586:
again. Around midnight it happened that, as prearranged, the musicians gradually all left the house. Finally, there was nobody left. The audience noticed this, but only over the course of about half an hour, after which it became common knowledge that no performers were any longer in the house. The music continued to sound for quite some time, hardly changed. What in fact was sounding is what we had played the day before and recorded, and now was started up on several tape recorders. When the audience finally left the house, we were already 30 kilometers further away at a restaurant. Some people were still in the house and, as we were told, said to one another: "Oh, heck, they got clean away"
569:
19:
65:(Chamber Music), which would have involved the construction on a stage of a number of chambers (like a multiple stage set), in each of which musicians could be isolated from the others with the sounds of their performances being combined from outside. At the same time, there would be opportunities for individual musicians to move from one chamber to another, in order to produce constantly changing configurations. Stockhausen never realised this idea, but for the 1968
486:, and informed them that this mode of composition was what he wanted them to use themselves for the project. They did not all take him seriously at first, nor understand clearly his intentions. Outside of the seminar, during meal breaks and other personal conversations the participating composers came up with a number of light-hearted parodies of Stockhausen's texts. Jaroslav Wolf was the undisputed master of this genre, taking Stockhausen's
2332:
2357:
490:(Unlimited): "Play a sound with the certainty that you have an infinite amount of time and space" and turning it into: "Do in and with the hall what you want with the certainty that the composer has enough money to cover all breakages." Gehlhaar countered with, "Play with the certainty that you'll receive your fee in any case".
89:, informing him that she would not be returning from America and declaring that their marriage was at an end. The resulting depressive episode prompted Stockhausen to a hunger strike, during which he read Satprem's book on Sri Aurobindo. The result was a new form of composition for Stockhausen, the fifteen texts of
585:
Towards the end a tape recording of the previous day was played back over the speakers in the room. Since tapes had been used repeatedly anyway and the musicians left and returned to their room, sometimes a room was empty for a while. Then the audience went into the next room and found the musicians
576:
The shape of the whole was formed around the spaces in which it was performed, and the technical arrangement for the amplification of sound and the linking of microphones and speakers between the various rooms employed. While the Moller-Haus predetermined the shape of the spaces, the technical setup
580:
The simultaneous performances in different rooms on three different floors of the Moller-Haus were synchronized by
Stockhausen as different layers of a polyphonic composition. The audience could pass from one layer to another by moving from room to room, but the combined effect could only be heard
111:
Stockhausen initially selected twelve composers from a larger number of applicants. Several guest participants were also admitted, and of these two additional composers, Clare Franco (USA) and Jens-Peter
Ostendorf (Germany) contributed to the final product. The fourteen participating composers and
103:
as the basis of the
Darmstadt composition studio, which lasted for the seventeen days preceding the Ferienkurse. As part of his efforts to sharpen the participants' awareness for this new kind of composing, Stockhausen scheduled some seminar sessions late at night or early in the morning, which
53:. Fourteen composers and twelve instrumentalists participated, with the resulting performance lasting four hours. It was not regarded by Stockhausen as a composition belonging solely to himself, and therefore was not assigned a number in his catalog of works.
555:
for four orchestral groups, with unhappy results. He also planned a sequel composition-studio project for the 1970 Darmstadt courses, which was to have been performed outdoors in the woods surrounding
Schloss Kranichstein. It was provisionally titled
511:) they differed in significant and understandable ways from the proposed models. Many of them reflected the knowledge that there would be interaction with other pieces, but they are also longer and more "practical" than most of the texts of
78:
Between the original planning, which began as early as
November 1967, and the start of the courses in August 1968, Stockhausen experienced a personal crisis that changed the shape of the project. Following the premiere of
507:
Although the serious texts ultimately developed for the project adopt some of the traits of
Stockhausen's texts (in particular, addressing the performers with the second-person-familiar
108:
and temple music, as well as field trips to services at a Jewish synagogue in
Frankfurt and a Russian Orthodox church, and a specially arranged Catholic mass at a Capuchin monastery.
1064:
2387:
2335:
549:, Stockhausen continued the idea of simultaneous performances in different spaces with a project for the Beethovenhalle in Bonn, including a mammoth composition
1082:
2382:
42:
2184:
515:. Stockhausen himself developed five new text pieces during the seminars, which would later become part of a second collection of text pieces,
950:
853:
1057:
1013:
933:
925:
904:
870:
560:(Music in the Woods), but in the end Stockhausen abandoned the idea in favour of a series of retrospective analytical lectures.
1050:
990:
829:
Iddon, Martin. 2004. "The Haus that
Karlheinz Built: Composition, Authority, and Control at the 1968 Darmstadt Ferienkurse".
