268:, in which the first half consists of the intervals of a descending major third, rising perfect fourth, descending minor third, descending minor second, and ascending major second. The second half consists of the retrograde of the first half, transposed by a tritone. In other words, the row is "degenerate", in that the second hexachord is a retrograde of the first, transposed by six semitones. However, Stockhausen does not exploit the specific twelve-tone compositional applications of such a row, which suggests that either Stockhausen was not interested in or did not know about them. Because of the chord transformations that emerge between rehearsal numbers 118 and 120 it appears that Stockhausen was in fact aware of these properties, making it most likely that the relationship simply did not interest him compositionally.
19:
291:
133:... whole envelopes of rhythmic blocks are exact lines of mountains that I saw in Paspels in Switzerland right in front of my little window. Many of the time spectra, which are represented by superimpositions of different rhythmic layers—of different speeds in each layer—their envelope which describes the increase and decrease of the number of layers, their shape, so to speak, the shape of the time field, are the curves of the mountain's contour which I saw when I looked out the window.
276:. This duration series, however, is expressed not as single units (which would correspond to single vibrations of a pitch) but rather as metronomic tempos in sufficiently long stretches of time to enable conductors and musicians to change tempo with precision. However, because the resulting "fundamental durations" 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.
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236:, along with a third category of "collective" or "statistical" swarms or crowds, too dense for the listener to be able to accurately distinguish individual notes or their order of succession. Consequently, the importance of individual notes is relatively low, so that sonority, density, speed, dynamics, and direction of movement become the main features for the listener.
213:, which are deployed in a horseshoe shape to the left, front, and right of the audience. The spatial separation was principally motivated by the compositional requirement of keeping simultaneously played yet musically separate passages distinct from one another, but led to some orgiastic passages in which a single musical process passes from one orchestra to another.
93:
3519:
271:
Many of the conceptual bases of the work are explained in
Stockhausen's famous article, "... How Time Passes ...". 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
221:(namely, the group). The various groups in a composition have various proportional features—various structures—but they are interrelated in that the properties of one group may only be understood by comparing them in degree of relationship with the other groups". This category is contrasted with the "
137:
Originally the work was to have been for multi-channel electronic music with large orchestra, with metrically indeterminate parts for the orchestra. Once having decided to divide the orchestra into three parts, each with its own conductor, Stockhausen gave up the electronic sounds and incorporated
243:
30:, then with every step forward the register of each duration is also already chosen". There are "a number of basic durations, indicated in metronome marks and corresponding with the pitch proportions within the series, reaching far as the octave positions (basic duration units)", or "a
43:
216:
The title refers to the work's construction in 174 units, mainly composed in what
Stockhausen terms "groups"—cohesive groupings of notes unified through one or more common characteristics (dynamics, instrumental color, register, etc.):
980:, Opus Musicum OM 116 – OM 118 (3-LP set), (with works by Berio, Boulez, Earle Brown, Cage, Luc Ferrari, Henze, Kagel, Ligeti, Messiaen, Jens-Peter Ostendorf, Penderecki, Schnebel, Xenakis, Zimmermann). Cologne: Arno Volk Verlag;
44:
138:
some of what had previously been thought of as electronic music into the orchestra. The indeterminate tempos also proved impractical, and were dropped after a few experimental pages of score had been written out.
256:
2008:
Decroupet, Pascal. 2012. "Le rôle des clés et algorithmes dans le décryptage analytique: L'exemple des musiques sérielles de Pierre Boulez, Karlheinz
Stockhausen et Bernd Alois Zimmermann".
1149:. Recorded 3 September 1995. Released on SACD as disc 9 in the 27-disc CD/DVD set, Etcetera KTC9000 (22 CDs 1 SACD 4 DVDs). Also issued separately, as Schönberg Ensemble Edition nr. 9.
257:
84:... probably the first work of the post-war generation of composers in which technique and imagination combine on the highest level to produce an undisputable masterpiece".
2100:
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prevented him from starting right away. In August and
September, he took the opportunity to retreat to an inexpensive rented room in the attic of a parsonage in
2244:
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1001:(orchestra 3). Recorded 24 March 1958 in four channels; stereo mix 1982. Deutsche Harmonia Mundi DMR 1010–12 (3-LP boxed set). Cologne: EMI Electrola.
1605:
Internationales
Stockhausen-Symposion 2000: LICHT: Musikwissenschaftliches Institut der Universität zu Köln, 19. bis 22. Oktober 2000. Tagungsbericht
957:
reissued under the same LP disc number, in the first set of
Deutsche Grammophon's Avant Garde series. : Deutsche Grammophon Gesellschaft, 1968.
42:
3346:
3539:
2093:
2040:
1933:
1875:
1855:
1044:
1705:
Misch, Imke. 1998. "On the Serial
Shaping of Stockhausen's Gruppen fĂĽr drei Orchester", translated by Dr. Frank Hentschel and Jerome Kohl.
1079:
299:
saw the score for the first time, he wrote that such fractional metronomic values as 63.5 and 113.5 were "a sign of German thoroughness".
2219:
1164:(orchestra 2), Jacques Mercier (orchestra 3). Recorded by WDR at Messe Rheinlandsaal, Cologne 28 May/2 June 1997. (with Stockhausen:
1952:
1838:
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1193:. Recorded 25 August 1993, Theatre-Concert Hall, Tanglewood, Mass. MP3 or FLAC download (stereo). BSO Classics TWD75 31 0720 01. :
170:
125:, "with a completely new conception of musical time". The surroundings provided more than just a conducive environment for work.
