Mixtur
Encyclopedia
Mixtur, for orchestra, 4 sine-wave
generators, and 4 ring modulators
, is an orchestral composition by the German composer Karlheinz Stockhausen
, written in 1964, and is Nr. 16 in his catalogue of works. It exists in three versions: the original version for full orchestra, a reduced scoring made in 1967 (Nr. 16½), and a re-notated version of the reduced scoring, made in 2003 and titled Mixtur 2003, Nr. 16⅔.
, and is amongst the first compositions using live-electronic techniques generally.
The original version for large orchestra was premiered on 9 November 1965 at the Norddeutscher Rundfunk
, Hamburg (Stockhausen 1971, 51). The version for reduced orchestra was premiered in the large broadcasting hall of the Hessischer Rundfunk
, Frankfurt am Main, as part of the Darmstädter Ferienkurse on 23 August 1967 by the Ensemble Hudba Dneska conducted by Ladislav Kupkovič
, to whom this version is dedicated (Stockhausen 1971, 53).
Pierre Boulez
conducted a number of performances of Mixtur from the early seventies to as late as 10 June 1982 (at the Théâtre du Châtelet
, Paris, with the Ensemble InterContemporain
) (Vermeil 1996, 225), but was not happy with the score and problems with rehearsals and performances led to a falling out between the two composers (Maconie 2005, 259–60).
Beginning in the late 1990s, Stockhausen revised a number of his earlier aleatoric
scores, making versions in which the details were worked out and fixed in conventional notation
. The last of these was Mixtur, reworked in 2003. In several moments of the original version, the players choose what they play from a selection of written material. Mixtur 2003 eliminates such indeterminacy by completely writing out all the parts (Worby 2006). The overall form is also fixed in the new version, which eliminates the movability of some moments permitted in the two previous versions. Many earlier performances had presented two different versions, usually the backwards version first, followed by the forwards version. The score of Mixtur 2003 is written out twice, first in the forwards and then in the backwards version. In a programme note Stockhausen characterised this back-and-forth motion as a metaphor for the interplay between life and death (Frisius 2008, 164–65). The world premiere of the new version took place at the Salzburg Festival
on 30 August 2006. Stockhausen was to have conducted (and had led the rehearsals in Berlin the previous June), but was forced to cancel because of an attack of sciatica, and his place was taken by Wolfgang Lischke (Worby 2006). The performers were the Deutsche Symphonie-Orchester Berlin, with electronics by the Experimentalstudio für akustische Kunst Freiburg, supervised by André Richard (Spinola 2006).
(called "variable form" by Stockhausen).
The orchestra is divided into five groups, each of a particular timbre
: Holz (woodwinds), Blech (brass), Schlagzeug (percussion), Pizzicato (plucked strings), and Streicher (bowed strings) The sounds from each group except the percussion are picked up by microphones and ring modulated
with sine tones
, producing transformations of the natural timbres, microtonal
pitch inflections, and—when the sine tone frequencies fall below about 16 Hz—rhythmic transformations as well (Stockhausen 1971, 52). In some moments, such as "Ruhe" and "Blech", the ring modulation serves mainly a coloristic purpose, while a moment like "Translation" plays on foreseen effects in such a way that the electronics become an essential structural component (Maconie 2005, 259). In other moments, the sine-tone frequencies are directly connected to the larger-scale structure. In "Spiegel", for example, the sine tones focus on the upper octave of the central tone, F. In "Tutti" and "Stufen", on the other hand, the sine tones change with each prominent note in the orchestra in such a way that the output difference or summation tones remain constant on the central tone of that moment (Kohl 1981, 79, 123–24, 129–30).
The division of the orchestra into five groups is decisive for the overall form of the composition. Each moment is given a name describing its overall character, a "central tone" (in a few cases, two central tones), a tone to be omitted, an overall duration, a proportion of silence, a "density" (number of orchestra groups participating), and a timbral mixture (Kohl 1981, 52–62):
The duration unit is to be determined by the conductor, from between 40 and 60 beats per minute according to the score instructions for the kleine Beasetzung (the original, large-orchestra score specifies 50 to 60 beats per minute, but by 1971 Stockhausen favoured the slower tempo of 40). The numbers of units per moment are taken from five steps of a scale proportioned according to the Fibonacci series
: 2, 3, 5, 8, and 13, with each value multiplied by 6: 12, 18, 30, 48, and 78. The usefulness of this series lies in the roughly constant proportion between successive members—the deviations of which diminish as the series is extended (Kohl 1981, 56–57).