1688:
2392:
568:
2347:
880:
Musik für ein Haus: Kompositionsstudio
Karlheinz Stockhausen, Internationale Ferienkurse für Neue Musik, Darmstadt 1968
863:
Karlheinz
Stockhausen bei den Internationalen Ferienkursen für Neue Musik in Darmstadt 1951–1996: Dokumente und Briefe
819:
Musik für ein Haus. Kompositionsstudio Karlheinz Stockhausen. Internationale Ferienkurse für Neue Musik Darmstadt 1968
2377:
2146:
1219:
896:
448:
66:
50:
1866:
1858:
1653:
2239:
1434:
482:
Stockhausen began by introducing the participants to the fifteen newly composed text compositions of his cycle
2189:
2025:
389:
2309:
2269:
1759:
1498:
965:
394:
351:
278:
2397:
2361:
2194:
2001:
1466:
1379:
1274:
517:
313:
71:
1038:
3 (1963–1970), edited by Dieter Schnebel, 222–229. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg.
1418:
1073:
831:
136:
46:
2131:
1645:
577:
was designed by Stockhausen together with Ludwig Klapproth, the technical director of the Ferienkurse.
493:
In the course of discussion and critique of submitted texts, three important criteria were formulated"
18:
2259:
1898:
1799:
1696:
1637:
1450:
1298:
1250:
1211:
1124:
1101:
988:
Hommel, Friedrich. 1968. "Yoga am Notenpult: Ein Experiment von Karlheinz Stockhausen in Darmstadt".
260:
91:
2033:
1978:
1970:
1962:
1954:
1946:
1938:
1930:
1839:
1712:
1704:
1618:
1610:
1602:
1594:
1586:
1578:
1570:
1562:
1554:
1546:
1537:
1506:
1442:
1357:
1314:
1258:
1227:
2075:
1914:
1906:
1874:
1474:
1290:
1164:
1148:
528:
435:
318:
22:
538:, the masonic lodge in Darmstadt, in a performance that ran continuously from 6:00 to 10:00pm.
2224:
2179:
2081:
2069:
2051:
1815:
1736:
1172:
1156:
1132:
1009:
946:
929:
921:
900:
866:
849:
454:
203:
86:
1458:
2254:
2234:
2209:
2136:
2105:
2063:
2057:
1724:
1140:
472:
468:
417:
943:
Kompositorische Grundlagen Neuer Musik: Sechs Seminare für die Darmstädter Ferienkurse 1970
2274:
2174:
1514:
1028:
296:
96:
2314:
2284:
2264:
2249:
2204:
2199:
1490:
429:
423:
408:
402:
337:
2371:
2294:
2279:
2219:
2141:
1831:
1394:
1001:
917:
232:
177:
144:
100:
968:. London: Faber and Faber; Berkeley and Los Angeles: University of California Press.
440:
346:, for flute, oboe, bass clarinet, bassoon, horn, trumpet, trombone, and double bass
2169:
2110:
1522:
845:
581:
over loudspeakers in the basement control room, where none of the performers were.
503:
Compulsory eruption of the process from the confines of traditional thinking habits
167:
2304:
69:
Stockhausen organised a composition seminar as a successor to the previous year's
960:
2299:
2244:
2229:
2214:
2164:
2151:
1410:
1322:
1195:
306:
195:
152:
126:
533:
27:
2289:
2115:
2017:
1890:
1882:
1807:
1669:
1530:
1402:
1386:
476:
81:
85:
in Bremen on 5 May 1968, Stockhausen received a letter from his second wife,
1783:
1751:
1203:
61:
Since the late 1950s Stockhausen had been considering a piece to be called
1922:
1823:
1767:
1743:
1661:
1482:
253:
1042:
1341:
1266:
288:
148:
1791:
1775:
1426:
1349:
1306:
1282:
551:
156:
105:
882:. Darmstädter Beiträge zur Neuen Musik 12. Mainz: B. Schott's Söhne.
1114:
567:
330:
160:
114:
17:
1031:, 216–221. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg.
945:, edited by Imke Misch. Kürten: Stockhausen-Stiftung für Musik.
497:
Economy and precision of verbal formulation of a musical process
140:
1046:
368:, for flute, bass clarinet, trumpet, double bass, and tape
601:
599:
1008:. Lanham, Maryland, Toronto, Oxford: Scarecrow Press.