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153:
18:
290:
711:
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295: = 60 to 120 are 60, 63.5, 67, 71, 75.5, 80, 85, 90, 95, 101, 107, 113.5, and 120. The composer recalled that, when
219:
a particular number of notes which are joined, by means of related proportions, into a superordinate experiential quality
3554:
265:
997:
4: 1950–1960. WDR Symphony
Orchestra, Cologne, cond. Karlheinz Stockhausen (orchestra 1), Bruno Maderna (orchestra 2),
22:
Example 12 from
Stockhausen's article "... wie die Zeit vergeht ...", illustrating with a version of the series from
1776:, vol. 1, 99–139. Cologne: Verlag M. DuMont Schauberg. Revised and annotated version of the text first published in
1117:). Arthaus Musik, DVD 102 043. Also available as part of a 7-DVD set, Arthaus Musik 102 073. Leipzig: Arthaus Musik.
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Stockhausen, Karlheinz, and Rudolf
Frisius. 1989. "'Wille zur Form und Wille zum Abenteuer'". In Stockhausen,
1122:
272:
as the basic twelve-tone pitch series. This became the basis for the entire process of serial organization of
1903:
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Harvey, Misch, Whittall, Stockhausen and Maconie show this row transposed up a tritone). See tone row for
1089:
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937:
198:
104:
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3 (1957): 13–42. Translation by Cornelius Cardew, as "... How Time Passes ..." in the English edition of
2580:
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1963:
1947:, edited by Wolfgang Budday, Heinrich Deppert, and Erhard Karkoschka, 209–260. Tutzing: Hans Schneider.
1036:, op. 33). DG 447 761-2; also issued on DG 940 462-2. Reissued in 2012 on Deutsche Grammophon 001708102.
1021:
515:
408:
326:
73:
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2035:. Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International.
3421:
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2412:
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Karlheinz Stockhausen II: Die Werke 1950–1977; Gespräch mit Karlheinz Stockhausen, "Es geht aufwärts"
705:
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318:
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161:, which occupied him for all of 1957. The premiere of the work took place in the Rheinsaal of the
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1990:
und deren Auswirkung auf Stockhausens Musikdenken in der zweiten Hälfte der fünfziger Jahre".
1948:
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1958:
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1848:
Kompositorische Grundlagen Neuer Musik: Sechs Seminare für die Darmstädter Ferienkurse 1970
1672:. Utrecht: Oosthoek, 1964. Third impression, Utrecht: Bohn, Scheltema & Holkema, 1977.
209:
A large orchestra of 109 players is divided into three orchestral units, each with its own
3436:
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57:
31:
970:
ips tape, as DGC 7002. Elk Grove Village, Illinois: Ampex/Deutsche Grammophon, ca. 1974.
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2015:
1182:
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182:
118:
1660:, translated from the Dutch by Stephen Taylor. Amsterdam: Amsterdam University Press.
954:
on Deutsche Grammophon DG 137 002 (LP), DG921022 (Cassette). : Polydor International.
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1939:
Beyer, Peter. 2000. "Regelwerk und Theorie serieller Musik in Karlheinz Stockhausens
1741:
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194:
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121:. Surrounded by the splendour of the GraubĂĽnden alps, he created the entire plan of
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430:
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1908:
254:
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38:' ... corresponds to a twelve-tone scale that extends over more than one octave".
3461:
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3313:
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and Robin Stowell, 798–814. Cambridge and New York: Cambridge University Press.
1600:
1052:
973:
reissued on Stockhausen Complete Edition CD 5. KĂĽrten: Stockhausen-Verlag, 1992.
561:
376:
349:
222:
169:, as part of the WDR's concert series Musik der Zeit, on 24 March 1958 with the
147:
865:
2 wood drums (African slotted drums, each with 2 pitches): pitches 3, 9 / 6, 12
685:
2 wood drums (African slotted drums, each with 2 pitches): pitches 2, 8 / 5, 11
466:
2 wood drums (African slotted drums, each with 2 pitches): pitches 1, 7 / 4, 10
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1173:
655:
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337:
210:
162:
1670:
Muziek van de twintigste eeuw: een onderzoek naar haar elementen en structuur
1607:. Signale aus Köln: Beiträge zur Musik der Zeit 10, edited by Imke Misch and
1137:, Nederlands Blazers Ensemble, Nieuw Ensemble, Slagwerkgroep Den Haag, cond.
2945:
2913:
2365:
2046:
Goldberg, Albert . 1958. "European Critics Protest New Electronic 'Music'".
1778:
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839:
422:
396:
229:
226:
65:
1971:, edited by Zoila Gómez, 2:161–162. Havana: Editorial Letras Cubanas, 1980.
1870:. Cambridge Introductions to Music. New York: Cambridge University Press.
92:
3084:
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2644:
2129:
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1174:
Tanglewood 75: Anniversary Celebration: From the Audio Archives 1937–2012
389:
355:
249:
2204:
2184:
2101:
Classical: Towards the Millennium Symphony Hall / ICC Hall 3, Birmingham
2503:
519:
383:
361:
330:
114:
1772:
Stockhausen, Karlheinz. 1963b. "... wie die Zeit vergeht ...". In his
1595:
8 ("Retrospective") , 80–98. (Originally published in German in 1962.)
2953:
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2444:
2191:
1658:
Music of the Twentieth Century: A Study of Its Elements and Structure
543:
457:
450:
1043:. A Conducted Tour by Sir Simon Rattle. Volume 6: "After the Wake".
2276:
1918:
1791:
Stockhausen, Karlheinz. 1963c. "Erfindung und Entdeckung". In his
725:
555:
549:
241:
91:
17:
1945:
Musiktheorie: Festschrift fĂĽr Heinrich Deppert zum 65. Geburtstag
239:
Nonetheless, a traditional twelve-tone row is used as its basis:
193:
was performed twice on the programme, with the world premiere of
2070:
Compositional Techniques in the Music of Stockhausen (1951–1970)
2068:
1926:
Em busca do som: A mĂşsica de Karlheinz Stockhausen nos anos 1950
1850:, edited by Imke Misch. KĂĽrten: Stockhausen-Stiftung fĂĽr Musik.
