Piano pieces (Stockhausen)

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The German composer Karlheinz Stockhausen wrote 19 works with the title Piano Piece , the last five of which, however , were composed for the synthesizer instead of for the piano , which Stockhausen saw as a continuation of the piano. Stockhausen was one of the most uncompromising representatives of new music of the second half of the twentieth century and probably its most famous German composer. He is primarily associated with electronic music , the development of which he promoted in the 1950s and 1960s. In his complete oeuvre comprising 101 compositions, the 14 piano pieces written for the piano represent an important counterbalance: he himself referred to the piano pieces as “my drawings”. Stockhausen's piano pieces often sparked scandals when they were first performed, especially piano pieces I to XI from the 1950s . But they have now become standard works of modern piano literature. Many pianists have some in their repertoire, they are regularly analyzed in musicological seminars and are often chosen as compulsory exam or competition items for pianists. The last work in the series, Piano Piece XIX , has not yet premiered.

Overview

List of piano pieces
No. (name) Plant No. Composed Duration
I. 2 1952 4 ′
II 2 1952 1'
III 2 1952 30 ″
IV 2 1952 2 ′
V 4th 1954 5 ′
VI 4th 1954 25 ′
VII 4th 1954 8th'
VIII 4th 1954 2 ′
IX 4th 1954-1961 12 ′
X 4th 1954-1961 25 ′
XI 7th 1956 15 ′ (variable)
XII (exam) from 49¾ 1979 22 ′
XIII (Lucifer's Dream) from 51½ 1981 36 ′
XIV (birthday formula) from 57⅔ 1984 6 ′
XV (Synthi-Fou) from 61⅔ 1984 23 ′
XVI from 63½ 1995 7 ′
XVII (comet) from 64 1994/99 15 ′
XVIII (Wednesday formula) 73⅔ 1994/99 12 ′
XIX (Sunday farewell) 80 2001/03 35 ′

Based on four short pieces, composed between February and June 1952, Stockhausen later formulated a plan for a large cycle of 21 piano pieces, which was to consist of units of 4 + 6 + 1 + 5 + 3 + 2 pieces. Between 1954 and 1955 he composed the second group of six works and the individual piano piece XI in 1956. However, piano piece VI was subsequently revised several times, and piano pieces IX and X were not completed until 1961. From 1979 he resumed the composition of piano pieces as part of his opera project Licht and completed eight more, but apparently gave up the plan for a cycle of 21 pieces. The works from piano piece XV onwards were composed for the synthesizer or similar electronic instruments. The length of the pieces varies considerably, from less than half a minute for piano piece III to about half an hour for piano pieces VI, X, XIII and XIX .

The list of piano pieces falls into two clearly differentiated groups of works: Piano Pieces I to XI , composed up to 1961 , which form the beginning of the aforementioned unfinished large cycle of 21 pieces, and Piano Pieces XII to XIX , composed from 1979 to 2003, which are parts that can be performed separately of the opera cycle Licht .

The piano pieces I to IV , summarized as Work No. 2, were written in 1952 before Stockhausen's first experience with electronic music . At this point in time, the total organization of the musical parameters was an important concern, but this was not possible with conventional instruments for the timbres . Before Stockhausen could take the logical step to electronic music, the composition for the piano as an instrument that was to a certain extent neutral in terms of tone color was a way out. In this sense, the piano pieces are his “drawings”, in contrast to the electronic or orchestral “paintings”. At the same time, however, Stockhausen (according to some analyzes) anticipated approaches to the synthesis of sounds by layering individual tones with individual duration and volume, especially in Piano Piece II and Piano Piece III .

The piano pieces V to X , published under the common work number 4, were written immediately after or during the work on the two electronic studies I and II . Stockhausen sees this step as a reaction to experiences with electronic music:

“If, after one and a half years of working exclusively on electronic compositions, I am now working on piano pieces at the same time, I do so because, with the strictest structural composition, I have encountered essential musical phenomena that cannot be measured. [...] Above all, it is about conveying a new sense of time in music, whereby the infinitely fine 'irrational' nuances and movements and shifts of a good interpreter sometimes help achieve the goal more than a centimeter ruler. "

So Stockhausen consciously uses the realities of a human interpreter. At the same time and in connection with this, he also thematizes the realities of the piano as an instrument, for example through the compositional use of resonating strings in piano piece VII .

Piano Piece XI goes one step further in that it relies on the interpreter's unintentional intuition in the choice of the arrangement of the components of the work. Stockhausen writes in the playing instructions for piano piece XI :

“The player looks unintentionally at the sheet of paper and starts with whatever group he saw first; He plays these at any speed, […], basic volume and type of attack. When the first group is over, he reads the following game names for speed (T o ), basic volume and touch, looks unintentionally to any of the other groups and plays them according to the three names. "

In Stockhausen's compositional style of these years, two typical opposing motivations were repeatedly found:

  • On the one hand, despite the apparently constructivist approach, he is always concerned with the auditory impression and the dramaturgy of the pieces. These are therefore not to be understood as algorithmic music that is given its final form by unwinding the “holy” set of rules once it has been determined. Rather, he designed his rules in such a way that they gave him the freedom to make detailed compositional decisions, and he also took the freedom to swap, change, and add notes if the result better suited his ideas.
  • On the other hand, the constructivist procedures were also a certain end in themselves in the sense of a playful examination of them and their recognizability or just-no-longer-recognizability in the sound result. "Cross Game" and "game" are two of his early works, and Stockhausen explicitly to the Glass Bead Game by Hermann Hesse relative, with whom he was in correspondence contact. For him, the “well-constructed music” represented the cosmos; it was religiously motivated and could be grasped meditatively.

Rhys Chatham writes about the early piano pieces: “The melody, the rhythm and the structure are complex (extremely complex), but also elegant and beautiful. Everything works musically. It's about perfection. I was not surprised when I read that when Stockhausen was around 20 years old he played the piano in a bar. This earthiness that he had with music is clearly evident in his compositions ”.

Since the 1970s, Stockhausen has mostly composed according to the formula composition he developed . Although this method of composition still makes use of serial techniques , in contrast to earlier serial works it relies on clearly audible, often almost didactically presented thematic processes. This also applies to piano pieces XIII to XIX , which all come from the opera cycle Licht or are derived from parts of it.

The entire material of the light cycle comes from three melodic strands, which Stockhausen called formulas and which are each identified with one of the three archetypal protagonists of light : Michael, Eva and Lucifer. In addition to the basic melody, each line is interrupted by inserted ornaments and soft noises. These strands are overlaid to form a contrapuntal weave that Stockhausen calls the super formula . The super formula is used at all levels of the composition, from the background texture of the entire cycle down to the details of individual scenes. The structure and character of the piano pieces derived from the Licht operas therefore depend on the particular configuration of the segments to which they refer.

Piano pieces I – IV: From selective music to group composition

The first four piano pieces mark a stage in Stockhausen's development from selective music to group composition . They were composed in the order III – II – IV – I in 1952, the first two (originally simply called A and B ) in February, the other two before June. They were published as Work No. 2 and dedicated to the Belgian pianist Marcelle Mercenier , who played them at the world premiere in Darmstadt on August 21, 1954.

Stockhausen writes that the audience turned the premiere into a rarely intense whistle concert. As one of “the many ways to get to this music”, Stockhausen suggests that the listener “should pay particular attention to when and how pauses are composed, how differently long and how differently quiet you experience them - depending on whether you hear loud or soft sounds whether dense or loose groups of notes can be heard before and after the break ”.

It is noticeable that none of the four pieces have articulation or pitch instructions noted. The instructions that go beyond the pitch set only include dynamics and pedaling rules .

Analyzes of the compositional technique of these pieces are almost exclusively dependent on the notes themselves, since (unlike many other of his works) no detailed sketch material is available for them.

Piano piece I

The first 6 groups (= bars) of piano piece I ; the groups already appear clearly differentiated from one another in the score. The first group is divided into two sub-groups due to the dynamics and rhythm. The beginning of the second group completes the upward movement of the first group and opposes it with a fast downward movement. The third and fifth groups are resting points that contrast with the moving groups four and above all six.

Piano Piece I , the group's last work composed, was written in just two days after the composer had “only prepared a few dimensions and proportions” beforehand.

The piece is most clearly recognizable among the four works as a group composition. The group structure of the piece is clearly audible, the groups present themselves as clearly differentiated short (often separated by short pauses, sometimes also merging) units of different texture, direction of movement and gestures. They are partly in contrast, but also in audible correspondence. Stockhausen himself wrote instructions for listening in 1955 , which were broadcast on NDR's night program . In it he presents the piece as typical of the group composition and of the then new serial music in general. He tries to show "how it is possible to listen to the new musical language". In it he deliberately says little about the serial composition techniques.

The technique of the group composition is used in the entire piece through many layers therethrough: The groups differ not only by touch number, range, direction, and other parameters, but also by the time scales of successive cycles consisting of the permutations of a sequence 1-6 quarter notes are obtained . There are 6 such rows and consequently 36 groups, which in a square arrangement result in the following matrix :

Piano piece I
5 2 3 1 4th 6th
3 4th 2 5 6th 1
2 6th 4th 3 1 5
4th 1 6th 2 5 3
6th 5 1 4th 3 2
1 3 5 6th 2 4th

It can be seen that the sequence 1 5 3 2 4 6 or a rotation thereof can be found in each column. Stockhausen later used such a rotation, 4 6 1 5 3 2, to determine the number of piano pieces in each group of his planned cycle of 21 piano pieces. The decisive factor here, however, is that each of these duration units is filled with one of the “sound forms” or “modes” in the way they appear in Piano Piece II and many other of Stockhausen's works from 1952–54. In the first group, for example, notes that build up a chord sound one after the other, while the second measure has five consecutive units of silence + sound.

The notation that Stockhausen used for piano piece I drew a lot of criticism when the piece was published, especially from Boulez , and led to several suggestions as to how the interpreter should deal with the complex, embedded "irrational rhythms". Stein's suggestion to replace the outer layer of the ratios with changing metronome values ​​calculated from the fastest possible speed of the shortest note values ​​was later incorporated into the published score as a footnote, but was described by one author as "superfluous" and "error" . For every pianist who can play Chopin , Liszt or Beethoven , the piece should "be playable in his own system".