The twenty moments can be played in numerical order, ascending or descending. The former is referred to as the "forwards version", the latter as the "backwards version". The sequence of events within each moment, however, is the same in either version. Certain moments may also be exchanged: no. 1 with 5, 11 with 16, and 15 with either 3 or 20. Moments 14 and 15 may be played simultaneously in place of no. 5, in which case the brass parts from no. 5 replace 14 and the remainder takes 15's place. When the order is reversed or exchanges made, some details in neighbouring moments are altered. For example, the central tone of moment 11 ("Spiegel"), the F above middle C
, is to be continued through whichever moment follows it, and this may be nos. 12, 10, 17, 15, 5, 3, or 20, depending on the chosen permutation of moments and the direction of the version (Kohl 1981, 64).
Sine wave
The sine wave or sinusoid is a mathematical function that describes a smooth repetitive oscillation. It occurs often in pure mathematics, as well as physics, signal processing, electrical engineering and many other fields...
generators, and 4 ring modulators
Ring modulation
Ring modulation is a signal-processing effect in electronics, an implementation of amplitude modulation or frequency mixing, performed by multiplying two signals, where one is typically a sine-wave or another simple waveform. It is referred to as "ring" modulation because the analog circuit of...
, is an orchestral composition by the German composer Karlheinz Stockhausen
Karlheinz Stockhausen
Karlheinz Stockhausen 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. Another critic calls him "one of the great visionaries of 20th-century music"...
, written in 1964, and is Nr. 16 in his catalogue of works. It exists in three versions: the original version for full orchestra, a reduced scoring made in 1967 (Nr. 16½), and a re-notated version of the reduced scoring, made in 2003 and titled Mixtur 2003, Nr. 16⅔.
History
Mixtur is one of the earliest compositions for orchestra with live electronicsLive electronic music
Live electronic music generally utilizes instrumental or electronic sounds but excludes those that have been prerecorded. The timbres of the various sounds may then be transformed extensively during performance using devices such as amplifiers, filters, ring modulators and other forms of circuitry...
, and is amongst the first compositions using live-electronic techniques generally.
The original version for large orchestra was premiered on 9 November 1965 at the Norddeutscher Rundfunk
Norddeutscher Rundfunk
Norddeutscher Rundfunk is a public radio and television broadcaster, based in Hamburg. In addition to the city-state of Hamburg, NDR transmits for the German states of Lower Saxony, Mecklenburg-Vorpommern and Schleswig-Holstein...
, Hamburg (Stockhausen 1971, 51). The version for reduced orchestra was premiered in the large broadcasting hall of the Hessischer Rundfunk
Hessischer Rundfunk
Hessischer Rundfunk is the public broadcaster for the German state of Hesse. The main offices of HR are in Frankfurt am Main. HR is a member of the ARD.- Studios :...
, Frankfurt am Main, as part of the Darmstädter Ferienkurse on 23 August 1967 by the Ensemble Hudba Dneska conducted by Ladislav Kupkovič
Ladislav Kupkovic
Ladislav Karol Kupkovič is a Slovak composer and conductor.-Life:Kupkovič was born in Bratislava, and studied violin and conducting there, first at the conservatory, then at the Academy of Performing Arts. He played violin in the Slovak Philharmonic Orchestra from 1960 to 1965, and then began to...
, to whom this version is dedicated (Stockhausen 1971, 53).
Pierre Boulez
Pierre Boulez
Pierre Boulez is a French composer of contemporary classical music, a pianist, and a conductor.-Early years:Boulez was born in Montbrison, Loire, France. As a child he began piano lessons and demonstrated aptitude in both music and mathematics...
conducted a number of performances of Mixtur from the early seventies to as late as 10 June 1982 (at the Théâtre du Châtelet
Théâtre du Châtelet
The Théâtre du Châtelet is a theatre and opera house, located in the place du Châtelet in the 1st arrondissement of Paris, France.One of two theatres built on the site of a châtelet, a small castle or fortress, it was designed by Gabriel Davioud at the request of Baron Haussmann between 1860 and...