2345:
212:, for flute, oboe, bass clarinet, bassoon, and cello
2124:
2098:
2091:
2044:
1993:
1850:
1723:
1680:
1629:
1372:
1333:
1238:
1187:
1112:
1089:
823:
Musik & Bildung: Zeitschrift für Musikerziehung
1006:Other Planets: The Music of Karlheinz Stockhausen
305:, for flute, horn, trumpet, trombone, cello, and
995:
629:
583:
385:Twelve instrumentalists had also been invited:
99:, and resolved to use these verbally described
1058:
914:Stockhausen on Music: Lectures and Interviews
861:Misch, Imke, and Markus Bandur (eds.). 2001.
104:included listening to recordings of Japanese
8:
1034:Stockhausen, Karlheinz. 1971b. "Kriterien".
983:Stockhausen: Conversations with the Composer
891:: 17 Texte für Intuitive Musik (1968–70)".
801:
789:
753:
2095:
1729:
1242:
1093:
1065:
1051:
1043:
865:. Kürten: Stockhausen-Stiftung für Musik.
527:was premiered on 1 September 1968 in the
964:, introduced, translated, and edited by
2352:
595:
920:. London and New York: Marion Boyars.
848:. London and Boston: Faber and Faber.
741:
717:
701:
689:
677:
665:
653:
641:
605:
2388:Compositions by Karlheinz Stockhausen
899:167–169. Cologne: DuMont Buchverlag.
817:Gojowy, Detlef. 1972. "Fred Ritzel,
777:
765:
729:
705:
617:
7:
2185:Center for Art and Media Karlsruhe
14:
2383:Collaborations in classical music
373:Jaroslav J. Wolf (Czechoslovakia)
2355:
2331:
2330:
1019:Stockhausen, Karlheinz. 1971a. "
704:, 30–31, English translation in
572:Moller-Haus, Darmstadt, at night
985:. New York: Simon and Schuster.
887:Stockhausen, Karlheinz. 1978. "
379:, for trombone and double bass
252:, for oboe, bassoon, horn, and
246:Fred van der Kooy (Netherlands)
991:Frankfurter Allgemeine Zeitung
941:Stockhausen, Karlheinz. 2009.
912:Stockhausen, Karlheinz. 1989.
668:, 53, 55–62, 64–65, 68, 70–71.
1:
994:(3 September). Reproduced in
500:Guarantee the musical quality
241:, for violin and electronium
198:(or bassoon) and electronium
835:87, no. 1 (Spring): 87–118.
463:Georg Nothdorf (contrabass)
2414:
1220:Helikopter-Streichquartett
961:Stockhausen: Life and Work
2327:
2160:
1732:
1245:
1096:
1080:
1027:3 (1963–1970), edited by
120:
43:group-composition project
2240:Gottfried Michael Koenig
842:Stockhausen: A Biography
541:After the experience of
460:Othello Liesmann (cello)
414:János Mészáros (bassoon)
1689:Klavierstücke Nos. 1–19
897:Christoph von Blumröder
176:, for oboe, cello, and
67:Darmstädter Ferienkurse
51:Darmstädter Ferienkurse
981:Cott, Jonathan. 1973.
958:Wörner, Karl H. 1973.
840:Kurtz, Michael. 1992.
588:
573:
451:(keyboard instruments)
227:, for cello and piano
33:
2190:Collegium Vocale Köln
1307:Hymnen (Third Region)
1074:Karlheinz Stockhausen
996:Misch and Bandur 2001
832:The Musical Quarterly
630:Misch and Bandur 2001
571:
521:(For Times to Come).
273:, for 12 instruments
194:, for bass clarinet,
133:Unglaubliche Floridas
47:Karlheinz Stockhausen
21:
2393:Process music pieces
2125:Stockhausen Ensemble
1760:Gesang der Jünglinge
1451:Aus den sieben Tagen
1102:Atmen gibt das Leben
1083:List of compositions
878:Ritzel, Fred. 1970.
513:Aus den sieben Tagen
484:Aus den sieben Tagen
467:They were joined by
314:Jens-Peter Ostendorf
92:Aus den sieben Tagen
1467:Für kommende Zeiten
889:Für kommende Zeiten
518:Für kommende Zeiten
358:Montezuma's Revenge
2076:Markus Stockhausen
2026:Alphabet für Liège
2010:Musik für ein Haus
1021:Musik für ein Haus
574:
547:Musik für ein Haus
525:Musik für ein Haus
479:and electronics).