The piece ends with a single note in the middle register that is separate from the rest of the piece.

Piano piece II

The first four bars of piano piece II . The regular change between the two pentachords c to f (without e) and f sharp to h (without b) is color-coded in this figure.

The sound material of Piano Piece II consists of rotations of two sets of five notes ( pentachords ) . This means that only 10 of the twelve semitones of the octave are used in the entire piece. The missing tritone e b only appears as the very last sound of the piece in pianissimo, in the lowest octave register that is otherwise not used in the piece, as it were as a “final punch” that stands outside of the overall construction.

According to one author, the piece is a study of vertical groups of notes that are treated like electronic mixes of sounds, although Stockhausen composed the piece ten months before his first practical experience in an electronic studio. The difference between these vertical note groups and simple chords is that the notes in a vertical group have individual durations and volume values. It consists of thirty groups, each notated as a measure; the bars vary in length from 1 ⁄ 8 to 5 ⁄ 8 , which appear in five different multiples between 4 and 8: 4 ×  1 ⁄ 8 , 5 ×  2 ⁄ 8 , 6 ×  4 ⁄ 8 , 7 ×  5 ⁄ 8 , 8 ×  3 ⁄ 8 . These groups are further organized into a number of characteristic “sound forms”, also known as “modes”, which Stockhausen indicates as going back to Messiaen's concept of “ neumes ”. Their exact nature and disposition, however, are being debated. The use of the special properties of the various registers is often important in Stockhausen's works, but the only attempt to demonstrate a systematic treatment of registers in Piano Piece II was only rudimentary.

Piano piece III

Piano Piece III is the shortest piece in the cycle and, in fact, the shortest of all Stockhausen's compositions. Rhys Chatham writes enthusiastically, “Especially when you listen to Piano Piece III ... it's so, let's say, exquisite. You almost imagine hearing something as refined as a cultivated blues line, articulated by a singer on the level of Billie Holiday "

Rudolph Stephan compared it to a German art song : The (unspecified) tone series is used in such a way that some notes appear only twice, others three times, four times etc .; the formal concept is that of constant expansion. Other authors are of the opinion that such associations with traditional formal procedures are inappropriate and attest Stephen's analysis “helplessness towards the true meaning of the work”. Rhythmically, after an analysis, the piece consists of variants and overlays of the initial sequence of six durations, which are expressed as two groups of three (long-short-long and short-long-medium) - a possible but surprisingly early reaction to Messiaen's method of rhythmic cells, whereas Piano Piece II introduces irreversible (i.e. symmetrical) rhythmic patterns, also used by Messiaen. According to another analysis, it is the pattern of the first five notes, and so a proportional time structure based on the 5 runs through the entire piece.

Analysis of the pitch material falls broadly into two camps. One, based on Robin Maconie, assumes that the piece is composed of chromatic tetrachords ; the other, based on Dieter Schnebel and continued by Jonathan Harvey, is based on five-tone sets consisting of the same tetrachord plus a minor third underneath (0, 3, 4, 5, 6). Harvey's hypothesis was the starting point for a lengthy analysis by David Lewin, while Christoph von Blumröder published an analysis that was almost as long as Maconie's view. A reviewer has described Blumröder's analysis as a conclusive demonstration that the tetrachord is indeed the compositional basis, conceding that Harvey and Lewin's view remains a valid interpretation of the finished piece.

Piano piece IV

The composer gave piano piece IV as a specific example of selective music. In conventional terminology, the piece is consistently written as a linear two-part counterpoint ; the two 'voices' are marked on the score; Apperceptually, however, these are not separated by the pitch, but on the one hand by the intensities (dynamic 'contrast', as it were): The voices can change their intensities independently of one another. The intensity sections have a grouping effect, whereby Stockhausen's own 'punctual' classification must be questioned or weakened.

On the other hand, the 'voices' embody independent metric layers and in addition (analogous to the 'counterpoint of the intensity sections') each vocal layer can change its tempo (according to Stockhausen's definition) independently of the other: each voice appears as a succession shorter, more or less regular Pulse sequences represent (as it were two 'tempo melodies', or accordingly a two-layered 'tempo polyphony').

Pierre Boulez was an early admirer of the play and sent a copy of the ending to John Cage .

Piano pieces V – X: Variable form

The second group of piano pieces began in late 1953 or late January 1954, when Stockhausen was busy working on his second electronic study . His decision to write again for conventional instruments was primarily due to a renewed interest in immeasurable "irrational" factors in instrumental music. These were shown by such things as types of attacks that included complex physical actions, or the interplay of metric times with subjectively determined durations, through physical actions that were noted as short suggestions and should be played "as quickly as possible". Stockhausen's generic term for these subjective elements is “variable form”. In his article Invention and Discovery - A Contribution to Form-Genesis from 1963, Stockhausen addressed chance as a formally effective criterion that depends on the interpretation, especially in the piano pieces VX , in which he tried in his words:

"... to compose indeterminacy relations and to adapt them to the relative indefiniteness of the musician playing, in order to use processes that are fixed and variable according to measure and number [...] depending on the context as complementary."

The works together have work number 4; however, the pieces appeared (unlike No. 2: Piano Pieces I – IV ) in separate scores.

The first four pieces of this second group, i.e. piano pieces V to VIII , were originally supposed to have approximately the same duration as piano pieces I to IV ; they were composed quite quickly during 1954. At this point, Stockhausen seems to have been dissatisfied with the pieces for two reasons: (1) they were all very short, and (2) they were too one-dimensional - each piece too obviously focused on a particular compositional problem. Thereupon he extended piano piece V considerably beyond the originally planned duration and completely replaced the original pieces VI and VII with new, much longer pieces. Although IX and X were planned at the same time, they were not actually composed until 1961, and by that time their conception had completely changed; the entire work was not published until 1963, after piano piece VI had undergone a few more fundamental revisions. In the course of this second group of works it becomes increasingly easier to perceive the superordinate structure (in contrast to the local structure), as the basic types of material are more differentiated and more clearly separated from each other through the increasing use of silence.

The original plan for these pieces, designed around the beginning of 1954, is based on the following number square:

Piano pieces V – X (Matrix)
2 6th 1 4th 3 5
6th 4th 5 2 1 3
1 5 6th 3 2 4th
4th 2 3 6th 5 1
3 1 2 5 4th 6th
5 3 4th 1 6th 2

The first line is an all-interval series , and other lines are transpositions of the first line onto each of its elements. A basic idea for this group of works is that each piece should have a different number of main sections (between 1 and 6), each determined by a different tempo. Stockhausen gets the number of main sections (“tempo groups”) of each piece from the second line of the basic square, i.e. 6 sections for piano piece V , 4 for piano piece VI , etc. The lines in the first square are now used from the beginning to determine the number of sub-sections to determine each tempo group; this results in a division of the six tempo groups of piano piece V into 2, 6, 1, 4, 3 and 5 subgroups, of piano piece VI into 6, 4, 5 and 2 subgroups, etc. Five further squares are derived from this first by you start on the second, third line, etc. These six squares “provide a sufficiently large number of proportions for all pieces in the cycle, but apart from identifying tempo groups and major subsections, they do very little in determining the actual content of each piece or the number of properties to which the squares are applied become."

All six pieces were originally dedicated to David Tudor , but this was later changed so that Tudor keeps the dedication of the scores of pieces V through VIII, while IX and X are dedicated to Alfons and Aloys Kontarsky . The world premieres from V to VIII were given by Marcelle Mercenier, namely piano piece V on August 21, 1954 and the others on June 1, 1955 in Darmstadt, No. IX Aloys Kontarsky on May 21, 1962 in Cologne and No. X Frederic Rzewski in Palermo .

Piano piece V

Piano Piece V was originally a study focusing on overloaded groups of "small notes"; H. concentrated short suggestions that clustered around long “central notes”. Stockhausen revised and expanded this early version drastically, brought the grace note groups into less extreme registers, and used the result as the background for a whole new number of superimposed figures that built on rows that were completely independent of the original material. This final version was premiered in Darmstadt by Marcelle Mercenier on August 21, 1954, together with piano pieces I to IV . The piece has six sections, each in a different tense, with the fastest tempos in the middle and the slowest at the end. Each section is made up of several groups of great diversity and distinctiveness, ranging from a single short note towards the end of the sixth section to a group of forty-seven notes in the third section. In the context of this piece, a “group” is a sustained central note with suggestions before, during, or after. These three possibilities are doubled to six by the use or non-use of the pedal.

The piece has been described as "the 1950s counterpart of a Chopin nocturne, elegant and crystalline".

Piano piece VI

Piano Piece VI exists in four versions: (a)  a piece that is not much longer than Piano Piece III , probably composed in May 1954 and completely discarded; (b)  a first "full-length" version, drafted before November 12 and completed on December 3, with a fair copy made on December 10, 1954; (c)  a complete revision of version b , likely completed by March 1955 (this is the version that David Tudor recorded a few years later); (d)  the final published version, which adds much new material, was made in 1960 or 1961.

The first, discarded version of Piano Piece VI used symmetrical chords with a fixed register and groups of grace note chords around bar groups of individual notes. The symmetrical pitch structure was probably modeled after the interlocking chords at the beginning of Webern's Symphony (op. 21), but the “almost claustrophobic insistence on the narrow range” of the piano piece and its “convulsive, twitching rhythms” create a character that is only for a short stretch is appropriate.

On December 5, 1954, shortly after the second version was completed, Stockhausen wrote to his friend Henri Pousseur expressing great satisfaction with his new piece, which had taken three months and had now reached fourteen pages, and he wrote to Karel Goeyvaerts , the piece is pure but alive. In January 1955, however, he had meanwhile decided that the harmony was not "clean" enough and wrote the piece again from scratch. A novelty of the notation, which was introduced in the final version of this piece, is the graphic display of tempo changes on a 13-line “staff”. A rising line means accelerando , a falling line means ritardando , and with a break the line disappears completely. This notation is more precise than the traditional notation.

