as Lucifer's Requiem
  • 3rd scene: Lucifer's dance
  • 4th scene: Lucifer's farewell

Total duration 185 ′, composed 1981 to 1983, world premiere: May 25, 1984 in Milan

No. title Instruments Composed Duration Remarks
51 Lucifer's Dream or Piano Piece XIII Bass voice and piano, tone control K : May to September 1981
U : November 19, 1981 in Metz (concert performance) by Majella Stockhausen (piano) and Matthias Hölle (bass)
W : Majella Stockhausen on her 20th birthday		 36 ′ 1st scene from Saturday made of light . Lucifer dreams musical categories and dies a pseudo death due to the delightful enjoyment of a simple melody.
51 1 ⁄ 2  Piano piece XIII Piano, tone control K : 1981
U : 10 June 1982, Turin		 36 ′
51 2 ⁄ 3  Dream formula Basset horn, tone control K : 1981
U : January 29, 1983, Cologne by Suzanne Stephens
W : Suzanne Stephens for her birthday		 9 ′ linear summary of the five-layer Lucifer formula
52 Kathinka's singing as Lucifer's Requiem Flute and six percussionists or flute solo, tone control K : February, March 1983
U : October 15, 1983 in Donaueschingen (concert performance), Kathinka Pasveer (flute) and the Kolberg Percussion Ensemble
W : Kathinka Pasveer		 33 ′ 2nd scene from Saturday made of light
52 1 ⁄ 2  Kathinka's singing as Lucifer's Requiem Flute and electronic music, tone control K : 1982-83 33 ′
52 2 ⁄ 3  Kathinka's singing as Lucifer's Requiem Flute and multiples piano, tone control K : 1982-83 33 ′ not yet premiered
53 Lucifer's dance Bass or trombone or euphonium, piccolo trumpet, piccolo flute / harmony orchestra or symphony orchestra (and stilt dancers, tenzers, ballet or mimes in scenic performances), tone control K : May to September 1983
U : March 9, 1984 in Ann Arbor (concert performance) with Luis Maldonado (euphonium), Markus Stockhausen (piccolo trumpet), Kathinka Pasveer (piccolo flute), Laurence Kaptain (drums), Karlheinz Stockhausen ( Sound design)		 50 ′ 3rd scene from Saturday made of light . “Lucifer makes an orchestra look like a huge human face. The facial parts are composed of instrumental groups, which he brings into play in 10 dances - with individual meters and periods - one after the other. … In between there are 9 tutti dances in which the groups increasingly dance against each other. ”In the opera version, the dance is interrupted by an orchestra strike; it is played to the end in a concert performance.
1. ex 53 Left eyebrow dance Flutes and basset horn (or horns), drummer, synthesizer player K : 1983 not yet premiered
2nd ex 53 Right eyebrow dance Clarinets, bass clarinets, drummers, synthesizer players K : 1983/2003
U : Kürten 2003		 35 ′
3rd ex 53 Left eye dance Saxophone, drummer, synthesizer player K : 1983 20 ′
4th ex 53 Right eye dance Oboes, English horns, bassoons, drummer, synthesizer player K : 1983/1990 not yet premiered
5th ex 53 Left cheek dance Trumpets, trombones, drummers, synthesizer players K : 1983/1990 not yet premiered
6. ex 53 Right cheek dance Trumpets, trombones, drummers, synthesizer players K : 1983/1990 not yet premiered
7. ex 53 Wing dance Drummer, optional synthesizer player K : 1983/1990
U : September 26, 1988 in Paris by Andreas Boettger (drums) and Simon Stockhausen (synthesizer)		 7′30 ″
8. ex 53 Upper lip dance (protest) Piccolo trumpet, trombone or euphonium , 4 or 8 horns, percussionist, tone control (or solo for piccolo trumpet with tone control) K : 1983
U : May 16, 1984 in Milan, hall of the Amigi del Loggione by Markus Stockhausen (piccolo trumpet solo); October 18, 1985 in Donaueschingen (concert performance, with piccolo trumpet and ensemble)
W : Markus Stockhausen		 14′30 ″
9. ex 53 Tip of the tongue dance Piccolo flute, one dancer ad lib., 2 euphoniums or synthesizers, drummer ad lib., Tone control (or solo for piccolo flute with tone control) K : 1983
U : March 13, 1984 (Los Angeles) by Kathinka Pasveer (piccolo flute solo); September 27, 1986 in Bergisch Gladbach with Kathinka Pasveer and ensemble		 9 ′
10. ex 53 Chin dance Euphonium , drummer, tone control plus synthesizer player or alto trombones, tenor horns, tubas K : 1983/1989
K : 1989 in Salzburg		 10 ′
53 1 ⁄ 2  Saturday greeting (Lucifer greeting) 26 brass players and 2 percussionists K : 1984
U : May 25th to 31st daily in the Palazzo dello Sport , Milan as a production of Scala. Members of the University of Michigan Symphony Band , conducted by H. Robert Reynolds and Karlheinz Stockhausen.
W : H. Robert Reynolds		 8th' The title Lucifer Greeting is intended for performances independent of the opera. Four brass groups in black Lucifer costumes, in an elevated position and from the four cardinal points, play parts of the Lucifer, Eve and Michaels formulas.
54 Lucifer's farewell Male choir, organ, 7 trombones, (tape or live), tone control K : 1982
U : September 28, 1982 in Assisi , Handel Collegium Cologne , mastered by Dieter Gutknecht and Karlheinz Stockhausen
W : Francesco Siciliani		 58 ′ 4th scene from Saturday made of light .

