Zeitmaße
Encyclopedia
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"...
, and is Number 5 in the composer's catalog. It is the first of three wind quintet
Wind quintet
A wind quintet, also sometimes known as a woodwind quintet, is a group of five wind players . The term also applies to a composition for such a group....
s written by the composer (the others being Adieu für Wolfgang Sebastian Meyer
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.-History:...
of 1966 and the Rotary Wind Quintet of 1997), but is scored with cor anglais
Cor anglais
The cor anglais , or English horn , is a double-reed woodwind instrument in the oboe family....
instead of the usual horn
Horn (instrument)
The horn is a brass instrument consisting of about of tubing wrapped into a coil with a flared bell. A musician who plays the horn is called a horn player ....
of the standard quintet. Its title refers to the different ways of treating musical time found 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 JünglingeGesang der Jünglinge
Gesang der Jünglinge is a noted electronic music work by Karlheinz Stockhausen. It was realized in 1955–56 at the Westdeutscher Rundfunk studio in Cologne and is Work Number 8 in the composer's catalog of works...
for electronic
Electronic music
Electronic music is music that employs electronic musical instruments and electronic music technology in its production. In general a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound...
and concrète
Musique concrète
Musique concrète is a form of electroacoustic music that utilises acousmatic sound as a compositional resource. The compositional material is not restricted to the inclusion of sounds derived from musical instruments or voices, nor to elements traditionally thought of as "musical"...
sounds, Gruppen for three orchestras, and Klavierstück XI for piano (Kohl 1998, 61).
In order to begin work on a commission for the new orchestral composition which would become Gruppen, Stockhausen interrupted work on Gesang der Jünglinge in August and September 1955 and took the opportunity to retreat to an inexpensive rented room in the attic of a parsonage in Paspels
Paspels
Paspels is a municipality in the district of Hinterrhein in the Swiss canton of Graubünden.-History:Paspels is first mentioned in 1237 as in villa Pascuals though the original record no longer exists. In 1246 it was mentioned as de Pascuals.-Geography:Paspels has an area, , of...
, Switzerland
Switzerland
Switzerland name of one of the Swiss cantons. ; ; ; or ), in its full name the Swiss Confederation , is a federal republic consisting of 26 cantons, with Bern as the seat of the federal authorities. The country is situated in Western Europe,Or Central Europe depending on the definition....
, recommended to him by a colleague in the WDR
Westdeutscher Rundfunk
Westdeutscher 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...
studio, Paul Gredinger. He had scarcely arrived in Paspels when a message reached him, requesting a short composition to celebrate Heinrich Strobel's tenth anniversary of service at the Südwestrundfunk
Südwestrundfunk
The Südwestrundfunk is a public broadcasting company for the southwest of Germany, specifically the states of Baden-Württemberg and Rhineland-Palatinate. The company has main offices in three cities: Stuttgart, Baden-Baden and Mainz, with the director's office being in Stuttgart. It is an...
, Baden-Baden
Baden-Baden
Baden-Baden is a spa town in Baden-Württemberg, Germany. It is located on the western foothills of the Black Forest, on the banks of the Oos River, in the region of Karlsruhe...
(Stockhausen and Frisius 1989, 320).
I had to write something quickly, by that evening. I did not allow myself to take any time over it. And then, suddenly, I hear this whole little four-minute piece. I really chuckled to myself about it. It was for voice and wind quintet [sic]. Later I replaced the vocal part with a cor anglais, and the "piece" is the first four minutes of Zeitmaße. (Stockhausen and Oesch 1978, 577–78)
The humorous, caprice
Capriccio (music)
A capriccio or caprice , is a piece of music, usually fairly free in form and of a lively character...
-like song—for alto voice, flute, clarinet in A, and bassoon—sets an epigrammatic text written by Strobel, in a French translation by Antoine Goléa (Kurtz 1992, 85; Maconie 2005, 146):
On cherche pour trouver quelque chose. Mais au fond, on ne sait pas ce qu’on cherche au juste. Et cela est vrai non seulement pour l’Allemagne musicale.