, Paris, with the Ensemble InterContemporain
Ensemble InterContemporain
The Ensemble InterContemporain is a French chamber orchestra, based in Paris at the Cité de la musique and IRCAM, which specialises in contemporary classical music....
) (Vermeil 1996, 225), but was not happy with the score and problems with rehearsals and performances led to a falling out between the two composers (Maconie 2005, 259–60).
Beginning in the late 1990s, Stockhausen revised a number of his earlier aleatoric
Aleatoric music
Aleatoric music is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer...
scores, making versions in which the details were worked out and fixed in conventional notation
Musical notation
Music notation or musical notation is any system that represents aurally perceived music, through the use of written symbols.-History:...
. The last of these was Mixtur, reworked in 2003. In several moments of the original version, the players choose what they play from a selection of written material. Mixtur 2003 eliminates such indeterminacy by completely writing out all the parts (Worby 2006). The overall form is also fixed in the new version, which eliminates the movability of some moments permitted in the two previous versions. Many earlier performances had presented two different versions, usually the backwards version first, followed by the forwards version. The score of Mixtur 2003 is written out twice, first in the forwards and then in the backwards version. In a programme note Stockhausen characterised this back-and-forth motion as a metaphor for the interplay between life and death (Frisius 2008, 164–65). The world premiere of the new version took place at the Salzburg Festival
Salzburg Festival
The Salzburg Festival is a prominent festival of music and drama established in 1920. It is held each summer within the Austrian town of Salzburg, the birthplace of Wolfgang Amadeus Mozart...
on 30 August 2006. Stockhausen was to have conducted (and had led the rehearsals in Berlin the previous June), but was forced to cancel because of an attack of sciatica, and his place was taken by Wolfgang Lischke (Worby 2006). The performers were the Deutsche Symphonie-Orchester Berlin, with electronics by the Experimentalstudio für akustische Kunst Freiburg, supervised by André Richard (Spinola 2006).
Material and form
Mixtur is an example of moment form, made up of formal units that are "recognizable by a personal and unmistakable character" (Stockhausen 1963, 200). It possesses at the same time a "polyvalent form", in which the components may be performed in different sequences, and incorporates elements of aleatoryAleatoric music
Aleatoric music is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer...
(called "variable form" by Stockhausen).
The orchestra is divided into five groups, each of a particular timbre
Timbre
In music, timbre is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices and musical instruments, such as string instruments, wind instruments, and percussion instruments. The physical characteristics of sound that determine the...
: Holz (woodwinds), Blech (brass), Schlagzeug (percussion), Pizzicato (plucked strings), and Streicher (bowed strings) The sounds from each group except the percussion are picked up by microphones and ring modulated
Ring modulation
Ring modulation is a signal-processing effect in electronics, an implementation of amplitude modulation or frequency mixing, performed by multiplying two signals, where one is typically a sine-wave or another simple waveform. It is referred to as "ring" modulation because the analog circuit of...
with sine tones
Pure tone
A pure tone is a tone with a sinusoidal waveshape.A sine wave is characterized by its frequency, the number of cycles per second—or its wavelength, the distance the waveform travels through its medium within a period—and the amplitude, the size of each cycle...
, producing transformations of the natural timbres, microtonal
Microtonal music
Microtonal music is music using microtones—intervals of less than an equally spaced semitone. Microtonal music can also refer to music which uses intervals not found in the Western system of 12 equal intervals to the octave.-Terminology:...
pitch inflections, and—when the sine tone frequencies fall below about 16 Hz—rhythmic transformations as well (Stockhausen 1971, 52). In some moments, such as "Ruhe" and "Blech", the ring modulation serves mainly a coloristic purpose, while a moment like "Translation" plays on foreseen effects in such a way that the electronics become an essential structural component (Maconie 2005, 259). In other moments, the sine-tone frequencies are directly connected to the larger-scale structure. In "Spiegel", for example, the sine tones focus on the upper octave of the central tone, F. In "Tutti" and "Stufen", on the other hand, the sine tones change with each prominent note in the orchestra in such a way that the output difference or summation tones remain constant on the central tone of that moment (Kohl 1981, 79, 123–24, 129–30).
