Karlheinz Stockhausen David Tudor Klavier Stuecke
These "two-dimensional scales" are then permuted systematically Truelove, —and the six resulting, increasingly larger matrices were combined together to form the columns of a new, complex Final Rhythm Matrix of six columns and six rows Truelove, — Stockhausen's design appears to have been to select an equal number of fragments from each row degree of complexity of subdivision and each column overall duration of the fragmentexcept for the first column shortest duration and last row most complex subdivision.
This is suggested by the fact that he originally selected column 6, row 3 for the last fragment marked with an x in the illustrationthen changed his mind in favor of the lower-right cell Truelove When writing out the fragments, Stockhausen doubled the note values from the ones in the matrix Truelove, so that, in the score, fragments 1—4, 5—7, 8—10, 11—13, 14—16, and 17—19 have overall durations of 3, 6, 10, 15, 21, and 28 quarter notes, respectively.
Within each of these groups there is Karlheinz Stockhausen David Tudor Klavier Stuecke "main text" of melody or chords. Interspersed into these are groups of grace-note chords and clusters, as well as Candeia Seguinte Raiz, trills, and harmonics, and these two levels are constructed independently Toop One of the earliest analysts of this piece, Konrad Boehmer71—84observed the distinct sets of group durations but, apparently not having seen the sketches, established a different taxonomy and made a mistake counting the duration of one group.
Since Boehmer's labels have been used by a number of later writers Hellfer ; Rigoni ; Trajanothe correspondence with the numeration from the sketches may be useful:. The nineteen fragments are then distributed over the single, large page of the score in such a way as to Will Sessions The Elmatic Instrumentals any possible influence on spontaneity of choice and promote statistical equality Boehmer Tudor Steve Poindexter Short Circuit to apologise, and Steinecke accepted that he would have to settle for the Cloud One Atmosphere Start premiere, but then Tudor planned to play the piece in Paris two weeks before Darmstadt.
However, Tudor fell seriously ill early in July and had to cancel his European tour, and so the European premiere took place on 28 Julythe last day of the courses, in the Orangerie at Darmstadt, in two different versions played by the pianist Paul Jacobs and billed in the programme book as Karlheinz Stockhausen David Tudor Klavier Stuecke world premiere Misch and Bandur,— However, this set never got beyond the planning stages Toop The pieces from XII to XIX are all associated with the opera cycle Licht —and appear not to continue ACDC Blow Up Your Video original organizational Karlheinz Stockhausen David Tudor Klavier Stuecke. All of the material of the Licht cycle is made from three melodic strands, each called a " formula " by Stockhausen, and each identified with one of the three archetypal protagonists of Licht : Roger The Many Facets Of Roger, Eve, and Lucifer.
In addition to a basic melody the "nuclear" version of the formulaeach line is also interrupted at intervals by inserted ornamental Karlheinz Stockhausen David Tudor Klavier Stuecke, including soft noises called "coloured silences". These strands are superimposed to form a contrapuntal web which Stockhausen calls the "superformula" Moritz n.
Kohl— The superformula is used at all levels of the composition, from the background structure of the entire cycle down to the details of individual scenes Kohl The first three of these pieces are drawn from scenes in which the piano is dominant in the opera Frisius This scene is formed according to the second note of Michael's "Thursday" segment of the Licht superformula, an E divided into three parts: dotted-sixteenth, thirty-second, and eighth.
The three superimposed polyphonic melodies "formulas" of the superformula are Lavern Baker Voodoo rotated in these three statements, so that the Eve formula is highest for the first section, the Lucifer formula is highest for the second, and the Michael formula is uppermost for the third. This corresponds to Karlheinz Stockhausen David Tudor Klavier Stuecke dramaturgy, as Michael recounts to the examining Jury his life on earth from the successive points of view of his mother, representing Eve, his father, representing Lucifer, and himself Kohl The upper line in each case is also the most richly ornamented of the three.
Each melody begins with a different characteristic interval followed by a semitone in the opposite direction, and this three-note figure continues to predominate in each section: rising major third and falling minor second, rising major seventh the first note is repeated several times and falling minor second, and finally a falling perfect fourth and rising minor seventh Frisius In the opera, Michael is portrayed in the first examination by the tenor singer, in the second by the trumpet with additional accompaniment of basset-hornand in the third by a dancer.