(We are seeking to find something. But at bottom, we do not know quite what we are looking for. And that is true not only of German musical life.)The song (in which Stockhausen omits the last five words of the French text) was later published in a memorial volume for Strobel (Schatz and Strobel 1977, 88–89). Upon returning to Cologne, Stockhausen resumed work on Gesang der Jünglinge and returned also to Zeitmaße—now scored for flute, oboe, cor anglais, clarinet, and bassoon—completing a first version that was recorded for the radio in December 1955 by the Wind Quintet of the WDR Symphony Orchestra (led by their oboist, Wilhelm Meyer), and first broadcast in January 1956. Stockhausen subsequently nearly doubled the length of the work by inserting five "cadenza
Cadenza
In music, a cadenza is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a "free" rhythmic style, and often allowing for virtuosic display....
s", which became the defining moments of the composition (Maconie 2005, 146). The planned premiere by the WDR Quintet at the Darmstädter Ferienkurse in July 1956 fell through, but Stockhausen brought the score there anyway and showed it to his friends. 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...
initially dismissed Zeitmaße with a characteristically cutting remark to the effect that Stockhausen would do better to stay in the electronic studio, but soon changed his mind and asked to programme it in Paris on his Domaine Musical
Domaine musical
The Domaine musical was a concert society established by Pierre Boulez in Paris, which was active from 1954 to 1973. Composers represented at its concerts included Boulez, Karlheinz Stockhausen, Luciano Berio, John Cage, Sylvano Bussotti, Mauricio Kagel, Hans Werner Henze, Henri Pousseur, Ernst...
concert series. Stockhausen agreed, and the world premiere took place there on 15 December 1956, "before a quiet and extremely attentive audience" (Stockhausen 1964, 46; Kurtz 1992, 86). Five months later, Boulez included Zeitmaße in a programme taken on tour to London—a performance which was broadcast by the BBC on 6 May 1957—and after returning to Paris made the first recording for commercial release. This recording was made in the composer's presence over a span of eight days in June 1957 (Searle 1957; Vermeil 1996, 180; Misch and Bandur 2001, 169).
In the meantime, the WDR Quintet had made a recording for broadcast, and in February 1957 gave the German premiere in Bonn, followed in March by a tour to Baden-Baden, Linz, Vienna, and Venice, performing the piece twice on each program. In a letter to Wolfgang Steinecke (director of the Darmstadt Courses), Stockhausen reported a "quite unexpectedly huge, genuine success" on every occasion, and that he was "especially surprised by the spontaneous reaction of the Italians" (Misch and Bandur 2001, 160–61). Steinecke had already invited Stockhausen to give seminars at Darmstadt. One was titled "Time Composition" and focused on Zeitmaße and Klavierstück XI (Universal Edition had promised delivery of the printed score in time for the performance of Zeitmaße on 22 July). The other was on that year's announced topic, "Music and Speech", and discussed Boulez’s Le Marteau sans maître
Le marteau sans maître
Le marteau sans maître is a composition by the French composer Pierre Boulez. It is a setting of the surrealist poetry of René Char for alto and six instrumentalists. It was first performed in 1955.-Movements:...
and Nono’s Il canto sospeso, as well as Stockhausen's own Gesang der Jünglinge (Misch and Bandur 2001,136–37, 158–59, and 167–68).
Material and form
Many of the conceptual bases of the work are explained in Stockhausen's famous article, "… How Time Passes …", which was written in September and October 1956, while work was in progress on both Zeitmaße and Gruppen (Stockhausen 1963a). In this essay, Stockhausen developed a serial organizational principle at the center of which stood the concept of a twelve-step duration series possessing the same structural properties as the basic twelve-note pitch series. This became the basis for the entire process of serial organization of Gruppen, but also formed the basis for the concluding part of Zeitmaße (Decroupet 1997, 40; Decroupet 1998, 352). This duration series, however, is expressed not as single units (which would correspond to single vibrations of a pitch) but rather as metronomicMetronome
A metronome is any device that produces regular, metrical ticks — settable in beats per minute. These ticks represent a fixed, regular aural pulse; some metronomes also include synchronized visual motion...
tempo
Tempo
In musical terminology, tempo is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...
s in sufficiently long stretches of time to enable musicians to change tempo with precision. However, because the resulting "fundamental durations
Fundamental frequency
The fundamental frequency, often referred to simply as the fundamental and abbreviated f0, is defined as the lowest frequency of a periodic waveform. In terms of a superposition of sinusoids The fundamental frequency, often referred to simply as the fundamental and abbreviated f0, is defined as the...