Piano piece VII

Piano Piece VII was originally composed as an attempt to reintroduce periodic rhythms into serial structures, and was completed in this form on August 3, 1954. The compositional process had already involved a number of revisions, and eventually Stockhausen discarded this version, apparently partly because of the drastic reduction in rhythmic subtlety, but also because of the persistent difficulties in avoiding strong tonal implications resulting from the chosen serial conception of pitch structure emerged. The Webern-plus-Messiaen harmony allegedly resulting from Richard Toop has an indolent beauty that calls back the intoxicating, decadent world of Richard Wagner's Tristan and Henri Duparc's L'extase , but it is stylistically so inappropriately within the framework of the other piano pieces that it it is easy to see why Stockhausen rejected it. Between March and May 1955 Stockhausen wrote a completely different piece with the published version of Piano Piece VII . Like the original, discarded piece, the new version is divided into five tempo-defined sections ( MM 40, 63.5, 57, 71, 50.5). The most striking peculiarity of piano piece VII are the resonances that arise when keys are pressed silently, the strings of which are made to resonate with accented individual notes . In the beginning, a conspicuous c sharp 'is repeated several times, each time colored with a different resonance. This is achieved by holding down keys and pressing the middle pedal , so that the dampers are released and certain notes can be made to resonate by striking other notes. In this way, different timbres can be generated for the same pitch . In the course of the piece, the c sharp 'is followed by a series of pitches with irregular, unpredictable durations and entry intervals, each time with a different coloration. The repetitions of these central notes bring them to the fore.

Piano piece VIII

Piano piece VIII is the only piece among these six that is closely based on the original plan. It consists of two tempo groups (Tempo No. 6: ♪ = 80 and Tempo No. 5: ♪ = 90), the first divided into three parts, the second into two. Sequences of numbers, derived from the original 6 × 6 squares, are used to control more than a dozen other dimensions of the work, including the number of subgroups, number of notes per group, entry interval (both size and distribution), absolute Note duration, volume level, envelope curve, grace note groups (number of strokes, vertical density per stroke, relative position to the main notes), and a number of other specifications of the main notes.

Piano piece IX

Program leaflet for the premiere

Piano Piece IX presents two strongly contrasting ideas: a four-part chord that is continually repeated in periodic rhythms and a slowly increasing chromatic scale in which each note has a different duration. These ideas are alternated and juxtaposed, and finally brought together in the high register in the appearance of a new fabric of fast, irregularly separated periodic groups. Stockhausen deliberately exploits the impossibility of striking all four notes of the repeated chords exactly at the same time and with the same force (another example of the “variable form”), so that the notes constantly and involuntarily come to the fore. Aloys Kontarsky's attack was so even, however, that Stockhausen had to ask him to help out with this randomness in order to “break up” the chord. The rhythmic proportions over the course of the piece are determined by the Fibonacci sequence , sometimes directly (1, 2, 3, 5, 8, 13, 21, etc.), sometimes in added form (1, 1 + 2 = 3, 1 + 2 + 3 = 6, 1+ 2 + 3 + 5 = 11 etc.), with the result 1, 3, 6, 11, 19, 32, 53 etc.

Bernd Alois Zimmermann , who was on extremely sensitive terms with Stockhausen, has for his orchestral work Musique pour le soupers du Roi Ubu (1962-67) in the last movement - titled Marche de décervellage (brain- muddling march ) - the first chord from piano piece IX , the at Stockhausen is struck 280 times, with Zimmermann 631 times, as a foil for quotations from Berlioz ' Symphonie fantastique and Wagner's Ride of the Valkyries .

Piano piece IX was premiered by Aloys Kontarsky on May 21, 1962 in the WDR Cologne in the series Musik der Zeit .

Piano piece X

See main article Piano Piece X (Stockhausen) .

For piano piece X , Stockhausen used rows to represent varying degrees of order and disorder, whereby, according to Herbert Henck, greater order is associated with lower density, increased recognizability, transparency and greater isolation of the musical shapes. The piece consists of a process that progresses from disorder and chaos to order. From a uniform initial state of great disorder, more and more concise figures emerge. At the end, the figures are united in a superordinate figure . Henck, who describes piano piece X as one of the most remarkable piano pieces of the 20th century, emphasizes that "in no other work known to him are piano clusters more closely integrated into the systematic, architectural and almost scientific context".

Stockhausen abandoned the original plan of the piece, which provided for three large sections, and replaced it with a plan based on seven-step scales. A basic series that begins with the strongest contrasts and strives towards the middle value was chosen: 7 1 3 2 5 6 4. In a complex way, the entire structure of the composition arises from this one series of numbers. It consists of seven phases, before which Stockhausen added an eighth section that compresses the seven phases into a single one.

There are at least thirteen separate musical dimensions organized into seven-point scales:

  1. "Characters" from chords (1 to 7 notes)
  2. Characters from clusters (3, 6, 10, 15, 21, 28 or 36 notes per cluster) e.g. Sometimes using the entire forearm including the hand.
  3. "Base durations", global tone durations (1, 2, 4, 8, 16, 32, 64 time units)
  4. Duration of actions and breaks
  5. Note values ​​that divide the duration of the action (1 to 7 parts)
  6. Stroke densities (a two-dimensional "scale", or 7 × 7 matrix )
  7. Degrees of order / disorder
  8. Dynamics ( ppp , pp , p , mf , f , ff , fff )
  9. Tonal range (bandwidth)
  10. Form of movement
  11. Sound characteristics (linked clusters, repetitions, arpeggios , etc.)
  12. Breaks
  13. Sound shaping through pedaling

Only pitches are not organized in Siebenerskalen but in six scales on the Hexachord a f ais g fis gis and derivatives thereof based. It is identical to the first half of the twelve-tone series used in Piano Pieces VII and IX , and also in groups for three orchestras (Work No. 6).

Piano Piece X was commissioned for Radio Bremen and was to be premiered by David Tudor at the Musica Nova Festival in May 1961. However, the score was not finished on time, Tudor was unable to rehearse the piece and his touring activities did not give him time to perform it later. On October 10, 1962, Frederic Rzewski played the world premiere as part of the third Settimano Internazionale Nuova Musica in Palermo . In the accompanying composition competition, the Concorso Internazionale SIMC 1962, the piece only won second prize. Rzewski also played the German premiere in Munich on March 20, 1963 and recorded it for Radio Bremen on December 2, 1963 and for WDR on January 16, 1964. On December 22nd, 1964, Ariola produced a recording with Rzewski for publication in his recording studio in Berlin .

Piano piece XI: ambiguous form

Piano piece XI is known for its open form or aleatoric structure (Stockhausen speaks of ambiguous form ). The mobile structure and the graphic layout of the work are reminiscent of Morton Feldman's Intermission 6 (1953) for one or two pianos, in which 15 fragments are distributed on a single sheet of music. It is marked with the remark: "Composition begins with some sound and continues with some other". In the same year Earle Brown had composed his Twenty-five Pages for 1 to 25 pianists, in which the pages are arranged in an order chosen by the performers, the pages have no defined top or bottom, and events in each of the two accolades can be either can be read in the treble or bass clef. David Tudor reports on a stay in Cologne in 1955 when he was preparing a version of Feldman's play and Stockhausen asked him:

"What if I wrote a piece where you could decide where you wanted to go on the page?" I said I knew someone who was already doing one, and he said, “In that case I shall not compose it”. So I retracted, and said it was just an idea my friend was thinking about, and told him he mustn't consider any other composer but should go ahead and do it anyway, and that led to Piano Piece No 11 .

"What if I wrote a piece where you could choose where on the page to go?" I said I knew someone who was already writing one and he replied, "In that case, I will do not compose ". So I backed out and said it was just an idea my friend was thinking about and told him not to think about other composers but to go forward and write it anyway, and that led to Piano Piece XI . "

Apart from the page layout, Feldman's and Stockhausen's compositions have little in common. Feldman only gives individual notes and chords, without any information on rhythm or dynamics.

The score (original size 54 × 94 cm)

Piano piece XI consists of 19 groups that are distributed over a single large page (54 × 94 cm). In Stockhausen's instructions to play it says: “The player looks unintentionally at the sheet of paper and begins with a group he saw first; He plays these at any speed (always excluding the small printed notes), basic volume and touch. When the first group is over, he reads the following game names for speed (T °), basic volume ["ff to ppp", all other dynamics are relative to these] and touch form [legato, normal, portato, staccato, plus two more Keystrokes with keys pressed silently] , looks unintentionally to any of the other groups and plays them according to the three names. “The player should never want to join certain groups with one another or leave groups out . Each group can be linked to each other and can be played at any of the six speeds (between "very fast" and "very slow"), basic volume and keystroke forms. "If a group is reached for the second time, the terms in brackets apply", mostly transpositions by one or two octaves or tones are added or omitted. “If a group is reached for the third time, one of the possible realizations of the piece is over. It can happen that some groups have only been played once or not at all. The piano piece should be played twice or more times in one program, if possible. "

Although the piece is composed with a complex serial plan, the pitches have nothing to do with twelve-tone technique , but are derived from the proportions of the previously composed rhythms. The durations are based on a number of matrices with the number of lines six; the number of columns varies from two to seven. These matrices “amount to sets of two-dimensional 'scales'”. The first line of each of these rhythm matrices consists of a sequence of increasing duration values ​​step by step: two columns ♪ + ♩, three columns ♪ + ♩ + ♩. and so on up to seven columns; each line below the first consists of increasingly finer, irregular subdivisions of this value. These "two-dimensional scales" are now systematically permuted, and the six emerging, increasingly larger matrices have been combined to form the columns of a new, complex, final rhythm matrix of six columns and six rows. Stockhausen then selected nineteen out of the thirty-six available rhythmic structures to form the fragments of Piano Piece XI .

