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Kreuzspiel
(Crossplay) is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in 1951 (it was later revised for just three percussionists, along with other changes). It is assigned the number 1/7 in the composer's catalogue of works. History Stockhausen regarded ''Kreuzspiel'' as his first original composition, as opposed to the style-imitation exercises he did as part of his music studies. According to the composer, it was influenced by Olivier Messiaen's " Mode de valeurs et d'intensités" (1949) and Karel Goeyvaerts's Sonata for Two Pianos (1950), and is one of the earliest examples of "point" music. ''Kreuzspiel'' was premièred at the Darmstädter Ferienkurse in the summer of 1952, conducted by the composer. According to Stockhausen, the performance "ended in a scandal". Analysis ''Kreuzspiel'' has been analysed in print more often than any other work by Stockhausen, though all but one restrict themselves to just the first of its thre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Quatre Études De Rythme
''Quatre Études de rythme'' (Four Rhythm Studies) is a set of four piano compositions by Olivier Messiaen, written in 1949 and 1950. A performance of them lasts between 15 and 20 minutes. History The four pieces which the composer collectively termed ''Études de rythme'' are not a "cycle" like Messiaen's earlier ''Vingt Regards sur l'enfant-Jésus'' (1944) or ''Visions de l’Amen'' (1943). Messiaen composed "Neumes rythmiques" and "Mode de valeurs et d’intensités" in 1949 (the latter at Darmstädter Ferienkurse, Darmstadt) and added the other two études in the following year, when he was at Tanglewood. The four movement (music), movements were premiered on 6 November 1950 in Tunis (at that time under the French protectorate of Tunisia) by the composer himself, who shortly afterward made the first recording of the études. The French premiere was given in Toulouse on 7 June 1951 by Yvonne Loriod. Analysis The work consists of four movements # "Ile de feu I" (Fire Island I) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karlheinz Stockhausen
Karlheinz Stockhausen (; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance ( aleatory techniques) into serial composition, and for musical spatialization. He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chöre Für Doris
(Choruses for Doris), after poems by Paul Verlaine, is a three-movement a cappella choral composition by Karlheinz Stockhausen, written in 1950 and later given the number 1/11 in the composer's catalogue of works. The score is dedicated to the composer's first wife, Doris Stockhausen, née Andreae. History During his third year of music-education studies at the Musikhochschule Köln, free stylistic exercises in composition were part of the program of training. Along with fugues, chorale preludes, sonatas, and song arrangements in various traditional styles, and a scherzo in the style of Paul Hindemith Paul Hindemith (; 16 November 189528 December 1963) was a German composer, music theorist, teacher, violist and conductor. He founded the Amar Quartet in 1921, touring extensively in Europe. As a composer, he became a major advocate of the ''Ne ..., Stockhausen wrote a number of choral pieces for the school choir in which he himself sang. Amongst them were these three ''Chöre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zeitmaße
''Zeitmaße'' (; German for "Time Measures") is a chamber-music work for five woodwinds (flute, oboe, cor anglais, clarinet, and bassoon) composed in 1955–1956 by German composer Karlheinz Stockhausen; it is Number 5 in the composer's catalog. It is the first of three wind quintets written by Stockhausen, followed by '' Adieu für Wolfgang Sebastian Meyer'' (1966) and the ''Rotary'' Wind Quintet (1997), but is scored with cor anglais instead of the usual French horn of the standard quintet. Its title refers to the different ways that musical time is treated in the composition. History ''Zeitmaße'' was composed more or less concurrently with three other works in contrasting media, which together formed the basis for Stockhausen's rise to fame in the 1950s. The others were ''Gesang der Jünglinge'' for electronic and concrète sounds, ''Gruppen'' for three orchestras, and '' Klavierstück XI'' for piano. In order to begin work on a commission for the new orchestral compositi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adieu (Stockhausen)
''Adieu'' ''für Wolfgang Sebastian Meyer'' is a composition for wind quintet by Karlheinz Stockhausen composed in 1966. It is Number 21 in the composer's catalog of works, and the second of Stockhausen's three wind quintets, the others being ''Zeitmaße'' (1955-1956) and the ''Rotary'' Wind Quintet (1997). History In June 1966 the oboist Wilhelm Meyer, who had frequently performed Stockhausen's earlier quintet ''Zeitmaße'' under the composer's direction, asked Stockhausen to compose a new wind quintet for an upcoming tour of Asia. Stockhausen initially demurred because a new quintet would probably take months to compose, and the current production of ''Hymnen'' in the Cologne electronic studio was taking up all of his time. A visit made a few days later to a comprehensive exhibition in The Hague of Piet Mondrian's paintings made Stockhausen ask himself, when confronted with Mondrian's well-known series of paintings titled simply "compositions"—with their strict organization by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Serialism
In music, serialism is a method of Musical composition, composition using series of pitches, rhythms, dynamics, timbres or other elements of music, musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of atonality, post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a tone row, row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variation (music), variations. Other types of serialism also work with set (music), sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameter (music), parameters"), such as duration (music), duration, Dynamics (music), dynamics, and timbre. The idea of serialism is also applied in various ways in the visual arts, design, and architectu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Punctualism