" are not small enough for use in the musical detail, subdivisions corresponding to the transposition of the overtones of a pitch's harmonic spectrum are used (Koenig 1968, 90–91). The German title Zeitmaße can be translated as "tempos", but in this piece has a broader meaning. There are five general categories of "time measures", which are found both separately and in various combinations (Stockhausen 1964, 47):
- Metronomically measured tempos, in twelve different degrees, measured as a chromatic scale
- "As fast as possible", dependent on the abilities of the player and the nature of the musical passage
- "As slow as possible", with the passage to be performed in one breath
- Fast, slowing down to about a quarter the initial speed
- Slow, speeding up to "as fast as possible"
An important aspect of the piece is an absence of thinking in terms of separate voices
Part (music)
1) A part is a strand or melody of music played by an individual instrument or voice within a larger work. Parts may be referred to as an outer part or an inner part . Part-writing is the composition of parts in consideration of harmony and counterpoint...
. Instead, there are note complexes (or "chords
Chord (music)
A chord in music is any harmonic set of two–three or more notes that is heard as if sounding simultaneously. These need not actually be played together: arpeggios and broken chords may for many practical and theoretical purposes be understood as chords...
") which may be shaped in several ways. The notes may be struck together and then drop out one by one, or do the opposite by entering one at a time and building up into a dense structure. During a sustained chord the internal dynamics may change as different instruments enter or fade away. Individual lines tend to disappear in favour of changing statistical densities, and transitions between the linear and the simultaneous is always present (Grant 2001, 138).
Although it is a serial
Serialism
In music, serialism is a method or technique of composition that uses a series of values to manipulate different musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though his contemporaries were also working to establish serialism as one example of...
composition, this matters most on the levels of rhythm
Rhythm
Rhythm may be generally defined as a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions." This general meaning of regular recurrence or pattern in time may be applied to a wide variety of cyclical natural phenomena having a periodicity or...
, polyphony
Polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords ....
(control of density), and articulation
Articulation (music)
In music, articulation refers to the musical direction performance technique which affects the transition or continuity on a single note or between multiple notes or sounds.- Types of articulations :...
. Serial pitch (dodecaphonic
Twelve-tone technique
Twelve-tone technique is a method of musical composition devised by Arnold Schoenberg...
) procedures are not terribly important from the listener's perspective. The decisive thing is a very homogeneous and rigorous harmonic texture conforming to the principles of Webernism
Anton Webern
Anton Webern was an Austrian composer and conductor. He was a member of the Second Viennese School. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of...
(Pousseur 1997, 177). Put another way, what matters most is gesture, which is the product of contour
Pitch contour
In linguistics, speech synthesis, and music, the pitch contour of a sound is a function or curve that tracks the perceived pitch of the sound over time....
, intensity
Dynamics (music)
In music, dynamics normally refers to the volume of a sound or note, but can also refer to every aspect of the execution of a given piece, either stylistic or functional . The term is also applied to the written or printed musical notation used to indicate dynamics...
, and note density
Density
The mass density or density of a material is defined as its mass per unit volume. The symbol most often used for density is ρ . In some cases , density is also defined as its weight per unit volume; although, this quantity is more properly called specific weight...
(Zaparinuk 1989, 20). However, in both the melodic and harmonic realms, and especially in slow passages, Stockhausen strongly favours the succession of a semitone
Semitone
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically....
and a major
Major third
In classical music from Western culture, a third is a musical interval encompassing three staff positions , and the major third is one of two commonly occurring thirds. It is qualified as major because it is the largest of the two: the major third spans four semitones, the minor third three...
or minor third
Minor third
In classical music from Western culture, a third is a musical interval encompassing three staff positions , and the minor third is one of two commonly occurring thirds. The minor quality specification identifies it as being the smallest of the two: the minor third spans three semitones, the major...
(Marcus 1968, 144).
The positioning of the instruments on the platform as prescribed in the score is slightly unconventional (from left to right: oboe, flute, cor anglais, clarinet, bassoon), and is intended to evenly distribute the edgy timbres of the three double-reed instruments across the stage, and balance them with the purer flute and smoother clarinet timbres. This stage placement is reflected in the ordering of the parts in the score (Kohl 1998, 64).