No. 55 to 59: Monday of light

Montag aus Licht : Opera in three acts, a greeting and a farewell for 21 musical performers (14 solo voices, 6 solo instruments, 1 actor), choir (tape or live), 21 female actors (only in staged performances) , Children's choir, girls' choir, modern orchestra (3 synthesizer players, 1 percussionist, tape)

  • Monday greeting
  • 1st act: Eve's firstborn
    • In hope
    • brownie
    • Birth arias
    • Boys screaming
    • Lucifer's wrath
    • The big crying
  • Act 2: Eva's second birth
    • Girls procession
    • Fertilization with piano piece
    • Rebirth
    • Eve's song
  • 3rd act: Eva's magic
    • Embassy
    • The child catcher
    • kidnapping
  • Monday farewell

Total duration 278 ′, composed 1984–88, world premiere May 7, 1988; Milan

No. Title
partial works		 Instruments Composed Duration Remarks
55 Monday greeting (Eva greeting) Multiple basset horn and electric keyboard instruments (basset horn live with tape or only as tape), tone control K : 1986/88 34 ′
1. ex 55 Xi A melody instrument with micro tones , tone control K : 1986/88 6 ′ or 9 ′
2nd ex 55 Xi Basset horn, tone control K : 1986/88
U : 1988 in Paris		 9 ′
3rd ex 55 Xi Alto flute or flute, tone control K : 1986/88
U : 1987 in Siena (version for flute)		 6 ′
56 Eve's firstborn 3 sopranos, 3 tenors, bass, actor, choir (tape or live), 21 women actors, children's choir, modern orchestra (3 synthesizer players, 1 percussion, tape), tone control for staged performances K : 1987
U : April 7, 1988 in Cologne (concert performance) ad hoc ensemble, Andreas Boettger, Cologne Radio Choir, Children's Choir Radio Budapest, Zaans Kantatekoor, Cologne Radio Symphony Orchestra, conducted by Peter Eötvös; (scenic); same, Milan May 7th, 1988		 93 ′ 1st act of Monday made of light . Commissioned by the WDR.
ex 56 Birth festival on Monday out of light A cappella choir and tape, tone control K : 1987 68′30 ″ Choral music with sound scenes; Version of Eve's firstborn
Source of Life 19 ′ Choral music with sound scenes; Version of In Hope , Heinzelmännchen , Birth Arias
Child's play 19 ′ Choral music with sound scenes; Version of the boy shouting
Grief with humor 19 ′ Choral music with sound scenes; Version of the Great Wine
56 1 ⁄ 2  (+ 2 ⁄ 3 ) In hope (with brownies ) 3 sopranos, choir (tape or live), 21 female actors for staged performances, children's choir, modern orchestra (3 synthesizer players, 1 percussion, tape), tone control K : 1987 27 ′ Scene from Eve's firstborn
ex 56 1 ⁄ 2  Flautina Flute with piccolo and alto flute, tone control K : 1989
U : 1989 in Vienna 		6 ′
56 3 ⁄ 4  Birth arias 3 sopranos, 3 tenors, choir (tape or live), 1 synthesizer player, tape, tone control K : 1987 17 ′
1. ex 56 3 ⁄ 4  First birth aria 3 sopranos, choir (tape or live), 1 synthesizer player, tape, tone control 9 ′
2. ex 56 3 ⁄ 4  Second birth aria 3 tenors, choir (tape or live), 1 synthesizer player, tape, tone control 9 ′
56 4 ⁄ 5  (+ 5 ⁄ 6 ) Boy shouting with Lucifer's anger 3 sopranos, bass, actor, choir (tape or live), children's choir, modern orchestra (3 synthesizer players, 1 percussion, tape), tone control K : 1987 22 ′ Scene from Eve's firstborn
ex 5 ⁄ 6 Lucifer's wrath Bass, actor, synthesizer player, tape, tone control K : 1987 26 ′
56 6 ⁄ 7  The big crying 3 sopranos, bass, choir (tape or live), modern orchestra (3 synthesizer players, 1 percussion, tape), tone control K : 1987 10'30 ″ Scene from Eve's firstborn
57 Eva's second birth 7 solo choir boys, basset horn, 3 bassettines (2 basset horns and 1 vocal basset horn), choir (tape or live), 21 female actors, girls' choir, modern orchestra (3 synthesizer players, 1 percussion, tape) for staged performances, Tone control K : 1984-87 66 ′ 2nd act of Monday made of light
ex 57 A cappella version of the girls' procession Girls' choir a cappella and piano, tone control K : 1984-87 19 ′
57 1 ⁄ 2  (+ 2 ⁄ 3 ) Girls' procession and fertilization with piano piece - rebirth Girls' choir, piano, choir (tape or live), modern orchestra (3 synthesizer players, 1 percussion, tape), tone control K : 1984–87
U : 1988 in Cologne (concert)		 22'30 ″ 3 scenes from Eva's second birth
ex 57 2 ⁄ 3  Piano piece XIV Piano, tone control K : 1984-87 6 ′
57 3 ⁄ 4  Eve's song 7 solo choir boys, basset horn, 3 bassettines (2 basset horns and 1 vocal basset horn), choir (tape or live), modern orchestra (3 synthesizer players, 1 percussion, tape), optional female choir, tone control K : 1986
U : 1986 in Berlin (concert)		 43′30 ″ Scene from Eva's second birth
1. ex 57 3 ⁄ 4  The 7 songs of the days Singing voice (also children's
voice ) or singing voice and chord instrument
or melody instrument
or melody instrument + chord instrument
tone control		 K : 1986 9 ′
2. ex 57 3 ⁄ 4  Weekly circle Basset horn, synthesizer, tone control K : 1986/1988 25′30 ″
58 Eva's magic Basset horn, alto flute with piccolo, choir, children's choir, modern orchestra (3 synthesizer players, 1 percussion, tape), tone control K : 1984–1986
U : 1986 in Metz (concert)		 57 ′ 3rd act of Monday made of light
58 1 ⁄ 2  Embassy Basset horn, alto flute, choir, modern orchestra (3 synthesizer players, 1 percussion, tape); optionally without a choir or without a modern orchestra; Tone control K : 1984-85 27 ′ Scene from Eva's magic
58 1 ⁄ 2   ossia Ave Basset horn, alto flute, tone control K : 1984-85
U : 1985 in Milan		 23'30 ″ from Eva's magic
1 ex 58 1 ⁄ 2  Eva's mirror Basset horn, tone control K : 1984 4 ′
2 ex 58 1 ⁄ 2  Suzani Basset horn, tone control K : 1984 7 ′
3 ex 58 1 ⁄ 2  Susan's echo Alto flute, tone control K : 1985
U : 1988 in Paris		 7 ′
58 2 ⁄ 3  The child catcher Alto flute with piccolo, children's choir, modern orchestra (3 synthesizer players, 1 percussion, tape); optional basset horn; Tone control K : 1986 30′30 ″ Scene from Eva's magic with kidnapping
58 2 ⁄ 3  ossia The child catcher Alto flute with piccolo, optionally 2 synthesizer players and 1 percussionist; Tape, tone control K : 1986 32 ′
1. ex 58 2 ⁄ 3  kidnapping Piccolo flute, tone control K : 1986 12 ′
1. ex 58 2 ⁄ 3  ossia kidnapping Soprano saxophone solo or with electronic and concrete music; Tone control K : 1986 14 ′
59 Monday farewell (Eva farewell) Piccolo flute, multiple soprano voice, electric keyboard instruments, tape, tone control K : 1986/88 28 ′
1. ex 59 Acknowledgment Three players (e.g. alto flute, clarinet, piccolo trumpet), tone control K : 1989
U : Kürten 2004		 7 ′
2nd ex 59 Ypsilon A melody instrument with micro tones, tone control K : 1989 9 ′
3rd ex 59 Ypsilon Basset horn, tone control K : 1989 9 ′
4th ex 59 Ypsilon Flute, tone control K : 1989 9 ′