Selection of groups for piano piece XI
# 5 # 11 # 17
# 6 #8th # 18
#1 # 9 # 12 x
# 2 # 13 # 14
# 3 # 10 # 15
# 4 # 7 # 16 # 19

Stockhausen's plan was apparently to select an equal number of fragments from each row (degree of complexity of the division) and each column (total duration of the fragment), except for the first column (shortest duration) and the last row (most complex division). This is suggested by the fact that he originally selected column 6, row 3 for the last fragment (marked by x in the illustration), but later changed his mind in favor of the lower right cell. When Stockhausen wrote down his fragments, he doubled the note values ​​compared to those in the matrix, so that in the score the fragments 1–4, 5–7, 8–10, 11–13, 14–16 and 17–19 have a total duration of 3 , 6, 10, 15, 21, and 28 have quarter notes. Within these groups there is a “main text” made up of melody and chords. Interspersed in this are groups of grace note chords and clusters (called "sound bands" by Stockhausen) as well as tremolos, trills and harmonies and overtones. These two levels are built independently of each other. David Tudor gave the world premiere of Piano Piece XI on April 22, 1957 in New York, in two very different versions. Due to a misunderstanding, Stockhausen had promised the world premiere of Wolfgang Steinecke for the Darmstadt summer courses in July, with Tudor as the pianist. When Luigi Nono informed him of Tudor's New York appearance, Steinecke was furious. Tudor wrote an apology, and Steinecke accepted the European premiere; But then Tudor planned to perform the piece two weeks before Darmstadt in Paris, but he fell seriously ill in July, and so the European premiere took place on July 28, 1957, the last day of the courses in the orangery in Darmstadt: the pianist Paul Jacobs played two versions - announced in the program as a world premiere.

Not implemented plans

In 1958 and 1959 Stockhausen planned a fourth group of works, Piano Pieces XII – XVI , which would contain many different types of variable forms, using a number of novel notation methods. This group never got beyond the planning stage.

Piano pieces XII to XIX: Formula composition and light cycle

Pieces from XII to XIX are all linked to the opera cycle Licht (1977–2003) and do not seem to resume the original organizational plan : although according to this plan, piano piece XIX would form the end of the fifth group, there is no obvious 5 + 3 division which would have led to a turning point between piano pieces XVI and XVII , but which are both associated with the same opera and are very similar in character. Instead, there is a distinction between the three piano pieces XII to XIV and the five remaining, as the first three (like their predecessors) were written for the piano, the later ones mainly for synthesizers .

The first three of these pieces come from scenes in which the piano dominates the opera. Accordingly, they are based on the super formula of the opera cycle Licht or formulas derived from it for the respective operas.

Piano piece XII

Piano piece XII (for work no. 49¾ “Examen”) is divided into three large sections, which correspond to the three “tests” in the first act, third scene of Thursday from Light (1979), from which the piano piece was adapted in 1983. This scene was formed from the second note of Michael's "Thursday" super formula, an e that is divided into three parts: dotted sixteenths, thirty-second notes, and eighth notes. This rhythm dominates the duration of the three “tests” of the scene, and therefore also of the piano piece (3: 1: 4). The three superimposed polyphonic melodies ("formulas") of the super formula are rotated from the register in these three movements, so that the Eve formula in the first section the highest, the Lucifer formula the highest in the second section, and the Michael formula the top is in the third section. This corresponds to the dramaturgy, since Michael presents his life on earth to the examining jury, one after the other from the point of view of his mother (who represents Eve), his father (who represents Lucifer) and his own. The top line is the most ornate in all cases. Each melody begins with a different characteristic interval, followed by a semitone in the opposite direction, and this three-tone figure dominates in the further course of the section: rising major third and falling minor second, rising major seventh (the first note repeated several times) and falling minor second, and finally a falling perfect fourth and a rising minor seventh.

In the opera, Michael is represented by a tenor in the first exam, by a trumpet (with a basset horn as an additional accompaniment) in the second , and by a dancer in the third. He is accompanied by a pianist through the whole scene. The surface is mainly formed by the "ornaments" and "improvisations" of the super formula. In the version for piano alone, the material for the tenor, trumpet and basset horn is integrated into the piano texture, or hummed, whistled or spoken by the pianist. Vocal noises, as well as the extensive glissandi and the notes of plucked piano strings, come directly from the super formula and are what Stockhausen calls “colored breasts” - pauses that are “vitalized” by short accented notes or sliding noises. The clear melodic sections and colored silences are juxtaposed and combined to form the middle sections in Piano Piece XII . Because of the proportions, the middle section is the shortest and most animated, while the last is the slowest and longest of the three.

Piano piece XIII

Four bars from the second part (82–85). The central tone is just changing from a to g sharp. The numbers in the boxes are speed indications (quarters per minute)

Piano Piece XIII from 1981 (Work No. 51½) was originally composed for piano and later became scene 1 (Lucifer's Dream) on Saturday with an added bass singer .

The key components of this piece are made to sound at the very beginning: a leaping up major seventh in the lowest register, the same interval played simultaneously in the middle register, and a single very high note forming five tonal layers that unfold the whole composition. These five counterpoint layers are developed from the three-layer super formula of light in three steps. First, the three layers of the sixth section (“Saturday”, bars 14 to 16) for the background structure of the Saturday opera are extracted from light . Second, a fourth layer, a complete representation of the “nuclear” form of the Lucifer formula, compressed to the duration of the Saturday segment, is superimposed in the lowest register. Third, a fifth layer is added to the opening part, which corresponds to the first scene of the opera. This consists of the complete Lucifer formula, with all the insertions and embellishments, compressed even further to fill the duration of the scene and placed in the middle register.

The rhythms of the five layers divide the total duration of the piece (theoretically 27:04 minutes) into sections of 1, 5, 8, 24 and 60 equal parts. Of these five sections, the dominant one is the rising quintole in the Lucifer layer of most of the background layer, of which each note ( g sharp , a , a sharp , b , c ) becomes the central tone of the whole Lucifer formula, composed to a duration one fifth of the total duration of the piece. The density of rhythmic activity in this formula is progressively increased: by dividing the notes of each of the five sections by the first five members of the Fibonacci sequence: 1, 2, 3, 5, 8; that is, in the first section the notes appear in their original form, in the second section each is halved, in the third third and so on. Finally, a process where “these extreme compressions begin, which destroy the form until it is no longer perceptible, in order to evoke stillness and standing sound” is superimposed on the course of the work. “The formula is drawn up (the skeleton is already there in the first phase). Then the formula is compressed more and more - in all parts - until it is no longer perceptible, in order (due to the compression) to create silence and nothing - emptiness ”. This is achieved through a serial interchanging scheme of compressions, expansions and pauses, which are created in order to bring about the maximum spread of the erosions in order to avoid repeated modifications of the same elements over and over again. This gradual process, which is supported by the steady rise in pitch from section to section of the Lucifer formula, corresponds to the descent from the upper register of the Eve formula, characterized by intervals of thirds. Shortly before the end of the piece, the formulas of Lucifer and Eve converge. At this point the Eva melody confirms itself and, now that the formal process is over, the music fades away, the lid slowly closing.

Piano piece XIV

Piano piece XIV , also called the birthday formula (for work no. 57⅔), was composed on August 7th and 8th, 1984 in Kürten as a sound gift for Pierre Boulez on his sixtieth birthday. Pierre-Laurent Aimard gave the world premiere in a birthday concert for Boulez, which was given on March 31, 1985 in Baden-Baden . With the addition of a girls' choir, it became Act 2, Scene 2 of Monday of Light .

Two months before he composed this opening part from Montag aus Licht , Stockhausen said (translated from an interview conducted in English):

“I have had the feeling for some time that Monday will be very different — very new for me too, because I have the feeling Monday is the reverse, because it's the birth. So it's the reverse of everything that I have done up to now. Most probably all the formulas will be upside-down, will be mirrored: like The Woman is in respect to the men. I think all the structural material all of a sudden is going to change drastically in the detail. "

“For a while I had the feeling that Monday would be very different - also very new to me, because I have the feeling that Monday is the opposite because it is the birth. So it's the reverse of everything I've done up to then. Most likely, all formulas will be upside down, will be mirrored like the woman in relation to the man. I think all of the structural material will suddenly change drastically in detail. "

Only twenty bars long and only six minutes long in the performance, Piano Piece XIV is much shorter than its immediate predecessor because it essentially consists of a single, simple representation of the light super-formula. In comparison with the three-part structure of piano piece XII and the five-fold division of piano piece XIII , this piece fits into the seven sections of the super formula that it follows so closely.

In the adaptation for the piano, Stockhausen made two major changes to the super formula. First, the Eva formula (the middle line of the original super formula) is transposed to the upper register, in exchange for the Michael formula, which is moved to the middle area while the Lucifer formula remains in its original position in the bass. This brings the Eve formula to the fore, appropriately since Monday is Eve's day in the light cycle. Second, the formulas of Eve and Lucifer appear inverted with one another, while the Michael formula remains essentially unchanged; this happens through a process that Stockhausen calls false reflection . To do this, some of the neighboring core notes of the melody are swapped. For example, the Lucifer formula in its original form consists of a hammering, repeated low G , followed by a powerful, swelling upward jump around a major seventh to the f sharp . This is followed by an ascending ladder-like figure, filling the same interval. In the piano piece this first, often repeated note becomes the F sharp , followed by a downward jump with a crescendo to the low G ; an adaptation of the ladder figure now fills the falling seventh. The Eve formula, now richly embellished, swaps notes similarly, so that the originally rising major third from C to E instead descends from E to C. At a later, highlighted point, similar exchange processes lead to the passage being strongly reminiscent of the sequence of intervals with which the Michael formula closes.

Piano piece XV

From piano piece XV ( Synthi-Fou 1991, from work no. 61⅔ Tuesday farewell ), which is the final part Tuesday made of light , Stockhausen began to replace the traditional piano with the synthesizer, which he also called, somewhat misleadingly, the "electronic piano" . He justified this with the historical development of piano music:

"This is what the development of piano music looks like, which is around four hundred years old - from the harpsichord and clavichord to keel, fortepiano, pianoforte, modern piano to synthesizer - and it will probably continue as long as a person has ten fingers."