870:
4 drums: tomtoms and/or tumbas and bongos (in the high register)
690:
4 drums: tomtoms and/or tumbas and bongos (in the high register)
535:
343:
2208:
1692:. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press, Inc.
1921:, Formation doctorale en Musique et Musicologie du XXe siècle.
847:
4 cowbells (suspended, without clappers): pitches 3, 6, 9, 12
667:
4 cowbells (suspended, without clappers): pitches 2, 5, 8, 11
1724:. Signale aus Köln: Beiträge zur Musik der Zeit 2, edited by
1573:. Berkeley and Los Angeles: University of California Press.
772:
580:
312:
1997:
Decroupet, Pascal. 1999. "Cherché, mais aussi, ... trouvé.
1917:
de Karlheinz Stockhausen". Master's degree dissertation at
1067:
as a DVD extra. (Programme includes excerpts from: Boulez,
76:, and is Work Number 6 in the composer's catalog of works.
2076:
Mival, William. 2012. "Case Study: Karlheinz Stockhausen,
2055:
Hedges, Anthony. 1961. "Music in the Provinces: Glasgow".
107:
for a new orchestral composition, but his ongoing work on
1795:, vol. 1, 222–258. Cologne: Verlag M. DuMont Schauberg.
1407:
1405:
1288:
995:
Zeitgenössische Musik in der Bundesrepublik Deutschland
141:
Upon returning to Cologne, Stockhausen resumed work on
440:(suspended, without clappers): pitches 1, 4, 7, 10, 13
3507:
1767:, vol. 1, 63–74. Cologne: Verlag M. DuMont Schauberg.
287:, covering a tempo "octave" (doubling in speed) from
103:
Early in 1955 Stockhausen received a commission from
96:
Paspels, the village where Stockhausen began work on
1759:
Stockhausen, Karlheinz. 1963a. "Gruppenkomposition:
3286:
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3012:
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1 snare drum (shallow jazz drum, very bright sound)
695:
1 snare drum (shallow jazz drum, very bright sound)
1041:Leaving Home: Orchestral Music in the 20th Century
117:, Switzerland, recommended to him by a colleague,
2180:Instrumentation details on the composer's website
1690:Other Planets: The Music of Karlheinz Stockhausen
948:. Recorded May 1965; released with Stockhausen's
700:1 tambourine (with either small bells or jingles)
1611:, 116–132. Münster, Berlin, London: LIT-Verlag.
1156:. WDR Symphony Orchestra, Cologne, conducted by
1833:, vol. 6, 320–346. Cologne: DuMont Buchverlag.
1718:Zur Kompositionstechnik Karlheinz Stockhausens
1603:. 2004. "Der Aspekt der Harmonik in Licht." In
1168:). BMC CD 117. : Budapest Music Center Records.
940:, Cologne, conducted by Karlheinz Stockhausen,
157:, before turning to working-out the details of
1816:, 22–24. Cologne: Verlag M. DuMont Schauberg.
978:Die Neue Musik und ihre neuesten Entwicklungen
2220:
2124:, 71–72. Cologne: Verlag M. DuMont Schauberg.
8:
2082:The Cambridge History of Musical Performance
1551:Stockhausen: Conversations with the Composer
1483:
1435:
1372:
1360:
1240:
1154:Eötvös Conducts Stockhausen: Gruppen, Punkte
26:that, "if you start from the intervals of a
2073:. PhD diss. Glasgow: University of Glasgow.
2005:6, no. 1 (La génétique des oeuvres): 63–76.
1974:Decroupet, Pascal. 1997. "Gravitationsfeld
1531:
1519:
1324:
483:(in the high register): pitches 1, 4, 7, 10
181:(orchestra III). The score is dedicated to
3257:
2891:
2404:
2255:
2227:
2213:
2205:
1894:. 1958. "Musikalische AtomzertrĂĽmmerung".
880:1 tambourine (with small bells or jingles)
421:(5 octaves) or 4-octave marimbaphone plus
173:, conducted by Stockhausen (orchestra I),
2001:de Stockhausen Ă travers ses esquisses".
1571:The Music of Stockhausen: An Introduction
852:4 metal instruments, pitches 3, 6, 9, 12:
672:4 metal instruments, pitches 2, 5, 8, 11:
445:4 metal instruments, pitches 1, 4, 7, 10:
201:, performed by the composer, in between.
2018:. 1961. "On Co-Conducting Stockhausen's
1423:
1063:, 2 March 1996. Complete performance of
3514:
1868:The Cambridge Introduction to Serialism
1447:
1384:
1276:
1233:
1207:
932:In chronological order of first issue.
811:3 horns (1st and 3rd higher, 2nd lower)
626:3 horns (1st and 3rd higher, 2nd lower)
2112:Stockhausen, Karlheinz. 1964. "Nr. 6:
1961:. 1958. "Grupos para tres orquestas".
1924:Assis, Gustavo Oliveira Alfaix. 2011.
1632:. London and Boston: Faber and Faber.
1507:
1459:
1396:
492:(shallow jazz drum, very bright sound)
3545:Compositions by Karlheinz Stockhausen
2028:, New Series, no. 59 (Autumn): 15–23.
1495:
1411:
1348:
1336:
1312:
1264:
1252:
1126:. Schönberg Ensemble, Asko Ensemble,
1045:City of Birmingham Symphony Orchestra
1024:, Grosser Saal, December 1994. (with
7:
2127:Weber, Mirko. 2007. "Ins Schwarze".