No. 60/61: Tuesday of light

Tuesday of light : opera in a greeting and two acts with farewell for 17 musical performers (3 solo voices, 10 solo instrumentalists, 4 dancers / mimes), actors, mimes, choir, modern orchestra and tapes

  • Tuesday greeting ( welcome with peace greeting )
  • 1st act: course of the year
  • 2nd act: Invasion - explosion with farewell

Total duration 156 ′, composed in 1977 and 1987. First performance May 28, 1993 in Leipzig

The first act (course of the year) bears work number 47 .

No. title Instruments Composed Duration Remarks
60 Tuesday greeting ( welcome with peace greeting ) Soprano / 9 trumpets, 9 trombones, 2 synthesizer players, choir, tone control K : 1987/88
U : 1988 in Cologne		 21 ′
1. ex 60 welcome Trumpets, trombones, 2 synthesizer players K : 1988 1'
2nd ex 60 Sukat Basset horn, alto flute, tone control K : 1988 8th'
61 Invasion ( explosion with farewell ) Solo soprano, tenor, bass / 3 trumpets (1st also solo flugelhorn), 3 trombones, 2 synthesizer players with 2 assistants, optional 6 tutti trumpets and 6 tutti trombones, choir, tape, tone control K : 1990/91
U : 1991 Frankfurt (concert)		 74 ′ 2nd act of Tuesday made of light
1. ex 61 Octophony tape K : 1990-91
U : Cologne, June 12, 1994		 69 ′ Electronic music from Tuesday from light . Produced in the studio for electronic music (Cologne) , commissioned by WDR.
2nd ex 61 Invasion signals Trombone and optional electronic music, tone control K : 1992
U : Witten, April 25, 1993, Michael Svoboda		 19 ′ or 30 ′ or 52 ′
61 1 ⁄ 2  Pietà Flugelhorn, soprano (optional), electronic music, tape, tone control K : 1990/91
U : 1991 Frankfurt (concert)		 28 ′
61 2 ⁄ 3  Tuesday farewell Choir, 1 player of electronic keyboard instruments, electronic music, tape, tone control K : 1990/91 23 ′
ex 61 2 ⁄ 3  Synthi-Fou ( piano piece XV ) 1 player electronic keyboard instruments, electronic music, tone control K : 1990/91
U : Cologne 1992		 23 ′

No. 62–64: Friday of Light

Friday of light : opera in one greeting, two acts and farewell for 5 musical performers (soprano, baritone, bass, flute, basset horn, children's orchestra, children's choir, 12 choir players) / 1 synthesizer player / 12 pairs of dancers Mimes, electronic music with sound scenes / sound control

  • Friday greeting
  • Friday temptation
  • Friday farewell

Total duration 290 ′, composed 1991 to 1994, world premiere September 12, 1996 in Leipzig