The original version of Zeitmaße (before insertion of the "cadenzas") fell into three parts: a quartet (for flute, cor anglais, clarinet, and bassoon), a trio (for flute, oboe, and clarinet), and a quintet for the full ensemble. This 4:3:5 proportioning is representative of a serial mentality that operates throughout the work in many different ways (Toop 2005, 29).
The first section (bars 1–29) corresponds to the original song (Rigoni 1998, 142). Durations are governed here by sets of five values, arrayed in a basic square:
| 3 | 5 | 4 | 1 | 2 |
| 5 | 2 | 1 | 3 | 4 |
| 4 | 1 | 5 | 2 | 3 |
| 1 | 3 | 2 | 4 | 5 |
| 2 | 4 | 3 | 5 | 1 |
The first series uses the quaver as counting unit, the next uses semiquavers, and so on (Toop 2005, 30). The pitches begin with a twelve-note row (C D A C G E D F F B A G) which generates further series, where the last note of each row becomes the first of the next one, and the intervals of the first series are taken in succession as the starting points of the subsequent ones (Rigoni 1998, 141–42). The dynamics, like the durations, draw on a field of five levels: f, mf, p, pp, ppp (Toop 2005, 30).
The second section is much longer, extending from bar 30 to 271. It is built upon a permuted series of seven character types:
- A: groups,
- B: horizontal-polyphonicPolyphonyIn music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords ....
- C: sustained notes + pointsPunctualismPunctualism 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"...
- D: points
- E: rapid chords or sounds, polyphonically, with long general pauses
- F: chords
- G: chords + a few independent notes, legatoLegatoIn musical notation the Italian word legato indicates that musical notes are played or sung smoothly and connected. That is, in transitioning from note to note, there should be no intervening silence...
These seven types occur four times, permuted as follows (Decroupet 1998, 351):
| A | B | C | D | E | F | G |
| C | E | B | A | G | F | D |
| G | B | E | D | F | C | A |
| E | A | D | C | F | B | G |
These are interlarded with four of the interrupting cadenzas, which are very long and complex. All of them are regulated by a single 9 × 9 number square (Decroupet 1998, 351–52; Kohl 1998, 62; Rigoni 1998, 142–43).
The third section has the most complex rhythms (apart from the cadenzas), utilizing duration sets of twelves, nines, sevens, sixes, and fives. It is interrupted in bars 275–89 by the last and shortest of the inserted cadenzas (Kohl 1998, 62). A sketch found amongst those for Gruppen shows that the twelve tempo-defined subdivisions of the original version are derived from the inversion of the Gruppen row (Decroupet 1997, 40; Decroupet 1998, 352), a fact that had been previously discovered by York Höller
York Höller
York Höller is a German composer and Professor of composition at the Hochschule für Musik Köln.-Biography:Between 1963 and 1970 Höller studied at the Cologne Musikhochschule: composition with Joachim Blume and Bernd Alois Zimmermann, piano with Else Schmitz-Gohrand Alfons Kontarsky, and orchestral...
through examination of the score. The counting values are varied among crotchet, quaver, and semiquaver. However, the fifth and twelfth elements (E = 66 and G = 80, respectively) are exchanged, probably because the fourth, fifth, and sixth tempos otherwise would have been too close together (Höller 1994, 86–87):
| C | F | C | D | G | D | G | A | A | F | B | E |
| 112 | 70 | 108 | 63 | 80 | 60 | 84 | 96 | 90 | 74 | 102 | 66 |
Discography
In chronological order of recording.- Stockhausen Text-CD 4. Statistische Form: Von Webern zu Debussy: Vortrag 1954 and Zeitmaße (1955/56): Lesung. Second lecture illustrated with sound examples and a complete performance of Zeitmaße. Meyer-Quintett (Hans-Jürgen Möhring, flute; Wilhelm Meyer, oboe; Richard Hartung, cor anglais; Paul Blöcher, clarinet; Karl Weiß, bassoon). Karlheinz Stockhausen, cond. Recorded 31 January 1957 [enclosed leaflet erroneously says 1956] (mono). 12’50”. Kürten: Stockhausen-Verlag, 2007.
- Vega LP C 30 A 139. Domaine Musicale (Jacques Castagner, flute; Claude Maisinneuve, oboe; Paul Taillefer, cor anglais; Guy DeplusGuy DeplusGuy Deplus is a French clarinetist.Deplus studied clarinet at the Conservatoire National Supérieur de Musique de Paris and received Premiers Prix in clarinet and chamber music. He was a professor of clarinet at the Conservatoire National Supérieur de Musique de Paris, and is now retired. He taught...