The division of the orchestra into five groups is decisive for the overall form of the composition. Each moment is given a name describing its overall character, a "central tone" (in a few cases, two central tones), a tone to be omitted, an overall duration, a proportion of silence, a "density" (number of orchestra groups participating), and a timbral mixture (Kohl 1981, 52–62):
| name | central tone(s) | omitted tone(s) | duration | rest (proportion) | density | timbres | |
|---|---|---|---|---|---|---|---|
| 1 | Mixtur | C7 | F | 12 | 0 | 4 | H/B/P/S |
| 2 | Schlagzeug | — | — | 30 | ⅕ | 1 | Sch |
| 3 | Blöcke | B5 | F | 78 | ½ | 3 | H/P/S |
| 4 | Richtung | C6 | G | 48 | ⅓ | 2 | Sch/P |
| 5 | Wechsel | A6 | E | 18 | ⅛ | 4 | H/B/P/S |
| 6 | Ruhe | D5 | G | 78 | 0 | 2 | B/S |
| 7 | Vertikal | A4 | D | 12 | ⅛ | 3 | Sch/P/S |
| 8 | Streicher | D4 | A | 18 | ⅕ | 1 | S |
| 9 | Punkte | G5, E3 | D, A | 30 | ⅓ | 3 | H/B/S |
| 10 | Holz | G3, F2 | C, B | 48 | ½ | 1 | H |
| 11 | Spiegel | F4 | C | 48 | 0 | 4 | H/B/P/S |
| 12 | Translation | G3, F2 | F, F | 30 | ½ | 2 | H/P |
| 13 | Tutti | G5, E3 | G, E | 78 | ⅛ | 5 | Sch/ H/B/P/S |
| 14 | Blech | D4 | G | 12 | ⅕ | 1 | B |
| 15 | Kammerton | A4 | D | 18 | ⅓ | 3 | H/P/S |
| 16 | Stufen | A6 | D | 30 | 0 | 4 | H/B/P/S |
| 17 | Dialog | D5 | A | 18 | ½ | 2 | Sch/B |
| 18 | Schichten | C6 | A | 48 | ⅛ | 3 | B/P/S |
| 19 | Pizzicato | B5 | C | 78 | ⅕ | 1 | P |
| 20 | Hohes C | C7 | B | 12 | ⅓ | 2 | H/S |
The duration unit is to be determined by the conductor, from between 40 and 60 beats per minute according to the score instructions for the kleine Beasetzung (the original, large-orchestra score specifies 50 to 60 beats per minute, but by 1971 Stockhausen favoured the slower tempo of 40). The numbers of units per moment are taken from five steps of a scale proportioned according to the Fibonacci series
Fibonacci number
In mathematics, the Fibonacci numbers are the numbers in the following integer sequence:0,\;1,\;1,\;2,\;3,\;5,\;8,\;13,\;21,\;34,\;55,\;89,\;144,\; \ldots\; ....
: 2, 3, 5, 8, and 13, with each value multiplied by 6: 12, 18, 30, 48, and 78. The usefulness of this series lies in the roughly constant proportion between successive members—the deviations of which diminish as the series is extended (Kohl 1981, 56–57).
The twenty moments can be played in numerical order, ascending or descending. The former is referred to as the "forwards version", the latter as the "backwards version". The sequence of events within each moment, however, is the same in either version. Certain moments may also be exchanged: no. 1 with 5, 11 with 16, and 15 with either 3 or 20. Moments 14 and 15 may be played simultaneously in place of no. 5, in which case the brass parts from no. 5 replace 14 and the remainder takes 15's place. When the order is reversed or exchanges made, some details in neighbouring moments are altered. For example, the central tone of moment 11 ("Spiegel"), the F above middle C
Middle C
C or Do is the first note of the fixed-Do solfège scale. Its enharmonic is B.-Middle C:Middle C is designated C4 in scientific pitch notation because of the note's position as the fourth C key on a standard 88-key piano keyboard...
, is to be continued through whichever moment follows it, and this may be nos. 12, 10, 17, 15, 5, 3, or 20, depending on the chosen permutation of moments and the direction of the version (Kohl 1981, 64).