No. title Instruments Composed Duration Remarks
62 Friday greeting and Friday farewell Electronic music K : 1991/92/94 68′30 ″ + 78 ′ Greetings and farewells have the common title of space
63 Couples from Friday Soprano, Bass, Electronic Instruments, Tape, Tone Control K : 1992/99 65 ′
62 + 63 Electronic music with sound scenes from Friday from light 12 soprano and bass voices, electronic instruments, tape, tone control K : 1992-94
U : Cologne September 29, 1997		 145 ′ Commissioned by the WDR. Produced with the funds of the Studio for Electronic Music (Cologne)
63 1 ⁄ 2  Piano piece XVI Tape, string piano, optional electronic pianos, tone control K : 1992/99 7 ′
63 2 ⁄ 3  Two couples Electronic and concrete music, tone control K : 1992/99
U : Cologne 1997		 21 ′
64 Friday - temptation 5 musical performers (soprano, baritone, bass, flute, basset horn) / children's orchestra, children's choir, 12 choristers / 1 synthesizer player / 12 pairs of dancer-mimes (optionally in concert performance), electronic music with sound scenes, tape , Tone control K : 1991-94 145 ′
1 ex 64 Request Soprano, bass, flute, basset horn, electronic music, tone control K : 1994 12′30 ″
2 ex 64 Children's orchestra z. B. 16 instruments, soprano, flute, basset horn, a synthesizer player, electronic music, tone control K : 1994 6 ′
3 ex 64 Children's choir z. B. 24 voices, bass, a synthesizer player, electronic music, tone control K : 1994 9'30 ″
4 ex 64 Children's tutti Children's orchestra, children's choir, soprano, bass, flute, basset horn, a synthesizer player, electronic music, tone control K : 1994 7 ′
5 ex 64 approval Soprano, bass, flute, basset horn, electronic music, tone control K : 1994 9 ′
6 ex 64 case Soprano, baritone, flute, basset horn, electronic music, tone control K : 1994 18 ′
7 ex 64 Children's war Children's choir, a synthesizer player, electronic music, tone control K : 1994 12 ′
7 1 ⁄ 2  ex 64 Comet as a piano piece XVII Electronic piano, electronic and concrete music, tone control K : 1994/1999 15 ′
7 2 ⁄ 3  ex 64 comet A drummer, electronic and concrete music, tone control K : 1994/1999 15 ′
8 ex 64 Remorse Soprano, flute, basset horn, electronic music, tone control K : 1994 10 ′
9 ex 64 Elufa Basset horn, flute, electronic music ad lib., Tone control K : 1991
U : Weimar 1962		 7′30 ″
9 1 ⁄ 2  ex 64 Freia Flute, tone control K : 1991 7 ′
9 2 ⁄ 3  ex 64 Freia Basset horn, tone control K : 1991 7 ′
9 3 ⁄ 4  ex 64 Vibra-Elufa Vibraphone, tone control K : 2003
U : Kürten 2004		 7 ′
10 ex 64 Choir spiral 12 choristers, electronic music, tone control K : 1991 8th'

No. 65–71: Wednesday of Light

Wednesday from light : opera in one greeting, four scenes and farewell for 9 musical performers (flute, basset horn, trumpet, trombone, string quartet, bass with shortwave receiver), choir with singing conductor, orchestra (for staged performances: 13 instrumentalists) / 1 synthesizer player / 2 dancer mimes / electronic music (tapes) / sound control

  • Wednesday greeting
  • 1st scene: World Parliament
  • 2nd scene: orchestra finalists
  • 3rd scene: Helicopter string quartet
  • 4th scene: Michaelion
  • Wednesday farewell

Total duration 267 ′, composed 1995 to 1997. October 23 and 30, 2003 on the SWR TV program.

No. title Instruments Composed world
premiere		 Duration Remarks
65 Wednesday greeting Electronic music K : 1998
U : 2004 in Belfast		 54 ′
66 World parliament A cappella choir with a singing conductor, tone control K : 1995
U : Stuttgart 1996		 40 ′ 1st scene from Wednesday made of light
67 Light call Trumpet, basset horn, trombone or other instruments K : 1995 5 × 22 ′ or more z. B. as a pause on sound carrier
68 Orchestra finalists Orchestra (26 or 13 instrumentalists) / electronic and concrete music / tone control K : 1995/96
U : Amsterdam, June 14, 1996, Asko Ensemble		 2 × 45 ′, scenic 46 ′ 2nd scene from Wednesday made of light . Produced with the funds of the Studio for Electronic Music (Cologne)
1. ex 68 Oboe from orchestral finalists Oboe, electronic music / tone control K : 1995/96 5 ′
2nd ex 68 Violoncello from orchestra finalists Violoncello, electronic music / tone control K : 1995/96 3′30 ″
3rd ex 68 Clarinet from orchestral finalists Clarinet, electronic music / tone control K : 1995/96 3 ′
4th ex 68 Bassoon from orchestral finalists Bassoon, electronic music / tone control K : 1995/96 4 ′
5th ex 68 Violin from orchestral finalists Violin, electronic music / tone control K : 1995/96 3 ′
6. ex 68 Tuba from orchestra finalists Tuba, electronic music / tone control K : 1995/96 4 ′
7. ex 68 Flute from orchestral finalists Flute, electronic music / tone control K : 1995/96 5 ′
8th ex 68 Trumpet from orchestral finalists Trombone, electronic music / tone control K : 1995/96 4 ′
9. ex 68 Viola from orchestral finalists Viola, electronic music / tone control K : 1995/96 4'33 ″
10th ex 68 Trumpet from orchestral finalists Trumpet, Electronic Music / Sound Control K : 1995/96 4 ′
11th ex 68 Double bass from orchestral finalists Double bass, electronic music / tone control K : 1995/96 8th'
69 Helicopter string quartet String quartet, 4 helicopters, 4 cameras, 4 television transmitters, 4 × 3 microphones, 4 × 3 sound transmitters, clock track transmission system, 4 screen columns [right? × 4], 4 speaker groups [or? × 4] / tone controls K : 1992/93 31 ′ 3rd scene from Wednesday made of light
70 Michaelion ( Presidium - Luzikamel - Operator ) Choir / bass with shortwave receiver / flute, basset horn, trumpet, trombone / 1 synthesizer player, tape / 2 dancers / tone control (in scenic performance: small loudspeakers in niches and on balconies, 7 video cameras, 7 screens) K : 1997
U : Munich 1998		 53 ′ 4th scene from Wednesday made of light
1. ex 70 Thinki Flute, tone control K : 1997 4'30 ″
2nd ex 70 Bassetsu Basset horn, tone control K : 1997
U : Kürten 2004		 5'30 ″
3rd ex 70 Bassetsu Trio Basset horn, trumpet, trombone, tone control K : 1997
U : Cologne, November 11, 1998		 26 ′ The piece is "three-part polyphonic with many tempo changes, very different simultaneous speeds"
4th ex 70 People hear (from Wednesday from Light ) Vocal sextet, tone control K : 1997 26 ′ not yet premiered
70 1 ⁄ 2  Rotary wind quintet Wind quintet K : 1997
U : 1997 in Schloss Dyck 		8th'
71 Wednesday farewell Electronic and concrete music K : 1996 44 ′
72 Europe greeting Brass instruments and optional synthesizers K : 1992/2002 12′30 ″
73 Trumpetent 4 trumpeters, tone control K : 1995 16 ′
73 1 ⁄ 2  Wednesday formula 3 percussionists (metal, wood, skin), tone control K : 2004 23 ′
73 2 ⁄ 3  Piano piece XVIII (Wednesday formula) Electronic piano, tone control K : 2004
U : August 5, 2005 in Kürten		 12′12 ″
74 Litany 97 Choir and conductor K : 1997 23 ′