To distinguish the two instruments, he called the traditional instrument "string piano". In addition (as with contacts in the 1950s) he also added electronic feeds from tape.

In piano piece XV , the electronic music is played through eight loudspeakers, which are arranged in a cube around the audience. The sound moves spatially in this cube-shaped area. The player uses four keyboards and nine pedals.

The switch to synthesizers opened up a large number of technical possibilities. The relationship of the keys to sound production is fundamentally different from that of the piano. Stockhausen emphasizes that the game no longer depends on manual dexterity. Touch dynamics can be converted into parameters other than volume, such as pitch changes or vibrato.

Piano piece XV has five large sections with the titles Pietà , Explosion , Jenseits , Synthi-Fou , and Abschied .

Piano piece XVI

Piano Piece XVI (Work No. 63½, 1995) can be performed by one player with piano or synthesizer or both and is combined with the played sound scene 12 from Freitag aus Licht .

The piece was written for the 1997 Micheli competition. It was performed in October 1997 by the three finalists of this competition. In the foreword of the score, Stockhausen wrote that his offer to rehearse individually with the pianists was rejected. He couldn't hear the result; he was told, however, that the pianists were completely lost because they had no idea how the piece should be played. The first public performance was given by Antonio Pérez Abellán on July 21, 1999 during the Kürten Stockhausen Courses.

In piano piece XVI , the connection with the light super formula is conveyed through the melodic structure of Elufa , the ninth “real scene” in Friday . Although the piece is precisely notated, there is no specific voice for the keyboard player. Instead, the player must choose which notes to play in sync with the meticulously noted electronic music. This concept has been compared by Maconi with the figured bass playing in baroque performance practice.

Piano piece XVII

Komet as piano piece XVII (from work no. 64, 1994/99) also uses electronic music from Friday . According to the foreword of the manuscript it should be played on an "electronic piano", but this is defined as a freely selectable keyboard instrument with electronic sound storage, for example a synthesizer with sampler , memory, sound module, etc.

The score authorizes the player to create his own work against the background of the music from the Children's War scene from Freitag aus Licht . The comet is a traditional symbol of the impending catastrophe which, together with the ringing bells of fate and the memory of the operatic scene of a terrible children's battle, expresses a pessimistic worldview.

The score is dedicated to Antonio Pérez Abellán, who gave the world premiere on July 31, 2000 in a concert during the Stockhausen Courses in Kürten.

Stockhausen wrote another version of this piece under the name Komet for a solo drummer with the same band accompaniment.

Piano piece XVIII

Piano piece XVIII (work No. 73⅔, 2004) with the subtitle “Wednesday formula” was written like the previous piece for an “electronic piano” (in this case explicitly defined as a “synthesizer”), but does not include a tape feed.

After the freedom that was granted / required in the two previous pieces, piano piece XVIII returns to the completely determined notation for the keyboard player. It also shows again the super formula of light on the surface, which was absent from piano piece XV . Analogous to piano piece XIV , it is a simple presentation of the formula, but here in the four-layer version that Stockhausen developed from light for Wednesday , consisting of the complete super formula, overlaid with the Wednesday segment (which only contains notes from the Eva layer contains). The piece is divided into five parts, corresponding to the first three scenes and the two main sections of the last scene of the opera. The three formula layers rotate completely in each of these sections, with the dominant higher line being occupied alternately by the Lucifer, Eve, Michael, Eve, and Michael formulas. This complete formula is played three times, each 2: 3 times faster than before, and each time in a different timbre.

Like the previous and the following piece, Piano Piece XVIII also exists in a percussion version, in this case a trio called Wednesday Formula for three percussionists . However, the piano piece is played roughly twice as fast as the drum version.

Antonio Pérez Abellán played the world premiere of Piano Piece XVIII on August 5, 2005 in the Sülztalhalle in Kürten - in the seventh concert of the Stockhausen Courses for New Music, in which the percussion version was also premiered.

Piano piece XIX

Piano piece XIX (work no. 80, 2001/2003) is a solo version with a tape recording of Abschied aus Sonntag aus Licht , which was originally composed for five synthesizers. The work is still awaiting its premiere. This piece exists in a percussion version, in this case, under the name of rays (factory no. 80½) for a percussionist and ten-track tape.

Further works with piano

In addition to the pieces in this series, the following pieces with piano are also noteworthy: the series of solo pieces Natural Duration 1–24 (2005, approx. 140 min) from his last work cycle, Klang ; Mantra for two pianists who also use the ring modulator and percussion instruments (1971, approx. 65 min); Intervall (1968) for piano four hands from the cycle For Coming Times ; SCHLAGTRIO for piano and 2 × 3 drums (1953/74, about 15 min); Refrain for piano, celesta and percussion (1959, approx. 10 min); Contacts for tape , piano and percussion (1959–60, approx. 35 min) and the version of Zodiac for piano solo (1975/83, approx. 28 min).

Discography

  • Armengaud, Jean-Pierre (piano). EMI (France), MFP 2MO47-13165 (LP). [ Piano piece IX + works by Boulez and Schönberg.]
  • Bärtschi, Werner (piano). Sound piano . Recommended Records, RecRec 04 (LP), also RecDec 04 (CD). [ Piano piece VII (recorded 1984), + works by Cage, Scelsi, Kessler, Cowell, Bärtschi and Ingram.]
  • Blumröder, Patricia von (piano). Piano . Ars Musici, AM 1118-2 (CD). [ Piano pieces IX and XI + works by Webern, Messiaen, Boulez, Berio.]
  • Bucquet, Marie Françoise (piano). Philips, 6500101. [ Piano pieces IX and XI (recorded 1970) + works by Berio.]
  • Burge, David (piano). VOX Candide Series, STGBY 637 (LP), also on Vox Candide, 31 015 (LP) [ Piano piece VIII + works by Berio, Dallapiccola, Boulez, and Krenek.]
  • Corver, Ellen (piano). Piano pieces, HR Frankfurt . Stockhausen Complete Edition, CD 56 ABC (3 CDs). [ Piano pieces I – X , XI (two versions), XII – XIV (recorded 1997–98).]
  • Damerini, Massimiliano (piano). Piano XX vol. 2 Arts, 47216-2 (CD). Recorded in 1987. [ Piano piece VII + works by Roslavets, Bartók, Kodály, Berg, Prokofiev, Berio, Bussotti and Ferneyhough.]
  • Drury, Stephen (piano). Avant Koch, 22 (CD). [ Piano piece IX (recorded in 1992) + works by Liszt, Ives, and Beethoven.]
  • Henck, Herbert (piano). Wergo, 60135/36 (2LPs), also as Wergo 60135/36 -50 (2CD) [ piano pieces I – XI ]. Only piano piece I on Musik Unserer Zeit , Wergo, WER 60200-50 (CD); Only piano piece XI on Piano Artissimo, Piano Music of our Century , Wergo, WER 6221-2 (CD).
  • Klein, Elisabeth (piano). Karlheinz Stockhausen . Point, p5028 (LP) Recorded in 1978 at The Louisiana Museum for Modern Art, Denmark. [ Piano pieces I – V, VII – X, XI (2 versions). Later recordings by the same pianist on CD.]
  • Klein, Elisabeth (piano). Karlheinz Stockhausen: Piano Music . Classico, CLASSCD 269 (CD), also on TIM Scandinavian Classics 220555 (CD). Recorded August 1998. [ Piano pieces V , IX and two versions of XI + other works by Stockhausen]
  • Aloys Kontarsky (piano). Stockhausen: Piano Pieces I – XI . CBS, 77209 (2LP). Recorded July 1965. Produced by the composer. Published in different countries under different numbers: CBS S 72591/2 (2LP); CBS / Columbia 3221 007/008 (USA 2LP); CBS / Sony SONC 10297/8 (Japan, 2LP); Sony Classical S2K 53346 (2 CDs).
  • Klára Körmendi (piano). Contemporary piano music . Hungaroton, SLPX 12569 (LP), also as Hungaroton HCD 12569-2 (CD). [ Piano piece IX (recorded 1984) + works by Zsolt Durkó, Attila Bozay, John Cage, Iannis Xenakis].
  • McCallum, Stephanie (piano). Illegal Harmonies . ABC Classics, 456 668-2. [ Piano piece V. ]
  • Mercenier, Marcelle (piano). Selective music (1952) / group composition 1952/55 [Two lectures by Stockhausen]. Stockhausen-Verlag, Text CD 2 (CD). [ Piano piece I , complete and sound examples embedded in the lecture.]
  • Meucci, Elisabetta (piano). Rivo Alto, RIV 2007 (Italy CD). Recorded in 2001. [ Piano piece IX + works by Schönberg and Debussy.]
  • Pérez Abellán, Antonio (synthesizer). Piano piece XVIII (Wednesday formula) . Stockhausen Complete Edition CD 79. [+ Vibra-Elufa , Comet for drums, nostrils dance , Wednesday formula for percussion trio.]
  • Pérez Abellán, Antonio (piano and synthesizer). Piano pieces XVI and XVII . Stockhausen Complete Edition CD 57. [+ tongue-tip dance , Freia , Thinki , flute (from: orchestra finalists ), kidnapping .]
  • Roqué Alsina, Carlos (piano). Musique de notre temps: Repères 1945/1975 . Ades, 14.122-2 (4 CDs). Recorded in 1987. [ Piano piece XI (two versions).]
  • Rzewski, Frederic (piano). Wergo, WER 60010 (LP), also as Heliodor, 2 549 016 (LP); Mace, pp. 9091 (LP); Listen up, SHZW 903 BL (LP). [ Piano piece X (recorded December 22, 1964) + cycle (2 recordings)]
  • Schleiermacher, Steffen (piano). Piano Music of the Darmstadt School vol. 1. Scene MDG, 613 1004-2. [ Piano pieces I – V (recorded in February / March 2000) + works by Messiaen, Aldo Clementi, Evangelisti, Boulez.]
  • Schleiermacher, Steffen (piano). Stockhausen: Bass Clarinet and Piano . Scene MDG, 613-1451 (CD). [ Piano Pieces VII and VIII + Dance Luzefa! , Zodiac , and In Friendship .]
  • Schroeder, Marianne (piano). Has Hut Records, has ART 2030 (2LPs). Recorded December 5/6 1984. [ Piano Pieces VI, VII, VIII .]
  • Stockhausen, Majella (piano). Stockhausen complete recording CD 33 (CD). [ Piano Pieces XIII (recorded 1983) + Aries ]
  • Stockhausen, Simon (synthesizer). Synthi-Fou, or piano piece XV for a synthesizer player and electronic music . Stockhausen Complete Edition CD 42 AB (2 CDs). + Solo-Synthi-Fou , Tuesdays-Farewell , and timbres from Jenseits - Synthi-Fou - Farewell , with spoken introductions by Simon Stockhausen.
  • Syméonidis, Prodromos (piano). Homage to Messiaen Telos TLS 107 (CD). [ Piano piece XI + works by Messiaen, Xenakis, Benjamin, Murail.]
  • Takahashi, Aki (piano). Piano space . (3LP boxed set) EMI EAA 850 13-15. [ Piano piece XI + works by Webern, Boulez, Berio, Xenakis, Messiaen, Bussotti, Cage, Takemitsu, Ichiyanagi, Yori-Aki Matsudaira, Takahashi, Yuasa, Satoh, Mizuno, Ishii, Saegusa, Kondo.] Republished in two series: 54 Piano Space I , EMI-Angel EAC 60153 (2LP) and Piano Space II , EMI Angel EAC 60154 (1LP)
  • Tudor, David (piano). Karlheinz Stockhausen: Piano Pieces Hat Hut Records hatART CD 6142 (CD) [ Piano Pieces I – V , VI (earlier, shorter version), VII – VIII (recorded September 27, 1959), and four versions of Piano Piece XI , (recorded September 19 1958).]
  • Tudor, David (piano). Concerts du Domaine Musical . Vega, C 30 A 278 (LP) mono. [ Piano piece VI + works by Boulez, Kagel, Pousseur.] Republished as part of Pierre Boulez: Le Domaine Musical 1956-1967 . vol. 1. Universal Classics France: Accord 476 9209 (5 CDs)
  • Tudor, David (piano). "50 Years of New Music in Darmstadt". Col Legno WWE 4CD 31893 (4 CDs) [ Piano piece XI (fifth version) + works by many other composers.]
  • Tudor, David (piano). Stockhausen-Verlag, Text CD 6 (CD) [Two versions of piano piece XI (recorded 1959) + percussion trio and study II .]
  • Fredrik Ullén | Ullén, Fredrik (piano). Karlheinz Stockhausen: cycle, contacts, piano pieces V & IX Caprice CAP 21642 (CD). [Recorded February 1-4, 2000.]
  • Wambach, Bernhard (piano). Karlheinz Stockhausen: Piano Pieces . (recorded 1987)
    • vol. 1: I – IV, IX, X. Karlheinz Stockhausen, piano pieces Schwann MUSICA MUNDI VMS 1067 (LP)
    • vol. 2. Schwann Musica Mundi VMS 1068 (LP). Piano pieces V – VIII
    • vol. 3. Schwann Musica Mundi 110 009 FA (LP) piano piece XI (“second version”), piano piece XIII (Lucifer's dream as piano solo). Excerpt from piano piece XIII , also on music to get to know Koch Schwann sampler CD 316 970 (CD)
    • vol. 4. Schwann Musica Mundi 110015FA (LP). Piano piece XI ("first version"), piano piece XIV (birthday formula) , piano piece XII (exam as piano solo) .
  • The same recordings on 3 CDs:
    • vol. 1. Koch Schwann CD 310 016 H1 (CD). [ Piano pieces I – VIII .]
    • vol. 2 Koch Schwann CD 310 009 H1 (CD). [ Piano pieces IX, X, XI ( XI in two versions).]
    • vol. 3 Koch Schwann CD 310 015 H1 (CD). [ Piano pieces XII, XIII, XIV .]
  • Zitterbart, Gerrit (piano). What about This Mr. Clementi? Tacet 34 (CD). [ Piano piece IX , + works by Blacher and others.]
  • Zulueta, Jorge (piano). Compositores alemanes del siglo XX . Institución Cultural Argentino-Germana ICAG 001-1 (mono LP), also on Discos Siglo Veinte JJ 031-1. [ Piano piece IX , + works by Henze, Hindemith, Blacher.]
  • [No interpreter]. Electronic and concrete music for KOMET . Stockhausen Complete Edition CD 64. [Electronic music for piano piece XVII , + Europe greeting , stop and start , two pairs , light call .]