Discography
- Stockhausen, Karlheinz. Telemusik, Mixtur (version for small orchestra, Nr. 16½, "erster Frankfurter Version 1967") Ensemble Hudba Dneska, Ladislav KupkovičLadislav KupkovicLadislav Karol Kupkovič is a Slovak composer and conductor.-Life:Kupkovič was born in Bratislava, and studied violin and conducting there, first at the conservatory, then at the Academy of Performing Arts. He played violin in the Slovak Philharmonic Orchestra from 1960 to 1965, and then began to...
(cond.); Johannes G. FritschJohannes FritschJohannes G. Fritsch was a German composer.At the age of seven, Fritsch found a violin in the attic of his uncle's house in Bensheim-Auerbach, Germany, and began lessons with a village music teacher named Knapp...
, Harald Bojé, Rolf GehlhaarRolf GehlhaarRolf Gehlhaar in Breslau , is an American composer.Gehlhaar is the son of a German rocket scientist, who emigrated to the United States in 1953 to work at a rocket-development research centre in New Mexico...
, David Johnson (sine-wave generators); Karlheinz Stockhausen (sound direction). Avant Garde. LP recording. Deutsche GrammophonDeutsche GrammophonDeutsche Grammophon is a German classical record label which was the foundation of the future corporation to be known as PolyGram. It is now part of Universal Music Group since its acquisition and absorption of PolyGram in 1999, and it is also UMG's oldest active label...
137 012. Hamburg: Deutsche Grammophon, 1969. - Stockhausen, Karlheinz. Mixtur: Kleine Besetzung (1967)—Rückwärts- und Vorwärts-Version. Orchester Hudba Dneska, [Ladislav Kupkovič (cond.); Johannes Fritsch, Rolf Gehlhaar, David Johnson, Harald Bojé (sine-wave generators); Karlheinz Stockhausen (sound projection). Recorded by WDRWestdeutscher RundfunkWestdeutscher Rundfunk is a German public-broadcasting institution based in the Federal State of North Rhine-Westphalia with its main office in Cologne. WDR is a constituent member of the consortium of German public-broadcasting institutions, ARD...
, 23 August 1967, in Frankfurt. CD recording. Stockhausen Complete Edition CD 8. Kürten: Stockhausen-Verlag, 1993. - Musica Viva Festival 2008. Stockhausen, Mixtur 2003, Symphonieorchester des Bayerischen Rundfunks, Lukas Vis (cond.); Experimentalstudio des SWR, André Richard (sound director). With works by Karl Amadeus HartmannKarl Amadeus HartmannKarl Amadeus Hartmann was a German composer. Some have lauded him as the greatest German symphonist of the 20th century, although he is now largely overlooked, particularly in English-speaking countries.-Life:...
, Aribert ReimannAribert ReimannAribert Reimann is a German opera composer, pianist and accompanist, known especially for his literary operas. His version of King Lear was written at the suggestion of Dietrich Fischer-Dieskau who sang the title role....
, Jörg WidmannJörg WidmannJörg Widmann is a German composer and clarinetist. He lives and works in Munich and Freiburg.- Education and career :...
, Matthias PintscherMatthias PintscherMatthias Pintscher is a German composer and conductor. As a youth, he studied the violin and conducting....
, Iannis XenakisIannis XenakisIannis Xenakis was a Romanian-born Greek ethnic, naturalized French composer, music theorist, and architect-engineer. He is commonly recognized as one of the most important post-war avant-garde composers...
, James Dillon, Beat FurrerBeat FurrerBeat Furrer is an Austrian composer and conductor of Swiss birth.Born in Schaffhausen, Switzerland, Furrer relocated to Vienna in 1975 to pursue studies with Roman Haubenstock-Ramati and Otmar Suitner . In 1985 he co-founded what is now one of Europe's leading contemporary music ensembles,...
, Giacinto ScelsiGiacinto ScelsiGiacinto Scelsi , Count of Ayala Valva was an Italian composer who also wrote surrealist poetry in French....
, Chaya CzernowinChaya CzernowinChaya Czernowin is an Israeli composer, and Walter Bigelow Rosen Professor of Music at Harvard University....
, Kaija SaariahoKaija SaariahoKaija Saariaho is a Finnish composer.Kaija Saariaho studied composition in Helsinki, Freiburg and Paris, where she has lived since 1982. Her studies and research at IRCAM have had a major influence on her music and her characteristically luxuriant and mysterious textures are often created by...