No. 75–80: Sunday of Light

Sunday of light : opera in five scenes and a farewell for 10 vocal soloists, boy's voice, four instrumental soloists, two choirs and two orchestras, electronic music, sound control

Performance on three consecutive days;

  • 1 day
    • 1st scene: lights - water (Sunday greeting) (51 ′)
    • 2nd scene: angel processions (40 ′)
  • 2 day
    • 3rd scene: light pictures (40 ′)
    • Break
    • 4th scene: Fragrances - characters (57 ′)
  • 3rd day
    • 5th scene: Hoch-Zeiten (orchestral version, then choir version) (35 ′)
    • Break
    • 5th scene: Hoch-Zeiten (choir version, then orchestral version) (35 ′)
    • Sunday farewell (35 ′)

Total duration 278 ′, composed 1998 to 2003, 23 and 30 September 2007 in the TV program of the SWR

No. title Instruments Composed world
premiere		 Duration Remarks
75 Lights - water (Sunday greeting) Soprano, tenor, orchestra with synthesizer, tone control K : 1998/99
U : Donaueschingen 1999		 51 ′
76 Angel processions A cappella choir K : 2000
U : November 9, 2002 in Amsterdam		 40 ′ 2nd scene from Sunday made of light
77 Light pictures Basset horn, flute with ring modulation, tenor, synthesizer, light image (optional), tone control K : 2002/2003
U : October 16, 2004 in Donaueschingen		 42 ′ 3rd scene from Sunday made of light
78 Fragrances - signs 4 singing voice, boy's voice, synthesizer, light image (optional), tone control K : 2002
U : August 29, 2003 in Salzburg		 57 ′ 4th scene from Sunday made of light
1. ex 78 Cuchulainn (Monday scent) Soprano, synthesizer, tone control K : 2002 4 ′
2nd ex 78 Kyphi (Tuesday scent) Tenor, bass, synthesizer, tone control K : 2002 5 ′
3rd ex 78 Mastic (Wednesday scent) Soprano, tenor, baritone, synthesizer, tone control K : 2002 4 ′
4th ex 78 Rosa Mystica (Thursday scent) Tenor, synthesizer, tone control K : 2002 7 ′
5th ex 78 Tate Yunanaka (Friday Scent) Soprano, baritone, synthesizer, tone control K : 2002 4 ′
6. ex 78 Ud (Saturday scent) Bass, synthesizer, tone control K : 2002 4 ′
7. ex 78 Incense (Sunday scent) Soprano, tenor, synthesizer, tone control K : 2002 8th'
8. ex 78 Boy scent Alto, synthesizer, vocal sextet, tone control K : 2002 7 ′
9. ex 78 Heaven scent Boy's voice, alto, synthesizer + vocal sextet or tape, tone control K : 2002 8th'
79 High times Choir and orchestra, tone control K : 2001/2002
U : February 2, 2003 in Las Palmas 		2 × 35 ′ 5th scene from Sunday made of light
80 Sunday farewell Electronic music (5 synthesizers live or tape) K : 2001/2002
U : Kürten 2003		 35 ′
80 Sunday farewell as a piano piece XIX 1 synthesizer player and tape, tone control K : 2001/2003 35 ′ not yet premiered
80 1 ⁄ 2  Rays 1 percussionist and 10-channel sound recording, tone control K : 2002
U : Laszlo Hudacsek, ZKM Karlsruhe on December 4, 2009		 35 ′