, clarinet; André Rabot, bassoon). Pierre Boulez, cond. Karlheinz Stockhausen, artistic director. Recorded June 1957. 14’15”. With: Luciano Berio, Serenata I for flute and fourteen instruments (1957). Severino Gazzeloni, flute; soloists of the Domaine Musicale; Pierre Boulez, cond. Pierre Boulez, Sonatina (1946). Severino Gazzeloni, flute; David TudorDavid TudorDavid Eugene Tudor was an American pianist and composer of experimental music.- Biography :Tudor was born in Philadelphia, Pennsylvania. He studied piano with Irma Wolpe and composition with Stefan Wolpe and became known as one of the leading performers of avant garde piano music. He gave the...
, piano. Olivier Messiaen, Canteyodjaya (1948). Yvonne Loriod, piano. 1957. Reissued 1985 on Disques Records 14.069 (LP), and again in 2006 on vol. 1 of Pierre Boulez: Le Domaine Musical 1956–1967, Universal Classics France / Accord 476 9209 (5-CD set). - Columbia Masterworks LP ML 5275. New Directions in Music 1. [The Los Angeles Woodwinds:] Arthur Gleghorn, flute; Donald Muggeridge, oboe; Donald Leake, cor anglais; William Ulyate, clarinet; Donald Christlieb, bassoon. Robert Craft, cond. Recorded in stereo, 21 February, 7 and 8 April 1958, but originally released only in mono. 12'47". With Pierre Boulez, Le Marteau sans maîtreLe marteau sans maîtreLe marteau sans maître is a composition by the French composer Pierre Boulez. It is a setting of the surrealist poetry of René Char for alto and six instrumentalists. It was first performed in 1955.-Movements:...
. Marjorie MacKay, alto; Arthur Gleghorn, flute; Milton Thomas, viola; William KraftWilliam KraftWilliam Kraft is a composer, conductor, teacher, and percussionist.-Undergrad and Graduate School Years :...
, vibraphone; Dorothy Remsen [misspelt “Remson” on the sleeve], xylorimba; Walter Goodwin, percussion; Theodore Norman, guitar; Robert Craft, cond.) [New York]: Columbia Records, 1958. Issued in Europe in 1960 on Philips A 01488 L. Reissued in 1967 on Odyssey 32 16 0154 (stereo) and 32 16 0153 (mono). Reissued on CD, as Karlheinz Stockhausen, Pierre Boulez: New Directions in Music. Él Records ACMEM193CD. With additional material: Stockhausen, Konkrete Etüde (1952), Klavierstück XI (1956, four versions, David Tudor, piano). London: Él in association with Cherry Red Records, 2010. - Philips LP 6500 261. Zeitgenössische Musik für Bläser. Members of the Danzi QuintetDanzi QuintetThe Danzi Quintet was a Dutch wind quintet, one of the most highly regarded quintets active in the 1960s and 1970sThe quintet took its name from the 18th/19th-century composer Franz Danzi , and was founded in 1956 or 1957 by the flutist Frans Vester...
(Frans Vester, flute; Koen van Slogteren, oboe; Piet Honingh, clarinet; Brian Pollard, bassoon), with Heinz HolligerHeinz HolligerHeinz Holliger Heinz Holliger Heinz Holliger (born 21 May 1939 is a Swiss oboist, composer and conductor.-Biography:He was born in Langenthal, Switzerland, and began his musical education at the conservatories of Bern and Basel. He studied composition with Sándor Veress and Pierre Boulez...
, cor anglais. (13'15") With: Riccardo Malipiero, Musica da camera; Wolfgang Fortner, Fünf Bagatellen; Hans-Werner Henze, Wind Quintet; and Günther Becker, Serpentinata. [Netherlands]: Philips1971 - DGG LP 2530 443. London SinfoniettaLondon SinfoniettaThe London Sinfonietta is an English chamber orchestra founded in 1968 and based in London. The ensemble specialises in contemporary music and works across a wide range of genres, performing modern classics alongside world premieres, and includes music by electronica artists as well as folk and...