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.
  • Konrad Boehmer: On the theory of the open form in new music . Edition Tonos, Darmstadt 1967.
  • Pierre Boulez: Vers une musique experimentalale . In: La Revue musicale . No. 236 , 1967, pp. 28-35 .
  • Hermann Danuser : The Music of the 20th Century . Laaber, Laaber 1984, ISBN 3-89007-037-X .
  • Pascal Decroupet: First sketches of reality: Fragments for Stockhausen (piano piece VI) . In: Orm Finnendahl (Ed.): The beginnings of serial music . Wolke, Hofheim 1999, p. 97-133 .
  • Hans Heinrich Eggebrecht : Terminology of Music in the 20th Century . Franz Steiner, Stuttgart 1995, ISBN 3-515-06659-4 .
  • Hans Emons: Complicity: on the relationship between music and art in American modernism . In: Art, Music and Theater Studies . tape 2 . Frank & Timme, Berlin 2006, ISBN 3-86596-106-1 .
  • Rudolf Frisius:
    • Piano pieces XII – XIV . In: Musica Mundi . CD 310 015 H1. Koch Schwann, 1988 (text accompanying the CD “Karlheinz Stockhausen, Piano Pieces”, vol. 3. Bernhard Wambach (piano)).
    • Karlheinz Stockhausen I: Introduction to the Complete Works; Conversations with Karlheinz Stockhausen . Schott Musik International, Mainz 1996, ISBN 3-7957-0248-8 .
    • Karlheinz Stockhausen II: The Works 1950–1977; Conversation with Karlheinz Stockhausen, “It's going up” . Schott Musik International, Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto 2008, ISBN 978-3-7957-0249-6 .
  • Jonathan Harvey: The Music of Stockhausen: An Introduction . University of California Press, Berkeley and Los Angeles 1975, ISBN 0-520-02311-0 .
  • Claude Hellfer: La piano piece XI de Karlheinz Stockhausen . In: Analysis Musicale . tape 30 , 1 (February), 1993, pp. 52-55 .
  • Herbert Henck:
    • Karlheinz Stockhausen's piano piece IX: An analytical consideration . In: Günter Schnitzler (ed.): Music and number. Interdisciplinary contributions to the border area between music and mathematics; Orpheus series of publications on fundamental questions in music . tape 17 . Publishing house for systematic musicology, Bonn-Bad Godesberg 1976, p. 171-200 .
    • For calculating and displaying irrational time values . In: Schweizerische Musikzeitung / Revue musicale suisse . tape 120 , no. 1-2 , 1980, pp. 26-34, 89-97 .
    • Karlheinz Stockhausen's Piano Piece X: A contribution to understanding serial composition technology: history, theory, analysis, practice, documentation . 2nd Edition. Neuland Musikverlag, Cologne 1980, ISBN 3-922875-01-7 .
    • Piano cluster. History, theory and practice of a sound form . 2nd Edition. Lit Verlag, Berlin / Hamburg / Münster 2004, ISBN 978-3-8258-7560-2 , p. 176 ( books.google.de [accessed November 15, 2009]).
  • Michelle Kiec: The Light Super-Formula: Methods of Compositional Manipulation in Karlheinz Stockhausen's Piano Pieces XII – XVI . Johns Hopkins University, Peabody Institute, Baltimore 2004 (DMA diss).
  • Jerome Kohl:
    • The Evolution of Macro- and Micro-Time Relations in Stockhausen's Recent Music . In: Perspectives of New Music . tape 22 (1983-84) , pp. 147-185 .
    • Into the Middleground: Formula Syntax in Stockhausen's light . In: Perspectives of New Music . tape 28 , 2 (Summer), 1990, pp. 262-291 .
    • Time and Light . In: Contemporary Music Review . tape 7 , no. 2 , 1993, p. 203-219 .
    • Four Recent Books on Stockhausen . In: Perspectives of New Music . tape 37 , 1 (winter), 1999, pp. 213-245 .
  • Wulf Konold: Bernd Alois Zimmermann - The composer and his work . DuMont, Cologne 1993, ISBN 3-7701-1742-5 .
  • Jonathan Kramer: The Fibonacci Series in Twentieth-Century Music . In: Journal of Music Theory . tape 17 , 1 (Spring), 1973, pp. 110-148 .
  • Michael Kurtz: Stockhausen: A Biography . Faber and Faber, London and Boston 1992, ISBN 0-571-14323-7 .
  • David Lewin: Musical form and Transformation: Four Analytic Essays . Yale University Press, New Haven 1993.
  • 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).
    • Other Planets: The Music Of Karlheinz Stockhausen . Scarecrow Press, 2005, ISBN 0-8108-5356-6 .
  • Imke Misch and Markus Bandur (eds.): Karlheinz Stockhausen at the International Summer Courses for New Music in Darmstadt 1951-1996: Documents and Letters . Stockhausen-Verlag, Kürten 2001, ISBN 3-00-007290-X .
  • Jean-Jacques Nattiez and Robert Samuels (Eds.): The Boulez-Cage Correspondence . Cambridge University Press, 1995, ISBN 0-521-48558-4 .
  • David Nicholls: Brown, Earle (Appleton) . In: Stanley Sadie and John Tyrrell (Eds.): The New Grove Dictionary of Music and Musicians . 2nd Edition. Macmillan Publishers, London 2001.
  • Rosângela Pereira de Tugny: Specter et série dans le piano piece XI de Karlheinz Stockhausen . In: Revue de Musicologie . tape 85 , 1999, pp. 119-137 .
  • Michel Rigoni:
    • Stockhausen… un vaisseau lancé vers la ciel . 2nd Edition. Millénaire III Editions, Lillebonne 1998, ISBN 2-911906-02-0 (preface by Michaël Levinas).
    • Le rêve de Lucifer de Karlheinz Stockhausen. La trace des silences. M. de Maule, Paris 2001, ISBN 2-87623-103-4 .
  • Herman Sabbe: The unity of the Stockhausen period…: 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 .
  • Dieter Schnebel: Karlheinz Stockhausen . In: The series . 4 (Young Composers), 1958, p. 119-33 (English edition 1960).
  • Roger Smalley: Stockhausen's Piano Pieces: Some Notes for the Listener . In: Musical Times . tape 110 , 1 (January, no.1511), 1969, p. 30-32 .
  • Leonard Stein: The Performer's Point of View . In: Perspectives of New Music . tape 1 , 2 (Spring), 1963, pp. 62-71 .
  • Rudolph Stephan: New Music: Attempting a Critical Introduction . Vandenhoeck and Ruprecht, Göttingen 1958.
  • Karlheinz Stockhausen:
    • Dieter Schnebel (Ed.): Texts on Music 1. Essays 1952–1962 on the theory of composing . M. DuMont Schauberg, Cologne 1963.
    • Dieter Schnebel (Hrsg.): Texts on music 2. Essays 1952–1962 on musical practice . DuMont Schauberg, Cologne 1964.
    • Dieter Schnebel (Hrsg.): Texts on music 3. Introductions and projects, courses, programs, points of view, secondary notes . DuMont Schauberg, Cologne 1971, ISBN 3-7701-0493-5 .
    • Christoph von Blumröder (Ed.): 'Texts on Music 6: 1977–84: Interpretation. DuMont Buchverlag, Cologne 1989.
    • Tim Nevill (Ed.): Towards a Cosmic Music. Texts selected and translated . Element Books, Longmead, Shaftesbury, Dorset 1989.
    • Christoph von Blumröder (Ed.): Texts on Music 7 . Stockhausen-Verlag, Kürten 1998.
    • Christoph von Blumröder (Ed.): Texts on Music 8 . Stockhausen-Verlag, Kürten 1998.
    • Christoph von Blumröder (Ed.): Texts on Music 9 . Stockhausen-Verlag, Kürten 1998.
    • Piano music . Stockhausen-Verlag, Kürten, p. 51-74 .
    • Drums — ElectronicsDrums — Electronics . Stockhausen-Verlag, Kürten 2005.
    • Karlheinz Stockhausen and Jerome Kohl: Stockhausen on Opera . In: Perspectives of New Music . tape 23 , 2 (Spring-Summer), 1985, pp. 24-39 .
  • Richard Toop:
    • Stockhausen's Concrete Etude . In: Music Review . tape 37 , 1976, p. 295-300 .
    • Stockhausen's piano piece VIII . In: Miscellanea Musicologica . tape 10 . Adelaide 1979, p. 93-130 (Reprint: Contact No. 28 [1984]: 4-19).
    • Writing about Stockhausen . In: Contact . 1979, p. 25-27 .
    • Stockhausen's Other Piano Pieces . In: Musical Times . tape 124 , 1684 (June), 1983, pp. 348-352 .
    • Last Sketches of Eternity: The First Versions of Stockhausen's Piano Piece VI . In: Musicology Australia . tape 14 , 1991, pp. 2-24 .
    • Six Lectures from the Stockhausen Courses Kürten 2002 . Stockhausen-Verlag, Kürten 2005, ISBN 3-00-016185-6 .
  • Ernesto Trajano de Lima Neto: A piano piece XI de Stockhausen: uma imensa melodia de timbres . In: Helena Jank (ed.): Anais do XI Encontro Anual da ANPPOM (Associação Nacional de Pesquisa e Pós-Graduação em Música) . Universidad de Campinas, Campinas 1998, pp. 286-291 .
  • Stephen Truelove:
    • Karlheinz Stockhausen's Piano Piece XI: An Analysis of Its Composition via a Matrix System of Serial Polyphony and the Translation of Rhythm into Pitch . University of Oklahoma, Norman 1984 (DMA diss).
    • The Translation of Rhythm into Pitch in Stockhausen's Piano Piece XI . In: Perspectives of New Music . tape 36 , 1 (winter), 1998, pp. 189-220 .
  • David Tudor, Victor Schonfield: From Piano to Electronics . In: Music and Musicians . (August), 1972, p. 24-26 (interview).