No. 81 to No. 101 sound - the 24 hours of the day

No. title Instruments Composition
premiere		 Duration Remarks
81 Sound - 1st hour: Ascension Organ or synthesizer, soprano or tenor, tone control K : 2004/2005
U : May 5, 2005, Milan Cathedral 		37 ′
82 Sound - 2nd hour: joy two harps, tone control K : 2005
U : June 7, 2006, Milan Cathedral		 41 ′
83 Sound - 3rd hour: Natural durations 1–24 Piano, tone control K : 2005/2006
U : 1: February 23, 2006, New York; 2–15: July 12, 2006, Kürten;		 140 ′
84 Sound - 4th hour: Heaven's door 1 drums and 1 little girl, tone control K : 2005
U : June 13, 2006, Lugo (Emilia-Romagna) 		28 ′
85.1 Sound - 5th hour: harmonies Bass clarinet, tone control K : 2006
U : July 11, 2007, Kürten		 15 ′
85.2 Sound - 5th hour: harmonies Flute, tone control K : 2006
U : July 13, 2007, Kürten		 15 ′
85.3 Sound - 5th hour: harmonies Trumpet, tone control K : 2006
U : 2nd August 2008, Royal Albert Hall (London)		 16 ′
86 Sound - 6th hour: Beauty Bass clarinet, flute, trumpet, tone control K : 2006
U : October 5, 2009 (Lisbon)		 30 ′
87 Sound - 7th hour: balance Bass clarinet, English horn, flute, tone control K : 2007
U : August 22, 2008 (Cologne)		 30 ′
88 Sound - 8th hour: happiness Bassoon, English horn, oboe, tone control K : 2007
U : May 8, 2010 (Cologne)		 30 ′
89 Sound - Lesson 9: Hope Violoncello, viola, violin, tone control K : 2007
U : August 31, 2008 (Cologne)		 35 ′
90 Sound - 10th hour: shine Bassoon, viola, clarinet, oboe, trumpet, trombone, tuba, tone control K : 2007
U : June 19, 2008 (Amsterdam)		 35 ′
91 Sound - Hour 11: Loyalty Bass clarinet, basset horn, small clarinet, tone control K : 2007
U : May 8, 2010 (Cologne)		 30 ′
92 Sound - 12th hour: awakening Violoncello, trumpet, soprano saxophone, tone control K : 2007
U : October 13, 2009 (Brussels)		 30 ′
93 Sound - 13th hour: Cosmic Pulses Electronic music, tone control K : 2007
U : May 7, 2007 (Rome)		 32 ′
94 Sound - Hour 14: Havona Bass and electronic music, tone control K : 2007
U : January 10, 2009 (Paris)		 24'10 ″ Layers 24, 23, 22 from Cosmic Pulses
95 Sound - Hour 15: Orvonton Baritone and electronic music, tone control K : 2007
U : May 8, 2010 (Cologne)		 24 ′ Layers 21, 20, 19 from Cosmic Pulses
96 Sound - Hour 16: Uversa Basset horn and electronic music, tone control K : 2007
U : May 8, 2010 (Cologne)		 22'40 ″ Layers 18, 17, 16 from Cosmic Pulses
97 Sound - Hour 17: Nebadon Horn and electronic music, tone control K : 2007
U : May 8, 2010 (Cologne)		 21'40 ″ Layers 15, 14, 13 from Cosmic Pulses
98 Sound - Hour 18: Jerusem Tenor and electronic music, tone control K : 2007
U : May 8, 2010 (Cologne)		 20'40 ″ Layers 12, 11, 10 from Cosmic Pulses
99 Sound - Hour 19: Urantia Soprano and electronic music, tone control K : 2007
U : November 8, 2008, Queen Elizabeth Hall (London)		 19'40 ″ Layers 9, 8, 7 from Cosmic Pulses
100 Sound - 20th hour: Edentia Soprano saxophone and electronic music, tone control K : 2007
U : August 6, 2008, Norddeutscher Rundfunk Rolf-Liebermann-Studio K-75 (Hamburg)		 18'40 ″ Layers 6, 5, 4 from Cosmic Pulses
101 Sound - Hour 21: Paradise Flute and electronic music, tone control K : 2007
U : August 24, 2009 Laeiszhalle (Hamburg)		 17 ′ Layers 3, 2, 1 from Cosmic Pulses

literature

  • Christoph von Blumröder : The foundation of the music of Karlheinz Stockhausen . In: Hans Heinrich Eggebrecht (Ed.): Archives for musicology . Supplement 32. Steiner, Stuttgart 1993.
  • Rudolf Frisius: Karlheinz Stockhausen I: Introduction to the Complete Works; Conversations with Karlheinz Stockhausen . Schott Musik International, Mainz 1996, ISBN 3-7957-0248-8 .
  • Rudolf Frisius: Karlheinz Stockhausen II: The Works 1950–1977; Conversation with Karlheinz Stockhausen, "Things are looking up" . Schott Musik International, Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto 2008, ISBN 978-3-7957-0249-6 .
  • Michael Kurtz: Stockhausen - a biography . Bärenreiter, Kassel, Basel 1988, ISBN 3-7618-0895-X .
  • Herman Sabbe: The unity of the Stockhausen time ...: New possibilities of understanding serial development based on the early work of Stockhausen and Goeyvaerts. Shown on the basis of Stockhausen's letters to Goevaerts . In: Heinz-Klaus Metzger and Rainer Riehn (eds.): Music concepts . 19: Karlheinz Stockhausen:… how time passed…. Edition Text + Criticism, München 1981, p. 5-96 .
  • Karlheinz Stockhausen: Texts on Music 1. Essays 1952–1962 on the theory of composing . Ed .: Dieter Schnebel. M. DuMont Schauberg, Cologne 1963.
  • Karlheinz Stockhausen: Texts on Music 2. Essays 1952–1962 on musical practice . Ed .: Dieter Schnebel. DuMont Schauberg, Cologne 1964.
  • Karlheinz Stockhausen: Texts on Music 3. Introductions and projects, courses, programs, points of view, secondary notes . Ed .: Dieter Schnebel. DuMont Schauberg, Cologne 1971, ISBN 3-7701-0493-5 .
  • Karlheinz Stockhausen: Texts on Music 6: 1977–84: Interpretation. Ed .: Christoph von Blumröder. DuMont Buchverlag, Cologne 1989.
  • Karlheinz Stockhausen: Towards a Cosmic Music. Texts selected and translated . Ed .: Tim Nevill. Element Books, Longmead, Shaftesbury, Dorset 1989.
  • Karlheinz Stockhausen: Texts on the music 7 . Ed .: Christoph von Blumröder. Stockhausen-Verlag, Kürten 1998.
  • Karlheinz Stockhausen: Texts on the music 8 . Ed .: Christoph von Blumröder. Stockhausen-Verlag, Kürten 1998.
  • Karlheinz Stockhausen: Texts on the music 9 . Ed .: Christoph von Blumröder. Stockhausen-Verlag, Kürten 1998.
  • Robin Maconie: The Works of Karlheinz Stockhausen . Oxford University Press, London and New York 1976, ISBN 0-19-315429-3 (With a foreword by Karlheinz Stockhausen).
  • Robin Maconie: Other Planets: The Music Of Karlheinz Stockhausen . Scarecrow Press, 2005, ISBN 0-8108-5356-6 .