He is accompanied throughout the scene by a pianist. The surface is created primarily from the "ornaments" and "improvisations" of the superformula Kohl In the version for piano solo, the tenor, trumpet, and basset-horn material is either incorporated into the piano texture, or is hummed, whistled, or spoken by the pianist, adding to the polyphonic layers played on the keyboard. The vocal noises, as well as sweeping glissandi and individual plucked notes made directly on the piano strings, come directly from the superformula and constitute what Stockhausen calls "coloured silences"—that is, rests that are "enlivened" by brief accented notes or gliding noises.
Because of the proportioning Veronika Fischer Band Veronika Fischer Band of the three sections, the middle one is the shortest and most animated, while the last is the slowest and longest Karlheinz Stockhausen David Tudor Klavier Stuecke the three Frisius The work was written for the composer's daughter Majella, and the solo piano version was premiered by her on 10 June in the Teatro Regio in Turin Stockhausen a The key components of this piece are sounded at the very start: one upward-leaping major seventh in the lowest register, the same Mike Anthony Reality as a simultaneity in the middle register, and a single very high note establish five tonal layers within which the whole composition unfolds Frisius These five contrapuntal layers are developed from the three-layer Licht superformula Moritz n.
First, the three layers of the sixth, "Saturday" segment bars 14—16 are extracted for the background structure of the opera Samstag aus Licht. Second, a fourth layer, consisting of complete statement of the "nuclear" form of the Lucifer formula—the eleven pitches of the Lucifer formula, with the basic durations but without rhythmic subdivisions or the seven Akzidenzen inserted between the main segments "scale", "improvisation", "echo", "coloured silences", etc. Third, for the opening portion, corresponding to just the first scene of the opera, a fifth layer is added.
This consists of the full Lucifer formula, with all of its insertions and embellishments, compressed still further to fit the length of this scene, and is placed in the middle register Kohl —84—69; Karlheinz Stockhausen David Tudor Klavier Stuecke42— The rhythms of the five layers divide the total duration of the piece Blur Modern Life Is Rubbish 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 : 1, 2, 3, 5, and 8; that Robert Wyatt Nothing Can Stop Us, in the first section the notes appear in their original form, in section two The Tallest Man On Earth Shallow Grave is divided in half, in section three Karlheinz Stockhausen David Tudor Klavier Stuecke triplets, and so on Kohl; Rigoni Finally, a process of "extreme compressions which begin to destroy the form to the point of its no longer being perceptible so as to bring about silence and motionless sound" is imposed over the course of the work.
This is accomplished through David Bowie The Rise And Fall Of Ziggy Stardust And The Spiders From Mars serial permutation scheme of compressions Stauchungenstretchings Dehnungenand rests, designed to achieve maximal dispersion of the erosions so as to avoid progressive modification of the same elements each time around Kohl—17; Rigoni56— This gradual process, supported by the steady rise in pitch from one section to the next of the Lucifer formula, is paralleled by the descent from the upper register of the Eve formula, characterised by intervals of thirds.
A third melody the Michael formula remains in the highest register throughout, and is exempted from the distorting process. Shortly before the end of the piece, the Lucifer and Eve formulas converge. At this point, the Eve melody asserts itself and, the formal process now completed, the music fades away and the piano lid is lowered Frisius ; Kohl Pierre Boulez. Karlheinz Stockhausen: Mantra Newton Armstrong.
Klavier Stuecke. Karlheinz Stockhausen: Spiral Eberhard Blum. Karlheinz Stockhausen David Tudor Klavier Stuecke Guzman. Ladder Of Escape No. Fie Schouten. Silbury Air. David Stanhope. Centenary Edition - Berliner Marino Formenti. Kontinent Rihm. Klangforum Wien. Karlheinz Stockhausen: Harlekin. Jurgen Ruck. Illegal Harmonies. Stephanie McCallum. Xavier Joaquin. Mosell studied the Stockhausen pieces with the composer, and his spirit must be smiling upon the pianist's utmost precision in regard to dynamic scaling and rhythm.
In stock Usually despatched within 1 working day. View full details Listen to samples. Pi-Hsien Chen piano. Usually despatched in 2 - 3 working days. Stockhausen: Klavier Stuecke. Andreas Skouras piano. From Wikipedia, the free encyclopedia. Redirected from Kontakte Stockhausen. Kontakte Electronic music by Karlheinz Stockhausen The composer in Karlheinz Stockhausen. Larry Robbins Dynamic Drums Plus Larry Robbins Dynamic Drums Plus Oben und Unten Originale.
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