, Liza LimLiza LimLiza Lim is an Australian composer.Lim writes concert music as well as music theatre and has collaborated with artists on a number of installation and video projects...
, Rebecca SaundersRebecca Saunders-Biography:Saunders studied violin and composition at the University of Edinburgh. This was followed by a scholarship from the DAAD from 1991 to 1994 to study composition at the Hochschule für Musik Karlsruhe with Wolfgang Rihm, and in 1997 a doctorate in composition with Nigel Osborne.She has...
, Adriana HölszkyAdriana HölszkyAdriana Hölszky is an Romanian-born German music educator, composer and pianist who has been living in Germany since 1976.-Biography:...
, and traditional music from Egypt and Iran. Fundación BBVA, Kooperation mit BR Klassik. 6-disc hybrid multichannel SACD set. NEOS 10926. [Munich}: NEOS Music GmbH, 2009.
Further reading
- Anon. 2006a. "Uraufführung des neuen Stücks von Stockhausen: Wolfgang Lischke leitet die MIXTUR 2003". Nordbayerischer Kurier (29 August).
- Anon. 2006b. "Kritik Salzburg: Rückwärts in die verträumte Erinnerung: Festspiel-Finale II: Ein neuer alter Stockhausen ohne Stockhausen im alten Lehrbauhof". Die Presse (1 September).
- Anon. 2006c. "Wenn nur der Automotor wärmt". Wiener Zeitung (1 September).
- Brown, Geoff. 2006. "Mixtur". The Times (1 May).
- Clements, Andrew. 2005. "Review: Classical: London Sinfonietta/Valade, Queen Elizabeth Hall, London: 4/5". The Guardian (27 April): 38.
- Griffiths, PaulPaul Griffiths (writer)Paul Griffiths is a British music critic, novelist and librettist. He is particularly noted for his writings on modern classical music and for having written the libretti for two 20th century operas, Tan Dun's Marco Polo and Elliott Carter's What Next?.-Biography and career:Paul Griffiths was...
. 1985. "BBCSO/Eötvös: Barbican/Radio 3". The Times (9 January): 13. - Griffiths, Paul. 1988. "Stockhausen's Signals". The Times, no. 63252 (30 November).
- Holden, Anthony. 2006. "It's Those Swinging Sixties: London Sinfonietta/Valade Queen Elizabeth Hall, London SE1 BBC Symphony/Vanska Barbican, London EC2 Philharmonia/Lazarev Queen Elizabeth Hall, London SE1". The Observer (30 April): 19.
- Hopkins, G. W. 1968. "Stockhausen, Form, and Sound". Musical Times 109, no. 1499 (January): 60–62.
- Peters, Günter. 2006. "Karlheinz Stockhausen, MIXTUR 2003 für Orchester". Programme book for the world premiere. Salzburg: Salzburger Festspiel.
- Vujica, Peter. 2006. "Sinusgenerator als Festspielgast: Karl-Heinz-Stockhausen-Uraufführung im Lehrbauhof". Der Standard (1 September).
Audio
- Karlheinz Stockhausen - Mixtur 2003 Sound example, beginning of the forwards version. Experimentalstudio des SWR; Symphonieorchester des Bayerischen Rundfunks, Lucas Vis (cond.). BR Klassik website, archive from 01.06.2010 (Accessed 27 June 2011).
Video
- Karlheinz Stockhausen - Mixtur 2003. Interview with conductor Lukas Vis , and excerpts from the forwards version (15 mins.). Experimentalstudio des SWR; Symphonieorchester des Bayerischen Rundfunks, Lucas Vis (cond.). BR Klassik website, archive from 26.06.2011 (Accessed 06 July 2011).
Reviews
- Ball, Timothy. 2006."Stockhausen Mixtur: London Sinfonietta, Pierre-André Valade, Sound Intermedia (sound design), Thierry Coduys—La Kitchen (computer development) Queen Elizabeth Hall, London, Monday, April 24, 2006". Classical Source website (Accessed 27 June 2011).
- Moritz, Albrecht. "Stockhausen: Mixtur". (Accessed 27 June 2011)
- Nordin, Ingvar Loco. "Stockhausen Edition no. 8 (Mixtur) ". Sonoloco Reviews website (Accessed 27 June 2011).