1471:
1300:
1080:Serenade for Tenor, Horn and Strings
501:(with either small bells or jingles)
232:, which nevertheless also occurs in
68:(1955–57) is amongst the best-known
3560:Compositions for symphony orchestra
2116:für 3 Orchester (1955–57)". In his
1967:(23 May). Reprinted in Carpentier,
1754:108, no. 1495 (September): 794–797.
1120:2006a. Schönberg Ensemble Edition:
145:and then composed the wind quintet
3347:Center for Art and Media Karlsruhe
2200:excerpts on the composer's website
817:2 trombones (both with bass valve)
14:
1123:A Century of Music in Perspective
3517:
3493:
3492:
1553:. New York: Simon and Schuster.
1020:(orchestra 3). Recorded Berlin,
859:3 cymbals (large, medium, small)
679:3 cymbals (large, medium, small)
289:
252:
171:Cologne Radio Symphony Orchestra
39:
1800:Stockhausen, Karlheinz. 1971. "
1763:(Anleitung zum Hören)". In his
591:2 flutes (1st doubling piccolo)
185:, director at that time of the
1978:: Zur Verschränkung der Werke
1846:Stockhausen, Karlheinz. 2009.
1:
3540:20th-century classical music
1928:. SĂŁo Paulo: Editora UNESP.
1728:. SaarbrĂĽcken: Pfau-Verlag.
1711:36, no. 1 (Winter): 143–187.
1289:Stockhausen and Frisius 1989
976:reissued (without Carré) on
1969:Ese mĂşsico que llevo dentro
1913:. 1998. "Espace-Temps dans
960:reissued on reel-to-reel 7-
187:WDR electronic music studio
3586:
2382:Helikopter-Streichquartett
2078:Gruppen fĂĽr drei Orchester
2061:102, no. 1421 (July): 431.
1941:Gruppen fĂĽr drei Orchester
783:1 flute (doubling piccolo)
283:metronomic tempos used in
24:Gruppen fĂĽr drei Orchester
3489:
3322:
2894:
2407:
2258:
2242:
1708:Perspectives of New Music
1587:Koenig, Gottfried Michael
1195:Boston Symphony Orchestra
1061:Symphony Hall, Birmingham
3402:Gottfried Michael Koenig
1626:Stockhausen: A Biography
2851:Klavierstücke Nos. 1–19
2031:Frisius, Rudolf. 2008.
1900:no. 43 (24 October): 8.
1744:. 1967. "Stockhausen's
1726:Christoph von Blumröder
1720:Gruppen fĂĽr 3 Orchester
1609:Christoph von Blumröder
1179:Tanglewood Music Center
1093:, Op. 46; Stockhausen,
1006:Berliner Philharmoniker
3570:Music with dedications
1624:Kurtz, Michael. 1992.
1589:. 1968. "Commentary".
1549:Cott, Jonathan. 1973.
1090:A Survivor from Warsaw
1070:Le Marteau sans maître
938:WDR Symphony Orchestra
460:(large, medium, small)
264:This is a symmetrical
261:
135:
100:
61:
48:
3352:Collegium Vocale Köln
2469:Hymnen (Third Region)
2236:Karlheinz Stockhausen
2173:Another video excerpt
2133:no. 25 (14 June): 52.
2099:Smaczny, Jan. 1996. "
1128:Amsterdam Sinfonietta
1030:Grabstein fĂĽr Stephan
891:1 celesta (5 octaves)
516:keyboard glockenspiel
392:(2nd with bass valve)
245:
127:
95:
74:Karlheinz Stockhausen
21:
3287:Stockhausen Ensemble
2922:Gesang der JĂĽnglinge
2613:Aus den sieben Tagen
2264:Atmen gibt das Leben
2245:List of compositions
2151:by Andrew Clements,
2120:, vol. 2, edited by
2010:Revue de Musicologie
1980:Gesang der JĂĽnglinge
1812:, vol. 3, edited by
177:(orchestra II), and
143:Gesang der JĂĽnglinge
110:Gesang der JĂĽnglinge
3555:Serial compositions
2629:FĂĽr kommende Zeiten
1716:Misch, Imke. 1999.
1375:, pp. 250–251.
833:(4 percussionists)
822:contrabass trombone
714:(1 higher, 1 lower)
650:(4 percussionists)
607:(doubling clarinet)
412:(4 percussionists)
72:of German composer
34:which changes its '
3238:Markus Stockhausen
3188:Alphabet für Liège
3172:Musik fĂĽr ein Haus
2052:(23 November): E7.
2012:98, no. 1:221–246.
1474:, p. 122–123.
1267:, p. 157–158.
1010:Friedrich Goldmann
991:Deutscher Musikrat
612:baritone saxophone
425:for highest octave
262:
199:Third Piano Sonata
101:
82:20th-century music
80:is "a landmark in
49:
3550:1957 compositions
3505:
3504:
3485:
3484:
3422:MesĂas Maiguashca
3387:Nicolaus A. Huber
3342:Boudewijn Buckinx
3244:Simon Stockhausen
3232:Doris Stockhausen
3214:Mary Bauermeister
3151:
3150:
2962:Unsichtbare Chöre
2867:NatĂĽrliche Dauern
2530:
2529:
2345:
2344:
2094:978-0-521-89611-5
2058:The Musical Times
2049:Los Angeles Times
2041:978-3-7957-0249-6
1959:Carpentier, Alejo
1934:978-85-393-0207-9
1892:Abendroth, Walter
1876:978-0-521-68200-8
1856:978-3-00-027313-1
1751:The Musical Times
1668:. Translation of
1510:, pp. 90–91.
1498:, pp. 53–54.
1484:Stockhausen 1963b
1462:, pp. 56–57.