Web links

Individual evidence

  1. ↑ Blumröder Foundation , p. 79
  2. ↑ Blumröder Foundation , p. 80
  3. ↑ Stockhausen Texte 4 , p. 32ff
  4. ↑ Stockhausen Texte 4 , p. 41ff
  5. ↑ Stockhausen Texte 4 , p. 32ff
  6. ↑ Kurtz, Biography , p. 48
  7. ↑ Stockhausen Texte 4 , p. 46ff
  8. ↑ Blumröder Foundation , p. 32ff
  9. ↑ Stockhausen Texte 4 , p. 46
  10. ↑ Stockhausen Texte 2 , p. 11f
  11. ↑ Detailed analysis in Blumröder Foundation , p. 44ff
  12. ↑ Stockhausen Texte 4 , p. 51
  13. ↑ Sabbe Unity , pp. 21ff
  14. ↑ Sabbe Unity , pp. 40ff
  15. ↑ Blumröder Foundation p. 92f
  16. ↑ Stockhausen, booklet to the CD of the Stockhausen publishing house
  17. ↑ Stockhausen Texte 4 , p. 52ff
  18. ↑ Sabbe Unity , pp. 21ff
  19. ↑ Blumröder Foundation , p. 79ff
  20. ↑ Stockhausen Texte 4 , p. 55
  21. ↑ Stockhausen Texts 2 pp. 13-18
  22. ^ Richard Toop, supplement to CD WERGO WER 67172: recherche with the ensemble
  23. ↑ Stockhausen Texte 3 , p. 12f
  24. ↑ Blumröder, Foundation , p. 97ff
  25. ↑ Paul Attinello on the versions
  26. ↑ Stockhausen Texte 2 , pp. 20f
  27. ↑ Blumröder Foundation , p. 102ff
  28. ↑ Stockhausen Texte 2 p. 22 ff
  29. ↑ Stockhausen Texte 2 , p. 46ff
  30. ↑ Stockhausen Texte 1 , pp. 235–37
  31. ↑ Stockhausen Texte 1 , p. 99ff
  32. ↑ Stockhausen, Texts 2 p. 71f
  33. ↑ Stockhausen Texte 2 , p. 69ff
  34. ↑ Stockhausen Texte 2 , p. 49f
  35. ↑ Stockhausen Texte 2 , p. 51ff
  36. ↑ Stockhausen Texte 2 , p. 58ff
  37. ↑ http://www.hifi-forum.de/viewthread-199-163.html
  38. ↑ Stockhausen Texte 2 , p. 73ff
  39. ↑ Stockhausen Texte 2 , p. 102f
  40. ↑ Stockhausen Texts 2 p. 101
  41. ↑ Stockhausen Texte 3 p. 25ff
  42. ↑ Maconie Other Planets , pp. 289 f
  43. ↑ Blumröder Foundation , p. 158
  44. ^ Frisius introduction , p. 187
  45. ↑ Stockhausen Texte 2 p. 104f
  46. ↑ Stockhausen Texte 3 p. 28ff
  47. ↑ Stockhausen Texte 2 S 107 ff. Contains the full score
  48. ↑ Stockhausen Texte 2 p. 130ff
  49. ↑ Stockhausen Texte 3 p. 31ff
  50. ↑ Conversation in Frisius Introduction, p. 184
  51. ↑ http://www.independent.co.uk/news/obituaries/karlheinz-stockhausen-composer-acclaimed-as-a-genius-for-his-work-in-electronic-music-764099.html
  52. ↑ Stockhausen Texte 3 p. 40 ff
  53. ^ Frisius introduction , pp. 205ff
  54. ↑ Stockhausen Texte 3 p. 57ff
  55. ↑ Stockhausen Texte 3 p. 51ff
  56. ↑ Stockhausen Texte 3 p. 51ff
  57. ^ Text by Robert Worby at Stockhausen-Verlag (English)
  58. ↑ Stockhausen Texte 3 , p. 66ff
  59. ↑ Stockhausen Texte 3 , p. 72ff
  60. ↑ [1]  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Dead Link / www.tfront.com  
  61. ↑ Stockhausen Texte 3 , pp. 85ff
  62. ↑ Stockhausen Texte 3 p. 75 ff
  63. ↑ a b Frisius introduction , p. 273 ff
  64. ↑ Stockhausen Texte 3, p. 92ff
  65. ↑ Rudolf Frisius: From the inside and outside of the sounds
  66. ↑ Stockhausen, Texte 5, pp. 35ff
  67. ↑ Stockhausen, Texte 4, p. 78 ff
  68. ↑ Stockhausen in an interview with Peter Heyworth, in texts 4 , p. 86
  69. ↑ Stockhausen, Texte 4, p. 78 ff
  70. ↑ Stockhausen, Texte 5, pp. 35ff
  71. ↑ Stockhausen in an interview with Peter Heyworth, in texts 4 , p. 88
  72. ^ Stockhausen, Texte 3, p. 102ff
  73. ↑ Stockhausen Texte 4, p. 106ff
  74. ^ Frisius introduction , p. 83ff
  75. ↑ Stockhausen Texte 3 , p. 108 ff
  76. ↑ Stockhausen Texte 5 , p. 42
  77. ↑ Stockhausen Texte 5 , p. 43f
  78. ↑ Stockhausen Texte 3 , p. 121 ff
  79. ↑ Stockhausen Texte 3 , p. 123 ff
  80. ↑ Analysis by Jerome Kohl (en), PDF ( Memento of the original from August 15, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www20.brinkster.com