Punctualism (commonly also called "pointillism" or "point music") is a style of musical composition prevalent in Europe between 1949 and 1955 "whose structures are predominantly effected from tone to tone, without superordinate formal conceptions coming to bear". In simpler terms: "music that consists of separately formed particles—however complexly these may be composed—s calledpunctual music, as opposed to linear, or group-formed, or mass-formed music", bolding in the source). This was accomplished by assigning to each note in a composition values drawn from scales of pitch, duration, dynamics, and attack characteristics, resulting in a "stronger individualizing of separate tones". Another important factor was maintaining discrete values in all parameters of the music. Punctual dynamics, for example mean that all dynamic degrees are fixed; one point will be linked directly to another on the chosen scale, without any intervening transition or gesture. Line-dynamics, on t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonata For Two Pianos (Goeyvaerts)
Sonata for Two Pianos (1950–51), also called simply Opus 1 or Nummer 1, is a chamber music work by Belgian composer Karel Goeyvaerts, and a seminal work in the early history of European serialism. History Goeyvaerts composed the sonata during the winter of 1950–51, and brought the score with him when he attended the Darmstädter Ferienkurse in the Summer of 1951. There he met Karlheinz Stockhausen, five years his junior and at the time and a student in his last year at the Cologne Conservatory. Goeyvaert's and Stockhausen's analysis and performance of the second movement of the Sonata in Theodor W. Adorno's composition seminar had considerable significance for those young composers eager to develop serial thinking. The influence of the Sonata is also evident in Stockhausen's early serial compositions, particularly '' Kreuzspiel'', which Stockhausen began composing on his way home from Darmstadt and finished on 4 November 1951. Adorno, however, did not appreciate the qualities ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Drei Lieder (Stockhausen)
''Drei Lieder'' (Three Songs), for alto voice and chamber orchestra, is a song cycle by Karlheinz Stockhausen, written while he was still a conservatory student in 1950. In the composer's catalogue of works, it bears the number 1/10. History When the 21-year-old Stockhausen wrote the ''Drei Lieder'' in two weeks during the summer of 1950, he had no ambition to become a composer. He was approaching the end of his studies in music education at the Cologne Conservatory and, after numerous classroom exercises, wanted merely to try his hand at composing something of substantial proportions. The work was originally titled ''Lieder der Abtrünnung'' (Songs of a Renegade), and set three poems written by the composer himself: "Mitten im Leben" (In the Midst of Life), "Frei" (Free), and "Der Saitenmann" (The Fiddler). (It is possible that there were originally five songs, but two were later destroyed.) The score is dedicated to Doris Andreae, who later became the composer's wife. Stockhaus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kontra-Punkte
''Kontra-Punkte'' (Counter-Points, or Against-Points) is a composition for ten instruments by Karlheinz Stockhausen which resolves contrasts among six instrumental timbres, as well as extremes of note values and dynamic levels, into a homogeneous ending texture. Stockhausen described it: "Counter-Points: a series of the most concealed and also the most conspicuous transformations and renewals—with no predictable end. The same thing is never heard twice. Yet there is a distinct feeling of never falling out of an unmistakable construction of the utmost homogeneity. An underlying force that holds things together—related proportions: a structure. Not the same ''Gestalten'' in a changing light. But rather this: various ''Gestalten'' in the same light, that permeates everything." History The first, untitled version, written in 1952–53, was a sparse-textured, " punctual" composition scored for flute, E-flat clarinet, contrabass clarinet, contrabassoon, trumpet, contrabass tuba, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sonatine (Stockhausen)
The Sonatine ( Sonatina) for violin and piano is a chamber music composition by Karlheinz Stockhausen, written while he was still a student in 1951. It carries the work-number ⅛ in his catalogue of works. History Stockhausen composed the Sonatine as the second of two "free works" required for his final examinations at the Cologne Conservatory. The piano part of the first movement was composed originally as a separate work, titled ''Präludium'', and the violin part was then superimposed. The manuscript of the completed composition is dated 19 March 1951. It was premiered by Wolfgang Marschner, concertmaster of the NWDR Symphony Orchestra, with the composer at the piano, in a broadcast recording transmitted for the first time on 24 August 1951. The first performance before a live audience, however, did not occur until twenty years later, when Saschko Gawriloff (violin) and Aloys Kontarsky (piano) played it on 22 October 1971 at a concert of the SMIP in Paris. Analysis The work i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Doris Stockhausen
Doris Gertrud Johanna Stockhausen (née Andreae, born 28 February 1924) is a German music pedagogue. She was the first wife of Karlheinz Stockhausen who dedicated several compositions to her, beginning with ''Chöre für Doris'' in 1950 before they were married. Life Doris Gertrud Johanna Andreae was born in Hamburg, the daughter of the shipbuilder Max Andreae (1887–1973) and his wife Emmi Alwine née Blohm (1890–1931). She studied piano at the Musikhochschule Köln, where she met Karlheinz Stockhausen who also studied there. They were engaged in August 1951. Doris was raised Protestant, but converted to Catholicism to prepare for her wedding. They married—though both had no income yet, and against her family's wishes—on 29 December 1951 in Hamburg, shortly before the composer moved to Paris for studies. Their best men were the Belgian composer and musicologist Karel Goeyvaerts and the magician artist . In the 1950s, Doris Stockhausen was not only her husband's wife, b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