217:Clare Franco (USA)
184:Gregory Biss (USA)
112:their works were:
38:Musik für ein Haus
34:
2378:1968 compositions
2343:
2342:
2323:
2322:
2260:Mesías Maiguashca
2225:Nicolaus A. Huber
2180:Boudewijn Buckinx
2082:Simon Stockhausen
2070:Doris Stockhausen
2052:Mary Bauermeister
1989:
1988:
1800:Unsichtbare Chöre
1705:Natürliche Dauern
1368:
1367:
1183:
1182:
951:978-3-00-027313-1
854:978-0-571-17146-0
455:Saschko Gawriloff
383:
382:
261:Mesías Maiguashca
204:Boudewijn Buckinx
95:. He called this
87:Mary Bauermeister
2405:
2360:
2359:
2358:
2351:
2334:
2333:
2235:David C. Johnson
2210:Karel Goeyvaerts
2137:Johannes Fritsch
2106:Cornelius Cardew
2096:
2064:Suzanne Stephens
2058:Kathinka Pasveer
1730:
1243:
1094:
1067:
1060:
1053:
1044:
969:
954:
937:
908:
883:
874:
857:
844:, translated by
836:
805:
802:Stockhausen 2009
799:
793:
790:Stockhausen 1989
787:
781:
775:
769:
763:
757:
754:Stockhausen 1978
751:
745:
739:
733:
727:
721:
715:
709:
699:
693:
687:
681:
675:
669:
663:
657:
651:
645:
639:
633:
627:
621:
615:
609:
603:
537:
473:David C. Johnson
469:Johannes Fritsch
444:
418:Georges Barboteu
398:
322:
115:
31:
2413:
2412:
2408:
2407:
2406:
2404:
2403:
2402:
2368:
2367:
2366:
2362:Classical music
2356:
2354:
2346:
2344:
2339:
2319:
2275:Costin Miereanu
2175:Fritz Bornemann
2156:
2147:Aloys Kontarsky
2120:
2087:
2040:
1985:
1846:
1719:
1676:
1646:Chöre für Doris
1625:
1515:In Freundschaft
1364:
1329:
1234:
1179:
1108:
1085:
1076:
1071:
1041:
1036:Texte zur Musik
1029:Dieter Schnebel
1025:Texte zur Musik
977:
975:Further reading
972:
957:
940:
911:
893:Texte zur Musik
886:
877:
860:
839:
828:
825:4, no. 10: 483.
808:
800:
796:
788:
784:
776:
772:
768:, 174–175, 181.
764:
760:
752:
748:
740:
736:
728:
724:
716:
712:
700:
696:
688:
684:
676:
672:
664:
660:
652:
648:
640:
636:
628:
624:
616:
612:
604:
597:
593:
566:
531:
449:Aloys Kontarsky
438:
411:(bass clarinet)
392:
316:
297:Costin Miereanu
97:intuitive music
59:
25:
12:
11:
5:
2411:
2409:
2401:
2400:
2395:
2390:
2385:
2380:
2370:
2369:
2365:
2364:
2341:
2340:
2328:
2325:
2324:
2321:
2320:
2318:
2317:
2315:Michael Vetter
2312:
2307:
2302:
2297:
2292:
2287:
2285:Jorge Peixinho
2282:
2277:
2272:
2267:
2262:
2257:
2252:
2250:Mauricio Kagel
2247:
2242:
2237:
2232:
2227:
2222:
2217:
2212:
2207:
2205:Vinko Globokar
2202:
2200:Herbert Eimert
2197:
2192:
2187:
2182:
2177:
2172:
2167:
2161:
2158:
2157:
2155:
2154:
2149:
2144:
2139:
2134:
2128:
2126:
2122:
2121:
2119:
2118:
2113:
2108:
2102:
2100:
2093:
2089:
2088:
2086:
2085:
2079:
2073:
2067:
2061:
2055:
2048:
2046:
2042:
2041:
2039:
2038:
2030:
2022:
2014:
2006:
1997:
1995:
1991:
1990:
1987:
1986:
1984:
1983:
1975:
1967:
1959:
1951:
1943:
1935:
1927:
1919:
1911:
1903:
1895:
1887:
1879:
1871:
1867:Mikrophonie II
1863:
1854:
1852:
1848:
1847:
1845:
1844:
1836:
1828:
1820:
1812:
1804:
1796:
1788:
1780:
1772:
1764:
1756:
1748:
1740:
1737:Konkrete Etüde
1733:
1727:
1721:
1720:
1718:
1717:
1709:
1701:
1693:
1684:
1682:
1678:
1677:
1675:
1674:
1666:
1658:
1650:
1642:
1633:
1631:
1627:
1626:
1624:
1623:
1615:
1607:
1599:
1591:
1583:
1575:
1567:
1559:
1551:
1543:
1535:
1527:
1519:
1511:
1503:
1495:
1491:Musik im Bauch
1487:
1479:
1471:
1463:
1455:
1447:
1439:
1431:
1423:
1415:
1407:
1399:
1391:
1383:
1376:
1374:
1370:
1369:
1366:
1365:
1363:
1362:
1354:
1346:
1337:
1335:
1331:
1330:
1328:
1327:
1319:
1311:
1303:
1295:
1287:
1279:
1271:
1263:
1255:
1246:
1240:
1236:
1235:
1233:
1232:
1224:
1216:
1208:
1200:
1191:
1189:
1185:
1184:
1181:
1180:
1178:
1177:
1169:
1161:
1153:
1145:
1137:
1129:
1120:
1118:
1110:
1109:
1107:
1106:
1097:
1091:
1087:
1086:
1081:
1078:
1077:
1072:
1070:
1069:
1062:
1055:
1047:
1040:
1039:
1032:
1017:
1002:Maconie, Robin
999:
986:
978:
976:
973:
971:
970:
955:
938:
916:, compiled by
909:
884:
875:
858:
837:
826:
814:
807:
806:
794:
782:
770:
758:
746:
734:
722:
710:
694:
682:
670:
658:
646:
634:
622:
610:
594:
592:
589:
565:
562:
505:
504:
501:
498:
465:
464:
461:
458:
452:
446:
433:
430:Vinko Globokar
427:
424:Pierre Thibaud
421:
415:
412:
406:
403:Heinz Holliger
400:
381:
380:
374:
370:
369:
355:
348:
347:
341:
338:Jorge Peixinho
334:
333:
324:
310:
309:
300:
293:
292:
282:
275:
274:
264:
257:
256:
247:
243:
242:
236:
229:
228:
218:
214:
213:
207:
200:
199:
185:
181:
180:
171:
164:
163:
130:
123:
122:
119:
58:
55:
13:
10:
9:
6:
4:
3:
2:
2410:
2399:
2398:Spatial music
2396:
2394:
2391:
2389:
2386:
2384:
2381:
2379:
2376:
2375:
2373:
2363:
2353:
2349:
2338:
2337:
2326:
2316:
2313:
2311:
2308:
2306:
2303:
2301:
2298:
2296:
2295:Roger Smalley
2293:
2291:
2288:
2286:
2283:
2281:
2280:Nam June Paik
2278:
2276:
2273:
2271:
2268:
2266:
2263:
2261:
2258:
2256:
2255:György Ligeti
2253:
2251:
2248:
2246:
2243:
2241:
2238:
2236:
2233:
2231:
2228:
2226:
2223:
2221:
2220:Hans G. Helms
2218:
2216:
2213:
2211:
2208:
2206:
2203:
2201:
2198:
2196:
2193:
2191:
2188:
2186:
2183:
2181:
2178:
2176:
2173:
2171:
2168:
2166:
2163:
2162:
2159:
2153:
2150:
2148:
2145:
2143:
2142:Rolf Gehlhaar
2140:
2138:
2135:
2133:
2130:
2129:
2127:
2123:
2117:
2114:
2112:
2109:
2107:
2104:
2103:
2101:
2097:
2094:
2092:Collaborators
2090:
2083:
2080:
2077:
2074:
2071:
2068:
2065:
2062:
2059:
2056:
2053:
2050:
2049:
2047:
2043:
2036:
2035:
2031:
2028:
2027:
2023:
2020:
2019:
2015:
2012:
2011:
2007:
2004:
2003:
1999:
1998:
1996:
1992:
1981:
1980:
1976:
1973:
1972:
1968:
1965:
1964:
1960:
1957:
1956:
1952:
1949:
1948:
1944:
1941:
1940:
1936:
1933:
1932:
1928:
1925:
1924:
1920:
1917:
1916:
1912:
1909:
1908:
1904:
1901:
1900:
1896:
1893:
1892:
1888:
1885:
1884:
1880:
1877:
1876:
1872:
1869:
1868:
1864:
1861:
1860:
1859:Mikrophonie I
1856:
1855:
1853:
1851:With soloists
1849:
1842:
1841:
1837:
1834:
1833:
1832:Cosmic Pulses
1829:
1826:
1825:
1821:
1818:
1817:
1813:
1810:
1809:
1805:
1802:
1801:
1797:
1794:
1793:
1789:
1786:
1785:
1781:
1778:
1777:
1773:
1770:
1769:
1765:
1762:
1761:
1757:
1754:
1753:
1749:
1746:
1745:
1741:
1738:
1735:
1734:
1731:
1728:
1726:
1722:
1715:
1714:
1710:
1707:
1706:
1702:
1699:
1698:
1694:
1691:
1690:
1686:
1685:
1683:
1679:
1672:
1671:
1667:
1664:
1663:
1659:
1656:
1655:
1651:
1648:
1647:
1643:
1640:
1639:
1635:
1634:
1632:
1628:
1621:
1620:
1616:
1613:
1612:
1608:
1605:
1604:
1600:
1597:
1596:
1592:
1589:
1588:
1584:
1581:
1580:
1576:
1573:
1572:
1568:
1565:
1564:
1560:
1557:
1556:
1552:
1549:
1548:
1544:
1541:
1540:
1536:
1533:
1532:
1528:
1525:
1524:
1520:
1517:
1516:
1512:
1509:
1508:
1504:
1501:
1500:
1496:
1493:
1492:
1488:
1485:
1484:
1480:
1477:
1476:
1472:
1469:
1468:
1464:
1461:
1460:
1456:
1453:
1452:
1448:
1445:
1444:
1440:
1437:
1436:
1432:
1429:
1428:
1424:
1421:
1420:
1416:
1413:
1412:
1408:
1405:
1404:
1400:
1397:
1396:
1395:Kontra-Punkte
1392:
1389:
1388:
1384:
1381:
1378:
1377:
1375:
1371:
1360:
1359:
1355:
1352:
1351:
1347:
1344:
1343:
1339:
1338:
1336:
1334:With soloists
1332:
1325:
1324:
1320:
1317:
1316:
1312:
1309:
1308:
1304:
1301:
1300:
1296:
1293:
1292:
1288:
1285:
1284:
1280:
1277:
1276:
1272:
1269:
1268:
1264:
1261:
1260:
1256:
1253:
1252:
1248:
1247:
1244:
1241:
1237:
1230:
1229:
1225:
1222:
1221:
1217:
1214:
1213:
1209:
1206:
1205:
1201:
1198:
1197:
1193:
1192:
1190:
1186:
1175:
1174:
1170:
1167:
1166:
1162:
1159:
1158:
1154:
1151:
1150:
1146:
1143:
1142:
1138:
1135:
1134:
1130:
1127:
1126:
1122:
1121:
1119:
1117:
1116:
1111:
1104:
1103:
1099:
1098:
1095:
1092:
1088:
1084:
1079:
1075:
1068:
1063:
1061:
1056:
1054:
1049:
1048:
1045:
1037:
1033:
1030:
1026:
1022:
1018:
1015:
1014:0-8108-5356-6
1011:
1007:
1003:
1000:
997:
993:
992:
987:
984:
980:
979:
974:
967:
963:
962:
956:
952:
948:
944:
939:
935:
934:0-7145-2918-4
931:
927:
926:0-7145-2887-0
923:
919:
918:Robin Maconie
915:
910:
906:
905:3-7701-1078-1
902:
898:
895:4. Edited by
894:
890:
885:
881:
876:
872:
871:3-00-007290-X
868:
864:
859:
855:
851:
847:
843:
838:
834:
833:
827:
824:
820:
816:
815:
813:
812:
803:
798:
795:
791:
786:
783:
779:
774:
771:
767:
762:
759:
755:
750:
747:
743:
738:
735:
731:
726:
723:
719:
714:
711:
707:
703:
698:
695:
691:
686:
683:
679:
674:
671:
667:
662:
659:
655:
650:
647:
643:
638:
635:
631:
626:
623:
619:
614:
611:
607:
602:
600:
596:
590:
587:
582:
578:
570:
563:
561:
559:
558:Musik im Wald
554:
553:
548:
544:
539:
535:
530:
526:
522:
520:
519:
514:
510:
502:
499:
496:
495:
494:
491:
489:
485:
480:
478:
474:
471:(viola), and
470:
462:
459:
456:
453:
450:
447:
445:(electronium)
442:
437:
434:
431:
428:
425:
422:
419:
416:
413:
410:
407:
404:
401:
396:
391:
390:Eberhard Blum
388:
387:
386:
378:
375:
372:
371:
367:
363:
359:
356:
353:
350:
349:
345:
342:
339:
336:
335:
332:
328:
327:Kommunikation
325:
320:
315:
312:
311:
308:
304:
301:
298:
295:
294:
290:
286:
283:
280:
277:
276:
272:
268:
265:
262:
259:
258:
255:
251:
248:
245:
244:
240:
237:
234:
233:Rolf Gehlhaar
231:
230:
226:
222:
219:
216:
215:
211:
208:
205:
202:
201:
197:
193:
189:
186:
183:
182:
179:
175:
172:
170:(South Korea)
169:
166:
165:
162:
158:
154:
150:
146:
145:bass clarinet
142:
138:
134:
131:
128:
125:
124:
121:Compositions
117:
116:
113:
109:
107:
102:
98:
94:
93:
88:
84:
83:
76:
74:
73:
68:
64:
56:
54:
52:
49:for the 1968
48:
44:
40:
39:
29:
24:
20:
16:
2329:
2310:Thomas Wells
2270:John McGuire
