Analysis and appreciation of KLAVIERSTÜCKE I–IV (Piano Pieces 1 – 4), Karlheinz Stockhausen’s avant-garde works for piano. Stockhausen’s Klavierstücke: A world of crystalline light in a wooden Karelian church with high windows, or the filtered rays of photons through the walls of an. Karlheinz Stockhausen: Nr. 2 Piano Pieces I-IV. Catalogue number: Nr. 2; Year of composition: ; Scored for: for piano; Composer: Karlheinz.
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Stockhausen However, the score was not finished in time for Tudor to learn it, and klavieestcke his international touring did not leave him in a position to do so. And they comprise music indicative of Stockhausen’s own musical development.
Markings for tempo, dynamics, etc. Art is the finest and truest expression of the human spirit, and so taking art seriously is just taking yourself and your life seriously, by giving it indisputable value. November und am 3. In part because he used Stockhausen’s compositional notes the textual commentary and plan as reference, he has rethought the scope, scale and nature of the music.
Only by a thorough understanding of its genesis and development can a performer really understand then embrace the structure and direction that the hour and three-quarters of music on these two CDs takes, is perhaps thought to take, and does not take. By the end, the figures become unified into a higher supraordinate Gestalt Stockhausen And even more full of meaning… and heart.
The score authorizes the performer to create a personal work against the background of the music of the scene “Children’s War” from Freitag. Every note is conveyed raw and pure, as open and crystalline as when it was written. Another five squares are derived from this first one, by starting with its second, third, etc. The first row is klavuerstcke all-interval seriesand the remaining rows are transpositions of the first onto each of its members Toop a, 93— I think all the structural material srockhausen of a sudden is going to change drastically in the detail.
Stockhausen— These six squares “furnish a sufficiently large number of proportions for all stocihausen pieces in the cycle, but apart from determining the tempo groups and main subdivisions, they do very little to klaviersfcke the actual content of each piece, or indeed the number of features to which the squares are applied” Toop a95— Structure per Jonathan Harvey’s analysis.
From Wikipedia, the free encyclopedia. Dieser Artikel wurde am Tudor wrote to apologise, and Steinecke accepted that he would have to settle for the European premiere, but then Tudor planned to play the piece in Paris two weeks before Darmstadt.
Karlheinz Stockhausen – Klavierstücke I – XIV
Wambach also, significantly, pulls into focus and order what could easily be experienced as an essentially centrifugal musical conception, as something that circles around its musical not its sonic center hinting at an engagement by the listener which at times isn’t clear.
XI is openly aleatoric of texture and timbre more explicitly. Diese komplette Formel wird dreimal gespielt, je 2: Syockhausen, though, Wambach isn’t “interceding” for us with Stockhausen.
The listener will feel that Wambach extracts every possible nuance of dynamic, tempotexture, architecture and intention of the composer from every moment. In one later, exposed place, similar exchanges cause the passage to bear a strong resemblance to the interval sequence with which the Michael formula closes Frisius The density of rhythmic activity in these formulas is progressively increased by dividing the notes in each of the five sections by the first five members of the Fibonacci series: These strands are superimposed to form a contrapuntal web which Stockhausen calls the ” superformula ” Kohl— Juni in Darmstadt, Nr.
Although note is counterbalanced by a group of grace notes preceding its next entry, and by other tones, the opening few bars “tend to group around this unassailable centre” Grant This is achieved by silently depressed keys and by use of the middle pedal, in order to release the dampers so that certain notes may be set into sympathetic vibration by striking other notes.
Descending bass and ascending high melodic figures. IX Aloys Kontarsky am The idea of this repeated-chord variability was inspired by an improvisation Mary Bauermeister made on the piano in Doris’s and Karlheinz’s apartment in Cologne-Braunsfeld when, probably with non-European music in mind, klavierstckd repeated a single chord on the piano, varying finger-pressure slightly on the individual chord tones from one repetition to the next to produce a kind of micro-melody Bauermeister The repetitions stockhausdn these central notes makes them particularly obvious Stockhausen The surface is created primarily from the klaviesrtcke and “improvisations” of the superformula Kohl The score is dedicated to the composer’s son, Simon Stockhausen, who gave the premiere performance at the Museum Ludwig in Cologne on 5 October Glissandi Prelude with quintuple-chord end figure.
Instead, the performer must choose which notes to perform synchronously with the meticulously notated electronic music Kiec First, the Eve formula the middle line of the original superformula is transposed into the upper register, exchanging with the Michael formula which is lowered to the middle, while the Lucifer formula remains in its original position in the bass. Each note is either followed or preceded by a rest, and so the termination of a note can serve as a reference to a stokchausen in time as an alternative to the beginning of stockhauaen note playing the same role Maconie— This is accomplished by exchanging some of the neighbouring core tones of the melodies.
Stockhausen: Klavierstücke I to XI CD review – Liebner makes light work of piano cycle’s challenges
The pace is especially thrilling. Stockhausen sieht diesen Schritt als Reaktion auf Erfahrungen mit der elektronischen Musik:. Er wird vor allem mit elektronischer Musik in Verbindung gebracht, deren Entwicklung er in den er und er Jahren vorangetrieben hat.
His performing career spans the globe.
One would only wish that a person of klavieratcke stature would have much more time than just an ordinary lifetime to see his projects in art through.
Yet the intention of the composer is never obscured by the pianist’s expositional skills. One, initiated by Robin Maconie63holds that the piece is constructed from chromatic tetrachords; the other, founded by Dieter Schnebeland continued by Jonathan Harvey24—27maintains that the basis is actually a five-note set, consisting of that same tetrachord plus a note a minor third above 0,1,2,3,6and ordered as a series: Compositions by Klavierstcje Stockhausen.
Third, for the opening portion, corresponding to just the first scene of the opera, a fifth layer is added. Stockhausen nutzt also bewusst die Gegebenheiten eines menschlichen Interpreten.