(Sebastian Bell, flute; Janet Caxton, oboe; Robin Miller, cor anglais; Antony PayAntony PayAntony Pay was born in London on February 21, 1945. After gaining a place with the National Youth Orchestra of Great Britain, with whom he performed the Mozart clarinet concerto at the ages of 16, he studied at the Royal Academy of Music and then read Mathematics at Cambridge University, graduating...
, clarinet; William Waterhouse, bassoon). Karlheinz Stockhausen, cond. 14’23”. With: Stockhausen, KreuzspielKreuzspielKreuzspiel is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in 1951 ....
(1951), Kontra-Punkte (1952–53), and AdieuAdieu (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.-History:...
(1966). All London Sinfonietta; Stockhausen, cond. 1974. Reissued together with Kontra-Punkte and Adieu from this same LP, with the addition of Stop (1965) from DGG 2530 442, on Stockhausen Complete Edition CD 4. Kürten: Stockhausen-Verlag, 2002. - Wergo CD WER 6717 2. Karlheinz Stockhausen: Kontra-Punkte, Refrain, Zeitmaße, Schlagtrio. Ensemble Recherche: Martin Fahlenbock, flute; Jaime González, oboe; Florian Hasel, cor anglais; Shizuyo Oka, clarinet; Mario Kopf, bassoon. (In the other works: Uwe Möckel, bass clarinet; Markus Schwind, trumpet; Andrew Digby, trombone; Jean-Pierre Collot, piano; Klaus-Steffes-Holländer, celesta; Christian Dierstein and Mariko Nishioka, percussion; Beate Anton, harp; Melisa Mellinger, violin; Åsa Åkerberg, cello.) Mainz: Wergo, a division of Schott Music & Media GmbH, 2009.
Filmography
- Stockhausen, Karlheinz. 1972. Musical Forming (Lecture I) Lecture given 13 February 1972 at the Institute of Contemporary Arts, London. Black and white film by Robert Slotover. London: Allied Artists (138 mins.). Released on DVD, Kürten: Stockhausen-Verlag, n.d.
- Stockhausen, Karlheinz. 1992. Zeitmaße. Dress Rehearsal, Introduction and Concert with the Ensemble Modern conducted by Stockhausen at the Alte Oper Frankfurt, August 21st 1992. Colour film by Suzanne StephensSuzanne StephensSuzanne Stephens is an American clarinetist, resident in Germany, described as "an outstanding performer and tireless promoter of the clarinet and basset horn" .-Biography:...
(73 minutes). Kürten: Stockhausen-Verlag.
Further reading
- Boehmer, KonradKonrad BoehmerKonrad Boehmer is a Dutch composer and writer of German birth.Boehmer was born in Berlin. His music reflects his Marxist political agenda, which is made explicit in many of his writings from the late 1960s and 1970s...
. 1967. Zur Theorie der offenen Form in der Neuen Musik. Darmstadt: Edition Tonos. - Christlieb, Donald. 1996. Recollections of a First Chair Bassoonist: 52 Years in the Hollywood Studio Orchestras. Sherman Oaks: Christlieb Products.
- Decroupet, Pascal. 2004. "Floating Hierarchies: Organisation and Composition in Works by Pierre Boulez and Karlheinz Stockhausen during the 1950s". In A Handbook to Twentieth-Century Musical Sketches, edited by Patricia Hall and Friedemann Sallis, 146–60. Cambridge: Cambridge University Press.
- Feather, LeonardLeonard FeatherLeonard Geoffrey Feather was a British-born jazz pianist, composer, and producer who was best known for his music journalism and other writing.-Biography:...
, and Yusef LateefYusef LateefDr. Yusef Lateef is an American Grammy Award-winning jazz multi-instrumentalist, composer, educator and a spokesman for the Ahmadiyya Muslim Community after his conversion to the Ahmadiyya sect of Islam in 1950.Although Lateef's main instruments are the tenor saxophone and flute, he is known for...
. 1964. "Blindfold Test: Yusef Lateef". Down Beat 31, no. 25 (10 September): 34. - Frisius, Rudolf. 2008. Karlheinz Stockhausen II: Die Werke 1950–1977; Gespräch mit Karlheinz Stockhausen, "Es geht aufwärts". Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International. ISBN 9783795702496.
- Helm, Everett. 1958a. "Young Composers Redeem ISCM Festival". Musical America 78 (July): 20–21.