2170:Junsang Bahk
2132:Péter Eötvös
2111:Richard Toop
2032:
2024:
2016:
2009:
2008:
2000:
1977:
1969:
1961:
1953:
1945:
1937:
1929:
1921:
1913:
1905:
1897:
1889:
1881:
1873:
1865:
1857:
1838:
1830:
1822:
1814:
1806:
1798:
1790:
1782:
1774:
1766:
1758:
1750:
1742:
1711:
1703:
1695:
1687:
1668:
1660:
1652:
1644:
1636:
1617:
1609:
1601:
1593:
1585:
1577:
1569:
1561:
1553:
1545:
1538:
1529:
1523:Europa-Gruss
1521:
1513:
1505:
1497:
1489:
1481:
1473:
1465:
1459:Dr K–Sextett
1457:
1449:
1441:
1433:
1425:
1417:
1409:
1401:
1393:
1385:
1356:
1348:
1340:
1321:
1313:
1305:
1297:
1289:
1281:
1273:
1265:
1257:
1249:
1226:
1218:
1210:
1202:
1194:
1171:
1163:
1155:
1147:
1139:
1131:
1123:
1113:
1100:
1035:
1024:
1020:
1005:
989:
982:
966:Bill Hopkins
959:
942:
913:
892:
888:
879:
862:
846:Richard Toop
841:
830:
822:
818:
810:
809:
797:
785:
773:
761:
749:
737:
725:
713:
697:
692:, 12, 14–15.
685:
673:
661:
649:
644:, 12, 26–27.
637:
625:
613:
584:
579:
575:
557:
550:
546:
542:
540:
524:
523:
516:
512:
508:
506:
492:
487:
483:
481:
466:
384:
377:Transzendenz
376:
365:
362:Vector Music
361:
357:
352:Thomas Wells
343:
326:
302:
291:, and piano
287:, for horn,
284:
279:John McGuire
270:
266:
249:
238:
224:
220:
209:
191:
187:
174:Assimilation
173:
168:Junsang Bahk
132:
110:
90:
80:
77:
70:
62:
60:
37:
36:
35:
15:
2300:Tim Souster
2265:Tomás Marco
2245:Jerome Kohl
2230:Alden Jenks
2215:Georg Heike
2195:Hugh Davies
2165:David Ahern
2152:David Tudor
1994:Other works
1713:Himmelfahrt
1692:(1952–2003)
1654:Drei Lieder
1228:Himmels-Tür
1196:Herbstmusik
742:Ritzel 1970
718:Ritzel 1970
702:Ritzel 1970
690:Ritzel 1970
678:Ritzel 1970
666:Ritzel 1970
654:Ritzel 1970
642:Ritzel 1970
606:Wörner 1973
532: [
529:Moller-Haus
488:Unbegrentzt
439: [
436:Harald Bojé
409:Josef Horák
393: [
329:, for solo
317: [
307:double bass
271:Verwandlung
153:electronium
129:(Australia)
127:David Ahern
63:Kammermusik
45:devised by
32:, Darmstadt
26: [
23:Moller-Haus
2372:Categories
2290:Otto Piene
2116:Jill Purce
2099:Assistants
2072:(1st wife)
2054:(2nd wife)
2018:Sternklang
1891:Kurzwellen
1883:Prozession
1808:Oktophonie
1725:Electronic
1670:Litanei 97
1531:Trumpetent
1435:Plus-Minus
1403:Schlagtrio
1387:Kreuzspiel
1239:Orchestral
1125:Donnerstag
998:, 426–427.
778:Iddon 2004
766:Kurtz 1992
730:Iddon 2004
706:Iddon 2004
620:, 160–161.
618:Kurtz 1992
591:References
477:alto flute
432:(trombone)
344:Lichtkreis
340:(Portugal)
303:Zeitfarben
239:Wendekreis
82:Kurzwellen
2305:Avo Sõmer
2066:(partner)
2060:(partner)
1784:Telemusik
1752:Studie II
1571:Schönheit
1555:Harmonien
1499:Tierkreis
1204:Originale
928:(cloth);
426:(trumpet)
323:(Germany)
299:(Romania)
285:Auflösung
263:(Ecuador)
225:Paul Klee
206:(Belgium)
118:Composer
101:processes
2336:Category
2037:(2004–7)
2002:Ensemble
1971:Paradies
1963:Orvonton
1923:Strahlen
1824:Strahlen
1816:Weltraum
1768:Kontakte
1744:Studie I
1681:Keyboard
1662:Stimmung
1611:Hoffnung
1587:Erwachen
1563:Katikati
1483:Harlekin
1411:Zeitmaße
1380:Sonatine
1323:Jubiläum
1165:Mittwoch
1149:Dienstag
1004:. 2005.