  81. ↑ Kurtz, Biography , p. 213 ff
  82. ↑ Stockhausen Texte 4 , p. 115 f
  83. ↑ Stockhausen Texte 3 , p. 127ff
  84. ↑ Stockhausen Texte 4 , p. 114
  85. ↑ Illustration in Frisius Introduction p. 22
  86. ↑ Stockhausen Texte 4 , p. 116ff
  87. ↑ Stockhausen Texte 3 , p. 118
  88. ↑ Stockhausen Texte 4 , pp. 118f
  89. ↑ Stockhausen Texte 4 , pp. 119f
  90. ↑ Stockhausen Texte 4 , pp. 120ff
  91. ↑ Stockhausen Texte 4 , p. 122
  92. ↑ Stockhausen Texte 4 , pp. 123f
  93. ↑ Stockhausen Texte 4 , p. 124f
  94. ↑ Stockhausen Texte 4 , p. 125ff
  95. ↑ Stockhausen Texte 4 , p. 128
  96. ↑ Stockhausen Texte 4 , p. 365f
  97. ↑ Stockhausen, Texte 4 , pp. 119f
  98. ↑ Stockhausen Texte 4 , p. 367
  99. ↑ Stockhausen Texte 4 , p. 173
  100. ↑ Stockhausen Texte 3 , p. 143ff
  101. ↑ Stockhausen Texte 4 , p. 152
  102. ↑ Stockhausen Texte 4 , p. 155ff
  103. ↑ Stockhausen Texte 4 , pp. 170ff
  104. ↑ Stockhausen Texte 4 , p. 181ff
  105. ↑ Blumröder Foundation , p. 161f
  106. ↑ Stockhausen Texte 4 , p. 181ff
  107. ↑ Stockhausen Texte 4 , p. 200ff
  108. ↑ Stockhausen Texte 4 , p. 212f
  109. ↑ Stockhausen Texte 4 , p. 215ff
  110. ↑ Inori video clip with commentary by Stockhausen ( MOV ; 7.7 MB)
  111. ↑ K. Pasveer introduces the Inori formula ( MOV ; 4.3 MB)
  112. ↑ K. Pasveer introduces the prayer gestures ( MOV ; 4.7 MB)
  113. ↑ Stockhausen Texte 4 , p. 241f
  114. ↑ Stockhausen Texte 4 , p. 243ff
  115. ↑ Stockhausen Texte 4 , p. 246f
  116. ↑ Stockhausen Texte 4 , p. 248ff
  117. ^ Maconie Works , p. 322
  118. ↑ Stockhausen Texte 4 , pp. 290ff
  119. ↑ Frisius Introduction , p. 23 (sheet music example)
  120. ↑ Stockhausen Texte 4 , p. 300
  121. ↑ Stockhausen Texte 4 , pp. 301ff
  122. ↑ Frisius introduction p. 51 ff.
  123. ↑ Stockhausen Texte 5 , p. 701ff
  124. ↑ Stockhausen Texte 4 , p. 330 ff
  125. ↑ Suzee's younger sister
  126. ↑ Stockhausen Texte 4 , p. 341 ff
  127. ↑ Stockhausen Texts 4 , p. 345
  128. ↑ Stockhausen Texte 5 , p. 669 ff
  129. ↑ Stockhausen Texte 5, p. 656
  130. ↑ Stockhausen Texte 5 , p. 657
  131. ↑ Stockhausen Texte 5 , p. 657
  132. ↑ Stockhausen Texte 5 , p. 658
  133. ↑ Stockhausen Texte 5 , p. 659
  134. ↑ Archived copy ( Memento of the original dated December 24, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / home.swipnet.se
  135. ↑ Stockhausen Texte 4 , p. 346 ff
  136. ^ Stockhausen: Texts 5 , p. 183
  137. ^ Stockhausen: Texts 5 , pp. 337ff
  138. ^ Stockhausen: Texts 5 , p. 183f
  139. ↑ Stockhausen: Texts 5 , pp. 201f
  140. ^ Stockhausen: Texts 5 , pp. 184f
  141. ^ Stockhausen: Texts 5 , p. 240ff
  142. ^ Stockhausen: Texts 5 , pp. 204ff
  143. ↑ Program of the SHMF 1999 in the focus karlheinz stockhausen , July 28-30, 1999, p. 4.
  144. ↑ Stockhausen, Texte 5 , p. 410 ff
  145. ↑ Stockhausen, texts 5 , p. 412 ff
  146. ↑ Stockhausen, Texts 5 , p. 419 ff
  147. ↑ Stockhausen, Texts 5 , p. 415 ff
  148. ↑ Stockhausen, Texte 5, pp. 187ff
  149. ↑ Stockhausen, Texts 5 , pp. 525ff
  150. ↑ Stockhausen, Texts 5 , p. 531
  151. ↑ Stockhausen, Texts 5 , pp. 532ff
  152. ↑ Stockhausen, texts 5 , p. 548ff
  153. ↑ Stockhausen, texts 5 , p. 580ff
  154. ↑ Stockhausen, Texte 5 , p. 608
  155. ↑ Stockhausen, Texte 5 , p. 609ff
  156. ↑ Stockhausen, Texte 5 , p. 617ff
  157. ↑ Stockhausen, Texte 5 , p. 514 ff
  158. ↑ Stockhausen, Texte 5 , p. 636ff
  159. ^ Quote from Karlheinz Stockhausen in: SHMF program booklet. “In the focus of karlheinz stockhausen”. 28-30 July 1999, p. 34.
  160. ↑ http://www.stockhausen.org/STRAHLEN_12.09.html