1436:Stockhausen 1963b
1373:Stockhausen 1963c
1361:Stockhausen 1963a
1339:, p. 176n13.
1241:Stockhausen 1963b
1187:Reinbert de Leeuw
1181:Orchestra, cond.
1139:Reinbert de Leeuw
924:
923:
764:
763:
676:1 tamtam (medium)
572:
571:
258:
225:" style of early
205:Material and form
45:
28:proportion series
3577:
3522:
3521:
3520:
3513:
3496:
3495:
3397:David C. Johnson
3372:Karel Goeyvaerts
3299:Johannes Fritsch
3268:Cornelius Cardew
3258:
3226:Suzanne Stephens
3220:Kathinka Pasveer
2892:
2405:
2256:
2229:
2222:
2215:
2206:
2174:
2163:
1994:12, no. 1:37–51.
1912:
1879:
1864:Whittall, Arnold
1859:
1842:
1825:
1796:
1787:
1786:3 (1959): 10–40.
1768:
1755:
1737:
1712:
1701:
1681:
1649:
1628:, translated by
1620:
1596:
1582:
1567:Harvey, Jonathan
1562:
1535:
1532:Stockhausen 2009
1529:
1523:
1520:Stockhausen 2009
1517:
1511:
1505:
1499:
1493:
1487:
1481:
1475:
1469:
1463:
1457:
1451:
1445:
1439:
1433:
1427:
1421:
1415:
1409:
1400:
1394:
1388:
1382:
1376:
1370:
1364:
1358:
1352:
1346:
1340:
1334:
1328:
1325:Stockhausen 1971
1322:
1316:
1315:, p. 79–80.
1310:
1304:
1298:
1292:
1286:
1280:
1274:
1268:
1262:
1256:
1250:
1244:
1238:
1221:
1212:
1136:
969:
968:
964:
856:1 tamtam (small)
773:
599:piccolo clarinet
581:
313:
294:
293:
266:all-interval row
260:
259:
47:
46:
3585:
3584:
3580:
3579:
3578:
3576:
3575:
3574:
3530:
3529:
3528:
3524:Classical music
3518:
3516:
3508:
3506:
3501:
3481:
3437:Costin Miereanu
3337:Fritz Bornemann
3318:
3309:Aloys Kontarsky
3282:
3249:
3202:
3147:
3008:
2881:
2838:
2808:Chöre für Doris
2787:
2677:In Freundschaft
2526:
2491:
2396:
2341:
2270:
2247:
2238:
2233:
2172:
2161:
2141:
2136:
2122:Dieter Schnebel
2118:Texte zur Musik
2106:The Independent
2016:Del Mar, Norman
1906:
1887:
1885:Further reading
1882:
1862:
1845:
1831:Texte zur Musik
1828:
1814:Dieter Schnebel
1810:Texte zur Musik
1799:
1793:Texte zur Musik
1790:
1774:Texte zur Musik
1771:
1765:Texte zur Musik
1758:
1740:
1715:
1704:
1684:
1652:
1623:
1599:
1585:
1565:
1548:
1544:
1539:
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1530:
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1395:
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1383:
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1371:
1367:
1359:
1355:
1347:
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1335:
1331:
1323:
1319:
1311:
1307:
1299:
1295:
1287:
1283:
1275:
1271:
1263:
1259:
1251:
1247:
1239:
1235:
1230:
1225:
1224:
1217:KlavierstĂĽck IX
1213:
1209:
1204:
1160:(orchestra 1),
1130:
1104:Four Last Songs
1099:Richard Strauss
1047:, conducted by
1032:, op. 15c, and
1016:(orchestra 2),
1012:(orchestra 1),
966:
962:
961:
930:
925:
915:2 double basses
881:
876:
871:
866:
853:
848:
843:
770:
765:
755:2 double basses
740:electric guitar
728:(without cover)
701:
696:
691:
686:
673:
668:
642:
578:
573:
502:
493:
484:
467:
446:
441:
426:
402:
310:
305:
303:Instrumentation
297:Igor Stravinsky
288:
253:
207:
154:KlavierstĂĽck XI
90:
40:
12:
11:
5:
3583:
3581:
3573:
3572:
3567:
3562:
3557:
3552:
3547:
3542:
3532:
3531:
3527:
3526:
3503:
3502:
3490:
3487:
3486:
3483:
3482:
3480:
3479:
3477:Michael Vetter
3474:
3469:
3464:
3459:
3454:
3449:
3447:Jorge Peixinho
3444:
3439:
3434:
3429:
3424:
3419:
3414:
3412:Mauricio Kagel
3409:
3404:
3399:
3394:
3389:
3384:
3379:
3374:
3369:
3367:Vinko Globokar
3364:
3362:Herbert Eimert
3359:
3354:
3349:
3344:
3339:
3334:
3329:
3323:
3320:
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3129:
3121:
3113:
3105:
3097:
3089:
3081:
3073:
3065:
3057:
3049:
3041:
3033:
3029:Mikrophonie II
3025:
3016:
3014:
3010:
3009:
3007:
3006:
2998:
2990:
2982:
2974:
2966:
2958:
2950:
2942:
2934:
2926:
2918:
2910:
2902:
2899:Konkrete EtĂĽde
2895:
2889:
2883:
2882:
2880:
2879:
2871:
2863:
2855:
2846:
2844:
2840:
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2804:
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2777:
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2753:
2745:
2737:
2729:
2721:
2713:
2705:
2697:
2689:
2681:
2673:
2665:
2657:
2653:Musik im Bauch
2649:
2641:
2633:
2625:
2617:
2609:
2601:
2593:
2585:
2577:
2569:
2561:
2553:
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2532:
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2528:
2527:
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2524:
2516:
2508:
2499:
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2489:
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2473:
2465:
2457:
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2417:
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2402:
2398:
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2378:
2370:
2362:
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2323:
2315:
2307:
2299:
2291:
2282:
2280:
2272:
2271:
2269:
2268:
2259:
2253:
2249:
2248:
2243:
2240:
2239:
2234:
2232:
2231:
2224:
2217:
2209:
2203:
2202:
2194:
2182:
2177:
2169:
2158:
2145:"Stockhausen:
2140:
2139:External links
2137:
2135:
2134:
2125:
2110:
2097:
2074:
2062:
2053:
2044:
2029:
2013:
2006:
1995:
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1956:
1937:
1922:
1901:
1888:
1886:
1883:
1881:
1880:
1860:
1843:
1826:
1797:
1788:
1769:
1761:KlavierstĂĽck I
1756:
1742:Smalley, Roger
1738:
1713:
1702:
1686:Maconie, Robin
1682:
1650:
1621:
1597:
1583:
1563:
1545:
1543:
1540:
1537:
1536:
1534:, p. 169.
