Zyklus
Encyclopedia
Zyklus für einen Schlagzeuger ("Cycle for a percussionist") is a composition by Karlheinz Stockhausen
, assigned Number 9 in the composer's catalog of works. It was composed in 1959 at the request of Wolfgang Steinecke as a test piece for a percussion
competition at the Darmstadt Summer Courses, where it was premièred on 25 August 1959 by Christoph Caskel. It quickly became the most frequently played solo percussion work, and “inspired a wave of writing for percussion” (Kurtz 1992, 96).
The work is written for one percussionist playing a marimba, vibraphone (motor off), 4 toms
, snare drum, güiro
(use several güiros if necessary), 2 African log drums
(each producing 2 pitches), 2 suspended cymbals (of differing sizes), hi-hat
, 4 almglocken (suspended, clappers removed), a suspended "bunch of bells" (preferably Indian bells or tambourine mounted on a stand), at least 2 high pitched triangles, gong (with raised boss in center), and tam-tam.
The title of Zyklus is reflected in its form, which is circular and without a set starting point. The score is spiral-bound, and there is no "right-side up"—it may be read with either edge at the top. The performer is free to start at any point, and plays through the work either left to right, or right to left, stopping when the first stroke is reached again. (In this way, it is an example of what Stockhausen calls "polyvalent" form.) The instruments are arranged in a circle around the performer, in the order they are used in the score. The notation is only conventional in some details, and an early review of this first graphic score by Stockhausen remarked that “The initial impression is that one is looking not at a score, but at a drawing by Paul Klee
” (Lewinski 1959). Zyklus contains a range of notational specificity, from exactly fixed at one extreme, to open, “variable” passages at the other. Stockhausen composed these elements using a nine-degree scale of statistical distribution, but states that the listener is not "supposed to identify these nine degrees when you hear the music, nevertheless the music that results from such a method has very particular characteristics. . . ." (Stockhausen 1989, 51).
In principle, the percussionist decides on the starting point and direction through the score only at the moment of commencing a performance, but in practice this is almost universally worked out well in advance. Only the percussionist/composer Max Neuhaus
claims to have consistently given “spontaneous” versions (Neuhaus 2004).
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"...
, assigned Number 9 in the composer's catalog of works. It was composed in 1959 at the request of Wolfgang Steinecke as a test piece for a percussion
Percussion instrument
A percussion instrument is any object which produces a sound when hit with an implement or when it is shaken, rubbed, scraped, or otherwise acted upon in a way that sets the object into vibration...
competition at the Darmstadt Summer Courses, where it was premièred on 25 August 1959 by Christoph Caskel. It quickly became the most frequently played solo percussion work, and “inspired a wave of writing for percussion” (Kurtz 1992, 96).
The work is written for one percussionist playing a marimba, vibraphone (motor off), 4 toms
Tom-tom drum
A tom-tom drum is a cylindrical drum with no snare.Although "tom-tom" is the British term for a child's toy drum, the name came originally from the Anglo-Indian and Sinhala; the tom-tom itself comes from Asian or Native American cultures...
, snare drum, güiro
Güiro
The güiro is a Latin-American percussion instrument consisting of an open-ended, hollow gourd with parallel notches cut in one side. It is played by rubbing a stick or tines along the notches to produce a ratchet-like sound. The güiro is commonly used in Latin-American music, and plays a key role...
(use several güiros if necessary), 2 African log drums
Slit drum
A slit drum is a hollow percussion instrument, usually a log drum of bamboo or wood, that is made with one or more slits in it. Most slit drums have three slits, cut into the shape of an "H". If, as is usual, the resultant tongues are different lengths or thicknesses, the drum will produce two...
(each producing 2 pitches), 2 suspended cymbals (of differing sizes), hi-hat
Hi-hat
A hi-hat, or hihat, is a type of cymbal and stand used as a typical part of a drum kit by percussionists in R&B, hip-hop, disco, jazz, rock and roll, house, reggae and other forms of contemporary popular music.- Operation :...
, 4 almglocken (suspended, clappers removed), a suspended "bunch of bells" (preferably Indian bells or tambourine mounted on a stand), at least 2 high pitched triangles, gong (with raised boss in center), and tam-tam.
The title of Zyklus is reflected in its form, which is circular and without a set starting point. The score is spiral-bound, and there is no "right-side up"—it may be read with either edge at the top. The performer is free to start at any point, and plays through the work either left to right, or right to left, stopping when the first stroke is reached again. (In this way, it is an example of what Stockhausen calls "polyvalent" form.) The instruments are arranged in a circle around the performer, in the order they are used in the score. The notation is only conventional in some details, and an early review of this first graphic score by Stockhausen remarked that “The initial impression is that one is looking not at a score, but at a drawing by Paul Klee
Paul Klee
Paul Klee was born in Münchenbuchsee, Switzerland, and is considered both a German and a Swiss painter. His highly individual style was influenced by movements in art that included expressionism, cubism, and surrealism. He was, as well, a student of orientalism...
” (Lewinski 1959). Zyklus contains a range of notational specificity, from exactly fixed at one extreme, to open, “variable” passages at the other. Stockhausen composed these elements using a nine-degree scale of statistical distribution, but states that the listener is not "supposed to identify these nine degrees when you hear the music, nevertheless the music that results from such a method has very particular characteristics. . . ." (Stockhausen 1989, 51).
In principle, the percussionist decides on the starting point and direction through the score only at the moment of commencing a performance, but in practice this is almost universally worked out well in advance. Only the percussionist/composer Max Neuhaus
Max Neuhaus
American musician Max Neuhaus was a percussionist and interpreter of contemporary music of the 1960s who moved on to become a pioneer in the field of sound art, a term he rejected but with which he is nonetheless associated...
claims to have consistently given “spontaneous” versions (Neuhaus 2004).
Further reading
- Stockhausen, Karlheinz. 1964. "Nr. 9: Zyklus für einen Schlagzeuger (1959)." In his Texte zur Musik, vol. 2 (Aufsätze 1952–1962 zur musikalischen Praxis), edited by Dieter Schnebel, 73–100. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg.