Stockhausen Tierkreis Score Pdf

Stockhausen Karlheinz Pieces Tierkreis with a inusual partiture by tausigalkan in Types School Work, karlheinz e tierkreis. Mantra is a composition by the German composer Karlheinz Stockhausen.It was composed in 1970 and premiered in autumn of the same year at the Donaueschingen Festival.The work is scored for two ring-modulated pianos; each player is also equipped with a chromatic set of crotales (antique cymbals) and a wood block, and one player is equipped with a short-wave radio producing morse code or a. TIERKREIS (playing score) Composer: Stockhausen, Karlheinz (1928-2007) Instrumentation: melody + accompaniment: Publisher Ref: Stock: This edition includes an Introduction, Analytical Description and Performance Instructions. A list of compositions by Karlheinz Stockhausen (alphabetical by title—a link to a chronological list is given at the end). Adieu, for wind quintet (flute, oboe. Tierkreis, for high soprano. Worklist PDF version This page was last edited on 5 August 2020, at 23:23 (UTC). Graeber whirlwind 185 manual. Text is available under.

1. Stockhausen Tierkreis Score Pdf Format
2. Stockhausen Tierkreis Score Pdf Sheet
3. Stockhausen Tierkreis Score Pdf Online
4. Stockhausen Tierkreis Score Pdf File
5. Stockhausen Tierkreis Score Pdf 2017
6. Stockhausen Tierkreis Score Pdf Free
7. Stockhausen Tierkreis Score Pdf Format

The number of different timbres increases and decreases twice. Tom-tom and marimba cycles occur in both iterations. (© www.karlheinzstockhausen.org)

No. 9: ZYKLUS
(Cycle) for solo percussionist (snare drum, hi-hat, triangle, vibraphone, gongs, güiro, marimba, bells, tom-tom drums, etc..)
1959 (9-15')
Development
Stockhausen wrote ZYKLUS for solo percussionists to use as a music competition piece, specifically for the Kranichstein Music Competition in 1959. This kind of opportunity to write for would-be virtuosos to prove themselves would pop up from time to time, even up to 1997's KLAVIERSTUCKE XVII, written for the Micheli Competition (and derived from part of FREITAG AUS LICHT). In fact MITTWOCH AUS LICHT's 2nd Act is titled ORCHESTRE FINALISTEN (Orchestra Finalists). Sadly, it seems the competition performance of ZYKLUS didn't actually win the contest, but it was still the first major composition for a soloist on multiple percussion instruments (13 in all).
Sound Impressions
Like MANTRA, ZYKLUS has lots of underlying theory which is not easy to hear when just listening to it (especially without the score). Actually for most people it may be more fun to just listen without knowing the theoretical structures underneath it. In that spirit, I'll detail some broad strokes before going over the structural stuff.
In a way, this piece can be enjoyed purely as 'cartoon music' - that is, it is constantly changing, dynamics are all over the place, and there is a feeling of youthful vitality in all the rim shots and glissandi. On another level, ZYKLUS is a kind of showpiece for different percussive timbres. In a 'straight-forward' performance (starting from page 1) it cycles through 'featured' sounds in this order: snare drum, hi-hat, triangle, vibraphone (glissandi/trills), gong (& tam-tam), güiro, marimba (glissandi), bells and tom-tom rim shots. As described in more detail below, these sounds come to a climax and then recede (also matching the rotation of the soloist inside his circular percussion set-up).
Stockhausen here is also interested in demonstrating the difference between 'determinate' (scored) figures and 'statistical' (indeterminate) melodic figures. In his first 1972 British Lecture, 'Musical Forming', he expects that a listener could detect the movement from one kind of gesture to another. In order to identify the determinate parts, he suggests listening for repeating patterns or directional processes (such as accelerando/ritardando). Personally I've found this pretty difficult, but it's worth mentioning.
Finally, the recurring tom-tom rim shot is a nice motivic event which occurs frequently enough to stand as a kind of 'speed bump'. There are 41 of them - count them all! This idea of a periodic 'rifle crack' would return in TELEMUSIK.
Form Structure

Stockhausen Tierkreis Score Pdf Format

ZYKLUS is very true to its name in that it is composed of 'cycles'. In fact there are actually 5 separate layers of cycles built into ZYKLUS's mere 12 minutes.

Stockhausen Tierkreis Score Pdf Sheet

1. Timbre Sequence:

Skeletal Structure of scored parts. (© www.karlheinzstockhausen.org)

During the work, 9 kinds of percussion timbres gradually become more dense, then dominant, and then gradually sparser (over 17 equal sections or 'Periods'). The climaxes of these 9 timbre types are spaced equally through the piece (see at left). These hits make up the 'Skeletal Structure'. Since each approach/climax/departure cycle takes place over the full length of the piece, the percussion types naturally end up cross-fading with each other. The sequence of 'featured instrument' in a performance starting from Period 1 is snare drum, hi-hat, triangle, vibraphone (glissandi/trills), gong (& tam-tam), güiro, marimba (glissandi), bells and tom-tom rim shots. However there are not an equal number of 'attacks' per instrument. As seen above, there are only 11 snare attacks (all rolls) distributed in the piece, but 41 tom-tom rim shots. This variation in the number of attacks for each percussion type is designed to be somewhat analogous to 9 musical intervals (minor 2nd to major 6th), but is basically just a technique to create variety.
2. Aleatory Sequence

Aleatory structures. (© www.karlheinzstockhausen.org)

On top of the Skeletal Structure, there exists the aleatory, statistical 'free-choice' layer, as touched upon earlier. Instead of 9 overlapping cycles, here there are 2 cycles in a row, and instead of a timbre approaching/receding, here the performer's 'free choice-ness' (variable form) increases or decreases, based on 9 'Structure-types'. On each page there are different sections where the soloist has a choice of

1. Which notes/phrases to play (out of 2-5 multiple choices)
2. What order to play them
3. When to play them within a specified duration

These 3 kinds of choices come in combinations which make up the 9 Structure-types (more detail about these is in the score explanation below).
All of these factors are designed so that at one end of the scale every attack is scored (Period 1, Structure-type 1 only, determined), and at the other end pure graphic notation exists as different-sized dots (Period 17, Structure-type 9 only, highest free choice, or 'indeterminate').
From a listener standpoint this layer is not particularly audible, unless of course the listener knows the work so intimately that he is familiar with every choice available. But from a performer standpoint, this basically allows a level of collaboration with the composer. Stockhausen identifies 2 cycles here based on the number of kinds of notation techniques used, but again (sorry) from an aural standpoint it's fairly irrelevant. He however does prefer that as many simultaneous hits as possible occur, so a 'good' performance could be one where the performer has figured out how to play many aleatory parts simultaneously with the fixed parts. Someone with 3 arms would easily win this competition.


- Stockhausen, from “An Interview with Karlheinz Stockhausen.” Michael Udow, Percussive Notes Research
Edition 23, no. 6 (1985), (found in Stuart Gerber's superb performance thesis, link at bottom)
3. Instrument Density in the Aleatory Parts Sequence
In the aleatory parts (but not hits that are part of the Skeletal Structure), each percussion timbre comes in and then departs after 4 cycles (tom-tom and marimba actually get 2 cycles). The picture at the top of this article shows the timbre distribution over the 17 periods. The sequence of timbres matches the circular placement of the drum surfaces around the performer, so the soloist ends up slowly rotating 1 time (360 degrees) during a single performance.
4. Tom-tom Rim-shot Intensity Levels Sequence
The rim shots divide ZYKLUS into 41 segments, each with its own dynamic range and 'intensity-form'. The intensity-form basically comes from 5 types of dynamic distribution (all loud, all soft, mixture, crescendo, etc..).
5. Vibraphone/Marimba Glissandi Range Sequence
Each vibraphone and marimba glissandi determines a range of pitches to be used until the next glissandi (with a few exceptions). The pitch range basically shrinks and expands 1 time over the entire piece (see below).

(© www.karlheinzstockhausen.org)

Score
ZYKLUS is probably Stockhausen's most graphically interesting score. Each of the 17 periods gets its own page (actually 1 and 17 are split on 1 page). On each page there is 1 central timescale divided into 30 beats. Above and below this central timescale are the aleatoric elements, usually in boxes, triangles or brackets. The percussion instruments are indicated by graphic symbols both before and after the staff it is on.

Set up of the percussion and the notation guide.

These are the instructions on how to interpret the 9 aleatory Structure-types (click to enlarge):

(© Universal Edition)

Period 3 (© Universal Edition)

In the first large box with the triangles, the soloist must play the 3 sounds (tom-tom, cowbell, cymbal) in any order, but in the spots connected to the hi-hat timescale. Then, the 3 bracketed parts (2 above and 1 below the timescale) means that the soloist must choose 1 of the 3 to play in that section. The 3rd section is played as it is written with no aleatory elements.

Period 12 (© Universal Edition)

Here the soloist can choose 1 of 2 boxes to play in the first section (either marimba/vibraphone or log drums). Either way the soloist can play the 3 attacks in any order and at any time during the period adjoining the box. However it is preferred that the attacks coincide with the güiro, snare and marimba sounds as much as is technically possible. In the next section everything in the 2 boxes must be played but all of one box must be completed before the other. In Section 3 the 6 attacks can be in any order at any time. Section 4 is an extended box, basically more stuff to play during the marimba-dominating timescale.
The score can also be played backwards or upside down. That's why each staff has symbols and clefs on both sides. It can also be started from any page, but must continue until all pages are completed.

Links
Sound samples, tracks listings and CD ordering

Stockhausen Tierkreis Score Pdf Online

Buy the Score
ZYKLUS Wiki
Stockhausen's Solo Percussion Music: A Comprehensive Study (Gerber, Thesis)
A Performers Approach to ZYKLUS (Kearney)

Stockhausen Tierkreis Score Pdf File

ZYKLUS' 9 Aleatory Structure-types (B. Michael Williams, PDF)
Sonoloco Review of ZYKLUS
ZYKLUS (Aleksander Wnuk, Live YouTube)
Interview with Max Neuhaus discussing preparations for ZYKLUS

Mantra is a composition by the German composer Karlheinz Stockhausen. It was composed in 1970 and premiered in autumn of the same year at the Donaueschingen Festival. The work is scored for two ring-modulated pianos; each player is also equipped with a chromatic set of crotales (antique cymbals) and a wood block, and one player is equipped with a short-wave radio producing morse code or a magnetic tape recording of morse code. In his catalogue of works, the composer designated it as work number 32.

History[edit]

Stockhausen had been interested for several years in writing something for the Kontarsky piano duo, and by early 1969 he had become determined to do so (Blumröder 1976, 94; Toop 1986, 194). On a flight from the Northeastern United States to Los Angeles in September 1969 or shortly before, he had sketched 'a kind of theater piece for two pianos' titled Vision, and in March 1970 began to work out a score, but broke off after just three pages (Cott 1973, 222–23; Toop 1986, 195, 197). During an automobile trip from Madison, Connecticut to Boston, a melody came to Stockhausen, along with the idea of expanding such a musical figure over a very long period of time—fifty or sixty minutes. He jotted the melody down on an envelope at that time, but it only occurred to him after having abandoned Vision that this might become the basis for his new two-piano composition. Stockhausen later recalled that this was early in September 1969 (Cott 1973, 222–23), but the sketch is in fact dated 26 February (Conen 1991, 59–60). Later in the year, on 22 September 1969 at the Couvent d'Alziprato in southern France, he had composed an intuitive music text composition, Intervall, for two pianists playing 'four-hands' (on one piano), but it did not appeal to the Kontarsky brothers—especially to Alfons, who lacked the experience his brother Aloys had gained from performing text-pieces from Aus den sieben Tagen, as a member of Stockhausen's ensemble. Intervall, eventually premiered by Roger Woodward and Jerzy Romaniuk, later became part of Stockhausen's second cycle of intuitive-music compositions, Für kommende Zeiten (Toop 1986, 195–97).

Stockhausen mentioned his wish to write something for the Kontarsky brothers to Heinrich Strobel, director of the Music Division of the SWF Baden-Baden and Artistic Director of the Donaueschinger Musiktage für Zeitgenossische Tonkunst and, toward the end of 1969, Strobel commissioned a work for two pianos for the 1970 Donaueschingen Festival (Blumröder 1976, 94). After abandoning Vision, Stockhausen took up the melody he had jotted down the previous September and on its basis made a form plan and laid out the new work's skeleton between 1 May and 20 June 1970 in Osaka, Japan. He then completed the score in an unbroken stretch of work at his home in Kürten from 10 July to 18 August 1970. Alfons and Aloys Kontarsky gave the premiere of Mantra in Domaueschingen on 18 October 1970, and made the first recording of the work from 10 to 13 June 1971 at the Tonstudio Kreillerstraße 22 in Munich, for Deutsche Grammophon (Stockhausen 1978, 154). The score first appeared in print only in 1975, as one of the first publications of the composer's newly founded Stockhausen-Verlag (Conen 1991, 62).

Structure[edit]

The piece is the first determinate work (that is, the score is completely written down, though there are some passages involving a modest degree of improvisation) that Stockhausen composed after a long phase of indeterminate compositions (Blumröder 1976, 98).

This work involves the expansion and contraction of a counterpointed pair of melodies, which the composer calls a 'formula' (Stockhausen 2003, 3 and 6). In this particular work (the first of a long succession of compositions to use formula technique), Stockhausen chose the term 'mantra' in order 'to avoid the words theme, row or subject, as in a fugue' (Stockhausen 2003, 2), and 'Mantra' also became the title of the entire work. In Mantra, the two-strand formula is stated near the outset of the piece by piano I. According to the composer, the mantra 'has thirteen notes, and each cymbal sound occurring once in the piece indicates the large sections—you hear the cymbal whenever a new central sound announces the next section of the work' (Cott 1973, 220–22). Although 'the cymbals have the same pitches as the mantra and can thus mark the 13 form cycles of the two pianists … they are not identical', and 'there are also some sections in which a larger number of cymbal strokes occurs” (Stockhausen 2003, 9). Though this mantra recurs constantly, the structure of the composition is not a theme and variations as found in classical composers such as Beethoven and Bach, because the material is never varied, only expanded and contracted (both in duration and in pitch) to different degrees; not a single note is ever added, it is never 'accompanied' or embellished (Stockhausen 1978, 155). The comparatively strict predetermination of the form plan is occasionally broken and altered through the use of insertions, additions, and small deviations and exceptions (Blumröder 1976, 102). Near the end of the composition there is an extremely fast section that is a compression of the entire work into the smallest temporal space; in this section, all of the expansions and transpositions of the mantra formula are summarized as fast as possible and in four layers (Stockhausen 1978, 155).

The 'mantra' (melody formula) is made of an upper and lower voice; it is divided temporally into 4 segments with rests of 3, 2, 1, and 4 crotchets' duration following the segments. The 13 notes of the mantra's upper voice form a 12-tone row where the 13th note returns to the first note A. The lower voice consists of an intervallic inversion of the upper voice with transposed segments: the first segment of the lower voice corresponds to the inversion of second segment of the upper voice and vice versa; similarly, the third and fourth segments in the inverted voice are also exchanged (Blumröder 1976, 96–97). The pitches are shown in the example to the right, and the complete formula can be seen at Nordin [n.d.].

Each of the 13 notes of the mantra has an attached characteristic, or 'pitch form' (Cott 1973, 227; Stockhausen 2003, 4); the 13 notes of the upper voice have in order the following characteristics:

1. periodic repetition at the beginning (on A in the original transposition)
2. accent at the end of a duration on B
3. G♯ without any characteristic
4. a turn around the beginning of the note E
5. slow tremolo between F and D
6. an accented chord at the end of the F–D oscillation
7. a sharp accent (with a single repetition) at the beginning of a duration on G
8. a descending chromatic scale connecting the G to the following E♭
9. staccato (very short duration) on D♭
10. irregular repetition ('Morse code') of the note C
11. an inverted (upper-note) mordent (trill nucleus) on the beginning of B♭
12. sharp attack with an echo: sfz (fp), on G♭
13. arpeggio connecting the previously articulated pitch (E flat in the other voice, an augmented eleventh lower) upward to A