1524:
1522:, p. 172.
1512:
1500:
1488:
1476:
1464:
1452:
1450:, p. 149.
1440:
1438:, p. 116.
1428:
1426:, p. 185.
1416:
1414:, p. 161.
1401:
1389:
1387:, p. 795.
1377:
1365:
1353:
1341:
1329:
1317:
1305:
1303:, p. 141.
1293:
1291:, p. 320.
1281:
1279:, p. 794.
1269:
1257:
1255:, p. 174.
1245:
1243:, p. 117.
1232:
1231:
1229:
1226:
1223:
1222:
1206:
1205:
1203:
1200:
1199:
1198:
1183:Oliver Knussen
1169:
1150:
1143:Oliver Knussen
1118:
1057:Daniel Harding
1037:
1014:Claudio Abbado
1002:
987:
986:
985:
974:
971:
958:
946:Michael Gielen
929:
926:
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799:
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790:
789:1 English horn
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614:
608:
605:alto saxophone
601:
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379:(high and low)
365:
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352:
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340:
334:
311:
309:
306:
304:
301:
206:
203:
183:Herbert Eimert
119:Paul Gredinger
89:
86:
32:duration scale
13:
10:
9:
6:
4:
3:
2:
3582:
3571:
3568:
3566:
3565:Spatial music
3563:
3561:
3558:
3556:
3553:
3551:
3548:
3546:
3543:
3541:
3538:
3537:
3535:
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3515:
3511:
3500:
3499:
3488:
3478:
3475:
3473:
3470:
3468:
3465:
3463:
3460:
3458:
3457:Roger Smalley
3455:
3453:
3450:
3448:
3445:
3443:
3442:Nam June Paik
3440:
3438:
3435:
3433:
3430:
3428:
3425:
3423:
3420:
3418:
3417:György Ligeti
3415:
3413:
3410:
3408:
3405:
3403:
3400:
3398:
3395:
3393:
3390:
3388:
3385:
3383:
3382:Hans G. Helms
3380:
3378:
3375:
3373:
3370:
3368:
3365:
3363:
3360:
3358:
3355:
3353:
3350:
3348:
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3338:
3335:
3333:
3330:
3328:
3325:
3324:
3321:
3315:
3312:
3310:
3307:
3305:
3304:Rolf Gehlhaar
3302:
3300:
3297:
3295:
3292:
3291:
3289:
3285:
3279:
3276:
3274:
3271:
3269:
3266:
3265:
3263:
3259:
3256:
3254:Collaborators
3252:
3245:
3242:
3239:
3236:
3233:
3230:
3227:
3224:
3221:
3218:
3215:
3212:
3211:
3209:
3205:
3198:
3197:
3193:
3190:
3189:
3185:
3182:
3181:
3177:
3174:
3173:
3169:
3166:
3165:
3161:
3160:
3158:
3154:
3143:
3142:
3138:
3135:
3134:
3130:
3127:
3126:
3122:
3119:
3118:
3114:
3111:
3110:
3106:
3103:
3102:
3098:
3095:
3094:
3090:
3087:
3086:
3082:
3079:
3078:
3074:
3071:
3070:
3066:
3063:
3062:
3058:
3055:
3054:
3050:
3047:
3046:
3042:
3039:
3038:
3034:
3031:
3030:
3026:
3023:
3022:
3021:Mikrophonie I
3018:
3017:
3015:
3013:With soloists
3011:
3004:
3003:
2999:
2996:
2995:
2994:Cosmic Pulses
2991:
2988:
2987:
2983:
2980:
2979:
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2582:
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2570:
2567:
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2562:
2559:
2558:
2557:Kontra-Punkte
2554:
2551:
2550:
2546:
2543:
2540:
2539:
2537:
2533:
2522:
2521:
2517:
2514:
2513:
2509:
2506:
2505:
2501:
2500:
2498:
2496:With soloists
2494:
2487:
2486:
2482:
2479:
2478:
2474:
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2164:
2162:Video excerpt
2159:
2157:, 1 June 2001
2156:
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2065:Kelsall, John
2063:
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1953:3-7952-1005-4
1950:
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1904:Amaral, Pedro
1902:
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1839:3-7701-2249-6
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1822:3-7701-0493-5
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1734:3-89727-048-X
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1703:
1699:
1698:0-8108-5356-6
1695:
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1679:
1678:90-313-0244-9
1675:
1671:
1667:
1666:90-5356-765-8
1663:
1659:
1655:
1654:Leeuw, Ton de
1651:
1647:
1646:0-571-17146-X
1643:
1639:
1638:0-571-14323-7
1635:
1631:
1627:
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1617:3-8258-7944-5
1614:
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1579:0-520-02311-0
1576:
1572:
1568:
1564:
1560:
1559:0-671-21495-0
1556:
1552:
1547:
1546:
1542:Cited sources
1541:
1533:
1528:
1525:
1521:
1516:
1513:
1509:
1504:
1501:
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1432:
1429:
1425:
1424:Whittall 2008
1420:
1417:
1413:
1408:
1406:
1402:
1399:, p. 58.
1398:
1393:
1390:
1386:
1381:
1378:
1374:
1369:
1366:
1363:, p. 63.
1362:
1357:
1354:
1351:, p. 80.
1350:
1345:
1342:
1338:
1333:
1330:
1327:, p. 22.
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1163:
1159:
1158:Arturo Tamayo
1155:
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1038:
1035:
1031:
1027:
1023:
1019:
1015:
1011:
1007:
1003:
1000:
999:Pierre Boulez
996:
992:
988:
983:
982:Hans Gerig KG
979:
975:
972:
959:
956:
955:
953:
952:
947:
943:
942:Bruno Maderna
939:
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927:
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832:
828:
823:
819:
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810:
809:
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807:
800:
798:
797:bass clarinet
794:
791:
788:
785:
782:
781:
780:
779:
775:
774:
768:Orchestra III
767:
760:
754:
751:
748:
745:
744:
741:
737:
736:
735:
734:
727:
723:
722:
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709:
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703:
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693:
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662:tubular bells
659:
657:
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638:
637:bass trombone
634:
631:
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606:
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583:
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568:
563:
562:double basses
559:
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541:
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531:
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200:
196:
195:Pierre Boulez
192:
188:
184:
180:
179:Pierre Boulez
176:
175:Bruno Maderna
172:
168:
167:Cologne-Deutz
164:
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55:
54:
37:
36:time register
33:
29:
25:
20:
16:
3491:
3472:Thomas Wells
3432:John McGuire
3332:Junsang Bahk
3294:Péter Eötvös
3273:Richard Toop
3194:
3186:
3178:
3170:
3162:
3139:
3131:
3123:
3115:
3107:
3099:
3091:
3083:
3075:
3067:
3059:
3051:
3043:
3035:
3027:
3019:
3000:
2992:
2984:
2976:
2968:
2960:
2952:
2944:
2936:
2928:
2920:
2912:
2904:
2873:
2865:
2857:
2849:
2830:
2822:
2814:
2806:
2798:
2779:
2771:
2763:
2755:
2747:
2739:
2731:
2723:
2715:
2707:
2700:
2691:
2685:Europa-Gruss
2683:
2675:
2667:
2659:
2651:
2643:
2635:
2627:
2621:Dr K–Sextett
2619:
2611:
2603:
2595:
2587:
2579:
2571:
2563:
2555:
2547:
2518:
2510:
2502:
2483:
2475:
2467:
2459:
2451:
2443:
2435:
2428:
2427:
2419:
2411:
2388:
2380:
2372:
2364:
2356:
2333:
2325:
2317:
2309:
2301:
2293:
2285:
2275:
2262:
2197:
2185:
2154:The Guardian
2152:
2146:
2128:
2117:
2113:
2104:
2086:Colin Lawson
2084:, edited by
2081:
2077:
2069:
2056:
2047:
2032:
2023:
2019:
2009:
2002:
1998:
1992:Musiktheorie
1991:
1987:
1983:
1979:
1975:
1968:
1962:
1944:
1940:
1925:
1914:
1895:
1867:
1847:
1830:
1809:
1805:
1801:
1792:
1783:
1777:
1773:
1764:
1760:
1749:
1745:
1721:
1717:
1706:
1689:
1669:
1657:
1630:Richard Toop
1625:
1604:
1601:Kohl, Jerome
1590:
1570:
1550:
1527:
1515:
1503:
1491:
1479:
1467:
1455:
1448:Maconie 2005
1443:
1431:
1419:
1392:
1385:Smalley 1967
1380:
1368:
1356:
1344:
1332:
1320:
1308:
1296:
1284:
1277:Smalley 1967
1272:
1260:
1248:
1236:
1215:
1210:
1191:Robert Spano
1172:
1165:
1162:Péter Eötvös
1153:
1147:Robert Spano
1121:
1112:
1102:
1094:
1088:
1078:
1068:
1064:
1049:Simon Rattle
1040:
1033:
1029:
1022:Philharmonie
1018:Marcus Creed
994:
977:
949:
931:
918:
895:
894:
885:
884:
842:(4 octaves)
830:
829:
805:
804:
777:
776:
758:
732:
731:
718:
717:
647:
646:
641:
620:
619:
585:
584:
576:Orchestra II
566:
526:
525:
506:
505:
431:glockenspiel
419:marimbaphone
407:
406:
401:
367:
366:
350:English horn
317:
316:
284:
278:
273:
270:
263:
246:
238:
233:
218:
215:
208:
190:
163:Kölner Messe
158:
152:
146:
142:
140:
136:
130:
128:
122:
108:
102:
97:
77:
70:compositions
64:) for three
52:
51:
50:
35:
27:
23:
15:
3462:Tim Souster
3427:Tomás Marco
3407:Jerome Kohl
3392:Alden Jenks
3377:Georg Heike
3357:Hugh Davies
3327:David Ahern
3314:David Tudor
3156:Other works
2875:Himmelfahrt
2854:(1952–2003)
2816:Drei Lieder
2390:Himmels-TĂĽr
2358:Herbstmusik
1964:El Nacional
1907: [
1508:Koenig 1968
1460:Harvey 1975
1397:Harvey 1975
1131: [
1059:. Recorded
1053:John Carewe
928:Discography
308:Orchestra I
281:logarithmic
279:The twelve
3534:Categories
3452:Otto Piene
3278:Jill Purce
3261:Assistants
3234:(1st wife)
3216:(2nd wife)
3180:Sternklang
3053:Kurzwellen
3045:Prozession
2970:Oktophonie
2887:Electronic
2832:Litanei 97
2693:Trumpetent
2597:Plus-Minus
2565:Schlagtrio
2549:Kreuzspiel
2401:Orchestral
2287:Donnerstag
2176:on YouTube
2109:(5 March).