732:, 96–97.
564:Analysis
543:Ensemble
457:(violin)
254:trombone
250:Spielweg
221:Einwärts
72:Ensemble
1955:Nebadon
1947:Jerusem
1931:Edentia
1579:Balance
1419:Refrain
1373:Chamber
1342:Momente
1267:Gruppen
1188:Theatre
1173:Sonntag
1157:Freitag
1133:Samstag
811:Sources
399:(flute)
289:trumpet
149:bassoon
57:History
2348:Portal
2045:Family
2029:(1972)
2021:(1971)
2013:(1968)
2005:(1967)
1982:(2007)
1979:Uversa
1974:(2007)
1966:(2007)
1958:(2007)
1950:(2007)
1942:(2007)
1939:Havona
1934:(2007)
1926:(2002)
1918:(1970)
1910:(1970)
1902:(1968)
1899:Spiral
1894:(1968)
1886:(1967)
1878:(1966)
1870:(1965)
1862:(1964)
1843:(2006)
1835:(2006)
1827:(2002)
1819:(1994)
1811:(1991)
1803:(1979)
1795:(1967)
1792:Hymnen
1787:(1966)
1779:(1964)
1776:Mixtur
1771:(1960)
1763:(1956)
1755:(1954)
1747:(1953)
1739:(1952)
1716:(2005)
1708:(2006)
1700:(1970)
1697:Mantra
1673:(1997)
1665:(1968)
1657:(1950)
1649:(1950)
1641:(1950)
1638:Choral
1622:(2007)
1614:(2007)
1606:(2007)
1598:(2007)
1590:(2007)
1582:(2007)
1574:(2006)
1566:(2006)
1558:(2006)
1550:(2005)
1547:Freude
1542:(1997)
1539:Rotary
1534:(1995)
1526:(1992)
1518:(1977)
1510:(1976)
1502:(1975)
1494:(1975)
1486:(1975)
1478:(1972)
1470:(1971)
1462:(1969)
1454:(1968)
1446:(1966)
1438:(1963)
1430:(1959)
1427:Zyklus
1422:(1959)
1414:(1956)
1406:(1952)
1398:(1952)
1390:(1951)
1382:(1951)
1361:(1974)
1353:(1964)
1350:Mixtur
1345:(1964)
1326:(1977)
1318:(1971)
1310:(1969)
1302:(1969)
1299:Fresco
1294:(1965)
1286:(1962)
1283:Punkte
1278:(1960)
1270:(1957)
1262:(1952)
1254:(1951)
1251:Formel
1231:(2005)
1223:(1993)
1215:(1977)
1212:Sirius
1207:(1961)
1199:(1974)
1176:(2003)
1168:(1997)
1160:(1994)
1152:(1991)
1144:(1988)
1141:Montag
1136:(1983)
1128:(1980)
1105:(1977)
1090:Operas
1012:
949:
936:(pbk).
932:
924:
903:
869:
852:
804:, 248.
792:, 157.
756:, 167.
632:, 403.
608:, 170.
552:Fresco
420:(horn)
405:(oboe)
364:, and
267:Hör-Zu
157:violin
135:, for
106:Gagaku
2084:(son)
2078:(son)
2034:Klang
1840:Türin
1630:Vocal
1619:Treue
1603:Glück
1595:Glanz
1507:Amour
1443:Adieu
1358:Inori
1315:Trans
1275:Carré
1259:Spiel
1115:Licht
780:, 99.
744:, 40.
720:, 27.
680:, 50.
656:, 13.
536:]
443:]
397:]
366:Nexus
354:(USA)
331:viola
321:]
281:(USA)
235:(USA)
210:Atoom
178:organ
161:cello
137:flute
41:is a
30:]
1915:Pole
1907:Expo
1875:Solo
1475:Ylem
1291:Stop
1010:ISBN
947:ISBN
930:ISBN
922:ISBN
901:ISBN
867:ISBN
850:ISBN
708:, 96
545:and
269:and
223:and
196:horn
190:and
141:oboe
1023:".
821:".
192:Hin
2374::
598:^
534:de
509:Du
441:de
395:de
360:,
319:de
188:Du
159:,
155:,
151:,
147:,
143:,
139:,
75:.
28:de
2350::
1066:e
1059:t
1052:v
1016:.
953:.
907:.
873:.
856:.
475:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