In addition to its articulative characteristic, each of the thirteen notes is assigned a particular dynamic, in approximate inverse proportion to its duration—that is, the softer a note's dynamic is, the longer is its duration. The very first note is the sole exception to this rule (Blumröder 1976, 97 and 104):

a. with constant intensities: Mac torrent logic pro x.

pp: 5.5 x = character V

p : 6 x = character XIII

p : 4 x = character IV

p : 1 x = character I (exception)

mp : 4 x = character XI

mp : 3 x = character III

mf : 1 x = character VI

f : 1 x = character IX

b. with crescendo or decrescendo:

(m)p > : 7 x = character X

< mf : 2 x = character VIII

sfz (fp) : 2 x = character XII

(p)–f : 2 x = character II, where f = 1 x

ff > : 5 x = character VII, where ff = 1 x

The thirteen cycles of the composition are based on the 13 notes of the mantra and the 13 characteristics detailed above. Each cycle is dominated by its corresponding note and characteristic. In this way, a single statement of the mantra is spread over the length of the entire composition, though the durations of the mantra notes are not incorporated into this overall plan (Conen 1991, 86).

The sounds of each piano are picked up by microphones and fed into an apparatus at the player's left side. This is called a Modul 69 B and was specially built for Mantra to the composer's specification by the Lawo company from Rastatt, near Baden-Baden (Stockhausen 1975, i, iv, and vii). It consists of a microphone amplifier with three microphone inputs, a compressor, a filter, a ring modulator, a scaled sine-wave generator, and a volume control. By means of this device, each piano's sounds are ring modulated with a sine tone tuned to the central pitch corresponding to the note of the mantra formula governing each of the thirteen large segments of the composition, and the modulated sound is played over loudspeakers placed behind and above the performers. The first pianist presents the upper thirteen tones, the second pianist the lower thirteen tones. Because the starting/ending pitch of the mantra is successively transposed onto these central pitches, they sound completely 'consonant', like ordinary piano tones. The other mantra pitches sound 'dissonant' to varying degrees, and differ also from a normal piano to varying degrees in their timbre. 'Hence one perceives a continual 'respiration' from consonant to dissonant to consonant modulator sounds, resulting from the precisely tuned relationships between the modulating sine tones and the modulated piano notes' (Stockhausen 1978, 155–56).

Recordings[edit]

• Rosalind Bevan, Yvar Mikashoff, Ole B. Ørsted (sound engineer: Mats Claessen; producer: Geir Johnson; executive producer: Foster Reed). CD recording. New Albion Records NAR 025. 1990.
• Andreas Grau, Götz Schumacher, Bryan Wolf (Tonmeister: Udo Wüstendörfer; sound engineer: Rüdiger Orth; producer: Ernstalbrecht Stiebler) – 1995, 'Mantra, für 2 pianisten'. Wergo WER 62672. Archived from the original on 2012-12-16. Retrieved 2016-07-25.CS1 maint: BOT: original-url status unknown (link)
• Janka Wyttenbach, Jürg Wyttenbach, Thomas Kessler (enregistrement: Jürg Jecklin; montage: Malgorzata Albinska; producer: Samuel Muller; mastering: Tritonus Studio [Peter Länger]) – 1997, Karlheinz Stockhausen: Mantra. Accord 4642692 (202252)
• Pascal Meyer, Xenia Pestova, Jan Panis (engineer and editor: Jarek Frankowski; recording supervisor: Andrew Lewis; producer: Remy Franck) – 2010, 'Karlheinz Stockhausen: Mantra'. Naxos 8.572398. Retrieved 2010-09-27.
• Mark Knoop, Roderick Chadwick, Newton Armstrong (producer and sound engineer: David Lefeber; executive producers: Berhard 'Benne' Vischer and Werner X. Uehlinger). Recorded 5 and 6 January 2013, Hall Two, Kings Place, London. CD recording. Hat[now]Art 190. Basel: Hat Hut Records, Ltd., 2014.