further reading

  • Luciane Aparecida Cardassi: Contemporary Piano Repertoire: A Performer's Guide to Three Pieces by Stockhausen, Berio and Carter . University of California, San Diego, La Jolla 2004 (DMA diss.).
    • Piano piece IX by Karlheinz Stockhausen: Estratégias de aprendizagem e performance . In: Per Musi: Revista Acadêmica de Música . 12 (July – December), 2005, pp. 55-64 .
    • Le piano piece XI de Stockhausen: pluralité et organization . In: Les cahiers du CIREM . 18-19 (December 1990-March 1991), 1991, pp. 101-109 .
  • Galia A Hanoch-Roe: Musical Space and Architectural Time: Open Scoring Versus Linear Processes . In: International Review of the Aesthetics and Sociology of Music . tape 34 , 2 (December), 2003, pp. 145-160 .
  • Francesco Leprino: Virtuosismi e forme virtuali per l'interprete di oggi . In: Analisi: Rivista di teoria e pedagogia musicale . tape 9 , no. 27 , 1998.
  • Eric Marc Nedelman: Performance Analysis of David Tudor's Interpretations of Karlheinz Stockhausen's Piano Pieces . University of California, Santa Barbara, Santa Barbara 2005 (Ph.D. diss.).
  • Rosângela Pereira de Tugny: Le piano piece V de Karlheinz Stockhausen . In: dissonance . tape 44 , 1995, pp. 13-16 .
  • Ronald C Read and Lily Yen: A Note on the Stockhausen Problem . In: Journal of Combinatorial Theory . tape 76 , 1 (October), 1996, pp. 1–10 ( stockhausen.org [PDF]).
  • Kenneth Neal Saxon: A New Kaleidoscope: Extended Piano Techniques, 1910-1975 . University of Alabama, 2000 (DMA diss.).
  • Dieter Schnebel: Commento alla nuova musica . In: Musica / Realtà . 21 (July), 2000, pp. 179-183 .
  • Lily Yen: A Symmetric Functions Approach to Stockhausen's Problem . In: The Electronic Journal of Combinatorics . tape 3 , R7, 1996, pp. 1–15 ( emis.de [PDF]).
  • Karlheinz Stockhausen: Clavier Music 1992. on In: Perspectives of New Music. 31, No. 2 (Summer), 1993, pp. 136-149.

Web links

Individual evidence

  1. ↑ see piano piece XV .
  2. ^ Stockhausen: piano pieces. In: Texts on Music 3. p. 19 first paragraph.
  3. ↑ Stockhausen used fractions u. a. to designate derivative works, e.g. B. other instrumentation, versions with additional voices. For work no. 49 (Michael's youth, first act of the opera "Thursday from Light ") there are three scenes that can also be performed alone (49½ childhood , 49⅔ Mondeva , 49¾ exams ).
  4. ↑ a b Blumröder: The foundation of the music of Karlheinz Stockhausen. Pp. 109-110.
  5. ^ Stockhausen: piano pieces. In: Texts on Music 3. p. 19 last paragraph.
  6. ^ A b Stockhausen: On the situation of the craft. In: Texts on Music 1. pp. 17–23.
  7. ^ Frisius: Karlheinz Stockhausen I. p. 123.
  8. ↑ Blumröder: The foundation of the music of Karlheinz Stockhausen. P. 135.
  9. ↑ Stockhausen: Texts on Music 2. p. 23 ff.
  10. ^ Stockhausen: Texts on Music 2. p. 43.
  11. ^ Danuser: The music of the 20th century . P. 343.
  12. ↑ Blumröder: The foundation of the music of Karlheinz Stockhausen. Pp. 138-139.
  13. ↑ Blumröder: The foundation of the music of Karlheinz Stockhausen. P. 17.
  14. ↑ a b Chatham .
  15. ↑ Original text: The melody, the rhythm and the structure, while being complex (extremely complex) is also elegant and beautiful. Everything works musically. It's about perfection. I wasn't surprised when I read that Stockhausen played piano in a bar during his late teens and early twenties, this earthy connection that he had with music certainly shows up in his written work.
  16. ^ Frisius: Karlheinz Stockhausen I. S. 155f.
  17. ↑ The super formula made of light . (PDF; 391 kB).
  18. ↑ Kohl: Into the Middle Ground. Pp. 265-67.
  19. ↑ Kohl: Into the Middle Ground. P. 274.
  20. ^ Maconie: Other Planets , p. 118.
  21. ↑ Decroupet: First sketches of reality. P. 115.
  22. ↑ Stockhausen No. 2: Piano Pieces I – IV (1952/53) in Texts on Music 2. p. 19.
  23. ^ Frisius: Karlheinz Stockhausen I. p. 129.
  24. ↑ Blumröder: The foundation of the music of Karlheinz Stockhausen. P. 123.
  25. ↑ Stockhausen: Texts on Music 1. p. 74.
  26. ↑ See discography Mercenier, Marcelle ; The text is in Stockhausen: Texts for Music I, pages 63–74 as group composition: Piano piece I (instructions for listening) .
  27. ^ Stockhausen: Group composition: Piano piece I (instructions for listening) In: Texts on Music I. P. 63 first paragraph.
  28. ^ A b Maconie: Other Planets. P. 121.
  29. ↑ a b c Toop: Writing about Stockhausen. P. 27.
  30. ^ Toop: Stockhausen's Other Piano Pieces. P. 348.
  31. ^ A b Maconie: Other Planets. P. 122.
  32. ↑ Stein: The Performer's Point of View. Pp. 66-67.
  33. ↑ Henck: For the calculation and representation of irrational time values . Pp. 89-91.
  34. ↑ a b Sabbe in Music Concepts. 19: Karlheinz Stockhausen:… how time passed…. Pp. 36-38.
  35. ↑ Sabbath in Music Concepts. 19: Karlheinz Stockhausen:… how time passed…. P. 38.
  36. ^ Maconie: The Works of Karlheinz Stockhausen. P. 120.
  37. ↑ a b Rigoni: Stockhausen… un vaisseau lancé vers la ciel. Pp. 126-27.
  38. ^ Stockhausen: Texts on Music I. P. 64.
  39. ^ Toop: Stockhausen's Concrete Etude . 300
  40. ↑ Toop: Stockhausen's Piano Piece VIII. P. 27.
  41. ↑ Stockhausen: Texts on Music 9, pp. 446 and 528.
  42. ^ Frisius: Karlheinz Stockhausen I. p. 131.
  43. ^ Kohl: Four Recent Books on Stockhausen. P. 216.
  44. ↑ Original: “Particularly, when listening to piano pieces III … it's so, well, exquisite. One almost imagines one is listening to something as refined as a sophisticated blues line articulated by a singer on the level of Billie Holiday. ".
  45. ↑ Stephan: Neue Musik , 60–67.
  46. ^ Schnebel: Karlheinz Stockhausen. P. 119.
  47. ↑ Blumröder: The foundation of the music of Karlheinz Stockhausen. P. 141.
  48. ^ Maconie: Other Planets. Pp. 119-120.
  49. ^ Maconie: Other Planets , p. 120.
  50. ^ Schnebel: Karlheinz Stockhausen. Pp. 132-33.
  51. ^ Maconie: The Works of Karlheinz Stockhausen. P. 63.
  52. ^ Schnebel: Karlheinz Stockhausen. P. 132.
  53. ^ Harvey: The Music of Stockhausen. Pp. 24-27.
  54. ^ Lewin: Musical form and transformation. Pp. 16-67.
  55. ↑ Blumröder: The foundation of the music of Karlheinz Stockhausen. Pp. 109-154.
  56. ^ Kohl: Four Recent Books on Stockhausen. P. 217.
  57. ^ Stockhausen: Texts on Music 2. p. 19.
  58. ^ Harvey: The Music of Stockhausen. Pp. 24-25.
  59. ↑ Nattiez and Samuels: The Boulez-Cage Correspondence. Pp. 140-141.
  60. ↑ a b c d e f Toop: Stockhausen's Other Piano Pieces. P. 349.
  61. ^ Kurtz: Stockhausen. P. 65.
  62. ↑ Stockhausen: Invention and Discovery In: Texts on Music 1. S. 229, 237.
  63. ^ Eggebrecht: Terminology of Music in the 20th Century. P. 405.
  64. ↑ Stockhausen: Invention and Discovery - A Contribution to Form Genesis . In: Texts on Music I. p. 237.
  65. ^ Smalley: Stockhausen's Piano Pieces. P. 31.
  66. ↑ Toop: Stockhausen's Piano Piece VIII. P. 93.
  67. ^ Toop: Six Lectures from the Stockhausen Courses Kürten 2002. p. 21.
  68. ↑ a b Toop: Stockhausen's Piano Piece VIII. Pp. 93–94.
  69. ↑ Toop: Stockhausen's Piano Piece VIII. Pp. 95–96.
  70. ↑ Henck: For the calculation and representation of irrational time values. P. 6.
  71. ↑ List of works. Universal Edition Vienna.
  72. ^ Harvey: The Music of Stockhausen. Pp. 35-36.
  73. ^ Toop: Six Lectures from the Stockhausen Courses Kürten 2002. p. 21.
  74. ^ Toop: Stockhausen's Other Piano Pieces. P. 352.
  75. ^ Toop: Last Sketches of Eternity. P. 4.
  76. ^ Toop: Stockhausen's Other Piano Pieces. Pp. 349-50.
  77. ↑ a b Toop: Writing about Stockhausen. P. 26.
  78. ↑ a b c Toop: Last Sketches of Eternity. P. 23.
  79. ^ Maconie: Other Planets. P. 143.
  80. ↑ Rigoni: Stockhausen… un vaisseau lancé vers la ciel. P. 137.
  81. ↑ a b Decroupet: First sketches of reality. P. 123.
  82. ^ Toop: Stockhausen's Other Piano Pieces. Pp. 351-52.
  83. ^ Maconie: Other Planets. P. 142.
  84. ↑ Stockhausen: Piano Music , p. 145.
  85. ↑ Toop: Stockhausen's Piano Piece VIII. P. 103.
  86. ↑ Toop: Stockhausen's Piano Piece VIII. Pp. 100–113.
  87. ^ Smalley: Stockhausen's Piano Pieces. Pp. 31-32.
  88. ^ Henck: Karlheinz Stockhausen's piano piece IX. P. 177.
  89. ^ Kramer: The Fibonacci Series in Twentieth-Century Music. Pp. 121-125.
  90. ^ Frisius: Karlheinz Stockhausen II. P. 86.
  91. ↑ Konold: Bernd Alois Zimmermann - The composer and his work. Pp. 47-49.
  92. ↑ Henck: piano cluster. P. 69.
  93. ↑ Lit. Stockhausen Piano Pieces IX / X In: Texts 2 p. 106.
  94. ↑ Henck: piano cluster. P. 68.
  95. ↑ Henck: Karlheinz Stockhausen's Piano Piece X , p. 14.
  96. ↑ Henck: Karlheinz Stockhausen's Piano Piece X , p. 41.
  97. ^ Henck: Karlheinz Stockhausen's Piano Piece X , pp. 17–48.
  98. ^ Henck: Karlheinz Stockhausen's piano piece X. p. 59.
  99. ^ Henck: Karlheinz Stockhausen's piano piece X. pp. 5-6.
  100. ↑ Stockhausen: Invention and Discovery. In: Texts on Music I. p. 241.
  101. ↑ English: “Composition begins with any sound and proceeds to the any other”.
  102. ↑ Lit. Emons p. 87.
  103. ↑ Web. Britannica Online Earl Browne ; Lit. Nicholls.
  104. ↑ Original from Lit. Tudor and Schonfield p. 25: Stockhausen's words translated from English.
  105. ^ Frisius: Karlheinz Stockhausen II. P. 83.
  106. ↑ a b c Quotes from the foreword to the score UE No. 12654 LW. Notes in square brackets.
  107. ↑ Truelove: Karlheinz Stockhausen's piano piece XI. Pp. 103-125.
  108. ↑ a b Truelove: The Translation of Rhythm into Pitch in Stockhausen's Piano Piece XI. P. 190.
  109. ↑ Truelove: The Translation of Rhythm into Pitch in Stockhausen's Piano Piece XI. Pp. 192-197.
  110. ↑ Truelove: The Translation of Rhythm into Pitch in Stockhausen's Piano Piece XI. Pp. 202-204.
  111. ↑ Truelove: The Translation of Rhythm into Pitch in Stockhausen's Piano Piece XI. Pp. 198-201.
  112. ↑ Pereira de Tugny: Specter et série dans le piano piece XI de Karlheinz Stockhausen. P. 121.
  113. ↑ Truelove: Karlheinz Stockhausen's piano piece XI. P. 206.
  114. ↑ Truelove: The Translation of Rhythm into Pitch in Stockhausen's Piano Piece XI. P. 94.
  115. ↑ Truelove: Karlheinz Stockhausen's piano piece XI. P. 210.
  116. ^ Toop: Six Lectures from the Stockhausen Courses Kürten 2002. p. 34.
  117. ^ Kurtz: Stockhausen. Pp. 87-88.
  118. ^ Misch and Bandur: Karlheinz Stockhausen at the International Summer Courses for New Music in Darmstadt 1951–1996. Pp. 147, 166, 169-72.
  119. ↑ Kiec: The Light Super-Formula. P. 215.
  120. ↑ a b c d e f Frisius: Piano Pieces XII-XIV .
  121. ↑ Kohl: Into the Middle Ground. P. 278.
  122. ↑ Kohl: Into the Middle Ground. P. 284.
  123. ^ Kohl: The Evolution of Macro- and Micro-Time Relations in Stockhausen's Recent Music. Pp. 166-69.
  124. ↑ Rigoni: Stockhausen… un vaisseau lancé vers la ciel. Pp. 42-51.
  125. ^ Kohl: The Evolution of Macro- and Micro-Time Relations in Stockhausen's Recent Music. P. 166.
  126. ^ Kohl: Time and Light. P. 166.
  127. ^ Kohl: Time and Light. P. 213.
  128. ↑ Rigoni: Stockhausen… un vaisseau lancé vers la ciel. P. 63.
  129. ^ Stockhausen: Texts on Music 6. p. 106.
  130. ^ Stockhausen: Texts on Music 6. p. 107.
  131. ^ Kohl: Time and Light. Pp. 212-17.
  132. ↑ Rigoni: Le rêve de Lucifer de Karlheinz Stockhausen. Pp. 56-66.
  133. ^ Kohl: Time and Light. P. 218.
  134. ^ Stockhausen: Texts on Music 7. pp. 306, 633.
  135. ^ Original text from Stockhausen & Kohl: Stockhausen on Opera. P. 33.
  136. ↑ Kiec: The Light Super-Formula. P. 113.
  137. ↑ Kiec: The Light Super-Formula. P. 122.
  138. ^ Stockhausen: piano music. Pp. 52-53.
  139. ^ A b Stockhausen: piano music .
  140. ↑ Kiec: The Light Super-Formula. P. 144.
  141. ↑ Kiec: The Light Super-Formula. P. 177.
  142. ↑ Kiec: The Light Super-Formula. P. 172.
  143. ^ Maconie: Other Planets. P. 503.
  144. ^ Maconie: Other Planets. P. 498.
  145. ↑ Kiec: The Light Super-Formula. Pp. 216-17.
  146. ^ Stockhausen: drum electronics. Pp. 23-24.
  147. ^ Stockhausen: drum electronics. P. 25.
  148. ^ Maconie: Other Planets. P. 544.


This article was added to the list of excellent articles on November 29, 2009 in this version .