- Helm, Everett. 1958b. "ISCM in Strasbourg". Saturday Review 41 (12 July): 35.
- Helm, Everett. 1958c. "Current Chronical: France". Musical Quarterly 44:520–23.
- Helm, Everett. 1958d. "I.S.C.M. Festival in Strasbourg". Musical Times 99 (August): 446–47.
- Helm, Everett. 1959. "Current Chronical: Poland". Musical Quarterly 45:111–14.
- Höller, YorkYork HöllerYork Höller is a German composer and Professor of composition at the Hochschule für Musik Köln.-Biography:Between 1963 and 1970 Höller studied at the Cologne Musikhochschule: composition with Joachim Blume and Bernd Alois Zimmermann, piano with Else Schmitz-Gohrand Alfons Kontarsky, and orchestral...
. 1994. Fortschritt oder Sackgasse?: kritische Betrachtungen zum frühen Serialismus. Saarbrücken: PFAU-Verlag. ISBN 3-930735-16-4. - Kämper, Dietrich. 1999. "Karlheinz Stockhausen und Luciano Berio: ein imaginärer Dialog?" In Internationales Stockhausen-Symposion 1998, Musikwissenschaftliches Institut der Universität zu Köln, 11. bis 14. November 1998: Tagungsbericht. Signale aus Köln: Beiträge zur Musik der Zeit 4, edited by Imke Misch and Christoph von Blumröder, 66–72. Saarbrücken: PFAU-Verlag.
- Kohl, Jerome. 2004. "Der Aspekt der Harmonik in Licht." In Internationales Stockhausen-Symposion 2000: LICHT: Musikwissenschaftliches Institut der Universität zu Köln, 19. bis 22. Oktober 2000. Tagungsbericht. Signale aus Köln: Beiträge zur Musik der Zeit 10, edited by Imke Misch and Christoph von Blumröder, 116–32. Münster, Berlin, London: LIT-Verlag. ISBN 3-8258-7944-5.
- Ligeti, GyörgyGyörgy LigetiGyörgy Sándor Ligeti was a composer of contemporary classical music. Born in a Hungarian Jewish family in Transylvania, Romania, he briefly lived in Hungary before becoming an Austrian citizen.-Early life:...
. 1964. "Metamorphoses of Musical Form". Die Reihe 7 (Form—Space) [English edition]: 5–19. - Lipp, Charles. 1986. "Interview with Don Christlieb [Part 1]". Double Reed 9, no. 1 (Spring): 26–31. Reprinted, together with an abridged version of Part 2, originally in vol. 10, no. 1 (Spring 1987), in Journal of the International Double Reed Society 21, no. 2 (1998): 10–17.
- Nauck, Gisela. 1997. Musik im Raum, Raum in der Musik. Beihefte zum Archiv fur Musikwissenschaft 38. Stuttgart: Franz Steiner Verlag. ISBN 3515070001.
- Reininghaus, Frieder. 1999. "Zeitmasze für Komponierwettbewerb; Zwanzig Jahre “Ensemblia” in Mönchengladbach". Frankfurer Allgemeine Zeitung (10 June): Feuilleton, 54.
- Skulsky, Abraham. 1959. "After Webern, Who? The First American Recordings of Boulez and Stockhausen". American Record Guide 25, no. 5 (January): 316–19.
- Stockhausen, Karlheinz. 2009. Kompositorische Grundlagen Neuer Musik: Sechs Seminare für die Darmstädter Ferienkurse 1970, edited by Imke Misch. Kürten: Stockhausen-Stiftung für Musik. ISBN 978-3-00-027313-1
- Zaparinuk, Peter. 1989. "Gesture and Musical Formation in Stockhausen’s Zeitmasze". M.A. Thesis, vol. 2. Rochester: University of Rochester.
External links
- Photo gallery: Early Years (includes a photo of Stockhausen in Chur in 1955, at the time he began Gruppen and Zeitmaße)
- Video excerpts on the composer's website:
- Audio excerpts on the composer's website:
- Review of Stockhausen CD 4 by Ingvar Loco Nordin, Sonoloco website
- Salzman, Eric. 1963. Interview with Karlheinz Stockhausen. Music Forum, WBAI-FM (Friday, 20 January 1963). (Accessed on 4 Sept. 2003)