Two recordings were supervised by the composer:

• Aloys and Alfons Kontarsky, Karlheinz Stockhausen (sound engineer: Klaus Hiemann; producer: Rudolf Werner) – 1971, Karlheinz Stockhausen: Mantra DG LP 2530 208. Reissued 1991, 'Stockhausen Complete Edition no. 16: Mantra'. Karlheinz Stockhausen Official Website. Retrieved 2008-09-04.
• Ellen Corver, Sepp Grotenhuis, Hans Tutschku (sound engineers: Bert Kraaijpoel, Jan Panis; producer: Maarten Hartveldt; digital editing: Chapel Studio Tilburg [Jan Panis, Hans Tutschku, Maarten Hartveldt]) – [1995], Stockhausen: Mantra, Supervised by Karlheinz Stockhausen TMD 950601. This recording received an Edison Classical Award in 1996.

References[edit]

Stockhausen Tierkreis Score Pdf 2017

• Blumröder, Christoph von. 1976. 'Karlheinz Stockhausens Mantra für 2 Pianisten. Ein Beispiel für eine symbiotische Kompositionsform.' Melos 43, no. 2/Neue Zeitschrift für Musik 137 (March–April): 94–104.
• Conen, Hermann. 1991. Formel-Komposition: Zu Karlheinz Stockhausens Musik der siebziger Jahre. Kölner Schriften zur Neuen Musik 1, ed. Johannes Fritsch and Dietrich Kämper. Mainz: Schott's Söhne. ISBN3-7957-1890-2.
• Cott, Jonathan. 1973. Stockhausen: Conversations with the Composer. New York: Simon and Schuster. ISBN0-671-21495-0.
• Febel, Reinhard. 1998. Musik für zwei Klaviere seit 1950 als Spiegel der Kompositionstechnik, 2nd revised edition. Saarbrücken: Pfau-Verlag. ISBN3-930735-55-5.
• 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. ISBN978-3-7957-0249-6.
• Harvey, Jonathan. 1975. The Music of Stockhausen. Berkeley and Los Angeles: University of California Press. ISBN0-520-02311-0.
• Kelsall, John. 1975. 'Compositional Techniques in the Music of Stockhausen (1951–1970)'. PhD diss. Glasgow: University of Glasgow.
• Nordin, Ingvar Loco. n.d. 'Stockhausen Edition no. 16 (Mantra)' (review of the Kontarsky recording). Sonoloco Record Reviews (Accessed 22 February 2010).
• Stockhausen, Karlheinz. 1975. Mantra für 2 Pianisten (1970), Werk Nr. 32 (score). Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 1978. 'Mantra, für 2 Pianisten (1970)'. In Karlheinz Stockhausen, Texte zur Musik 4, edited by Christoph von Blumröder, 154–66. DuMont Dokumente. Cologne: DuMont Buchverlag. ISBN3-7701-1078-1.
• Stockhausen, Karlheinz. 2003. Introduction to Mantra. Kürten: Stockhausen-Verlag.
• Toop, Richard. 1986. 'Stockhausen and the Kontarskys: A Vision, an Interval, and a Mantra'. The Music Review 47, no. 3 (August): 194–99.
• Toop, Richard. 2005. Six Lectures from the Stockhausen Courses Kürten 2002. Kürten: Stockhausen-Verlag. Lecture 3: 'Mantra', pp. 75–98. ISBN3-00-016185-6.
• Whittall, Arnold. 2008. The Cambridge Introduction to Serialism. Cambridge Introductions to Music. New York: Cambridge University Press. ISBN978-0-521-68200-8 (pbk).

Stockhausen Tierkreis Score Pdf Free

External links[edit]

Stockhausen Tierkreis Score Pdf Format

• Armstrong, Newton. n.d. 'Stockhausen's Mantra (1970): A Technical Guide'. City University Staff Personal Pages (accessed 25 July 2016).
• Lecture by Karlheinz Stockhausen on Mantra at the Imperial College, London, 1973. Part 1, Part 2, Part 3