1808:". In his
1496:Misch 1999
1412:Misch 1998
1349:Kurtz 1992
1337:Misch 1998
1313:Kurtz 1992
1265:Misch 1998
1253:Leeuw 2005
1228:References
1109:Stravinsky
1085:Schoenberg
1083:, Op. 31;
831:Percussion
814:2 trumpets
792:1 clarinet
656:vibraphone
648:Percussion
632:1 trombone
629:2 trumpets
499:tambourine
490:snare drum
409:Percussion
338:alto flute
329:(doubling
66:orchestras
3467:Avo Sõmer
3228:(partner)
3222:(partner)
2946:Telemusik
2914:Studie II
2733:Schönheit
2717:Harmonien
2661:Tierkreis
2366:Originale
2188:recording
1784:Die Reihe
1779:Die Reihe
1722:(1955–57)
1592:Die Reihe
1472:Kohl 2004
1301:Cott 1973
906:8 violins
886:Keyboards
840:xylorimba
824:(or tuba)
801:1 bassoon
778:Woodwinds
746:8 violins
719:Keyboards
712:triangles
616:1 bassoon
586:Woodwinds
508:Keyboards
471:4 drums:
423:xylophone
397:bass tuba
390:trombones
319:Woodwinds
230:serialism
227:Darmstadt
211:conductor
3498:Category
3199:(2004–7)
3164:Ensemble
3133:Paradies
3125:Orvonton
3085:Strahlen
2986:Strahlen
2978:Weltraum
2930:Kontakte
2906:Studie I
2843:Keyboard
2824:Stimmung
2773:Hoffnung
2749:Erwachen
2725:Katikati
2645:Harlekin
2573:ZeitmaĂźe
2542:Sonatine
2485:Jubiläum
2327:Mittwoch
2311:Dienstag
2130:Die Zeit
2067:. 1975.
2003:Musurgia
1988:ZeitmaĂźe
1897:Die Zeit
1866:. 2008.
1688:. 2005.
1656:. 2005.
1640:(cloth)
1569:. 1975.
1008:, cond.
912:2 cellos
909:4 violas
752:2 cellos
749:4 violas
438:cowbells
384:trumpets
356:clarinet
250:tone row
223:punctual
148:ZeitmaĂźe
3117:Nebadon
3109:Jerusem
3093:Edentia
2741:Balance
2581:Refrain
2535:Chamber
2504:Momente
2429:Gruppen
2350:Theatre
2335:Sonntag
2319:Freitag
2295:Samstag
2198:Gruppen
2186:Gruppen
2167:YouTube
2147:Gruppen
2114:Gruppen
2020:Gruppen
1999:Gruppen
1984:Gruppen
1976:Gruppen
1915:Gruppen
1802:Gruppen
1746:Gruppen
1152:2006b.
1095:Gruppen
1075:Britten
1065:Gruppen
984:, 1975.
965:⁄
896:Strings
733:Strings
706:ratchet
544:violins
528:Strings
520:celesta
475:and/or
473:tomtoms
458:cymbals
453:(large)
362:bassoon
331:piccolo
285:Gruppen
274:Gruppen
247:Gruppen
234:Gruppen
191:Gruppen
159:Gruppen
131:Gruppen
123:Gruppen
115:Paspels
98:Gruppen
88:History
78:Gruppen
53:Gruppen
3510:Portal
3207:Family
3191:(1972)
3183:(1971)
3175:(1968)
3167:(1967)
3144:(2007)
3141:Uversa
3136:(2007)
3128:(2007)
3120:(2007)
3112:(2007)
3104:(2007)
3101:Havona
3096:(2007)
3088:(2002)
3080:(1970)
3072:(1970)
3064:(1968)
3061:Spiral
3056:(1968)
3048:(1967)
3040:(1966)
3032:(1965)
3024:(1964)
3005:(2006)
2997:(2006)
2989:(2002)
2981:(1994)
2973:(1991)
2965:(1979)
2957:(1967)
2954:Hymnen
2949:(1966)
2941:(1964)
2938:Mixtur
2933:(1960)
2925:(1956)
2917:(1954)
2909:(1953)
2901:(1952)
2878:(2005)
2870:(2006)
2862:(1970)
2859:Mantra
2835:(1997)
2827:(1968)
2819:(1950)
2811:(1950)
2803:(1950)
2800:Choral
2784:(2007)
2776:(2007)
2768:(2007)
2760:(2007)
2752:(2007)
2744:(2007)
2736:(2006)
2728:(2006)
2720:(2006)
2712:(2005)
2709:Freude
2704:(1997)
2701:Rotary
2696:(1995)
2688:(1992)
2680:(1977)
2672:(1976)
2664:(1975)
2656:(1975)
2648:(1975)
2640:(1972)
2632:(1971)
2624:(1969)
2616:(1968)
2608:(1966)
2600:(1963)
2592:(1959)
2589:Zyklus
2584:(1959)
2576:(1956)
2568:(1952)
2560:(1952)
2552:(1951)
2544:(1951)
2523:(1974)
2515:(1964)
2512:Mixtur
2507:(1964)
2488:(1977)
2480:(1971)
2472:(1969)
2464:(1969)
2461:Fresco
2456:(1965)
2448:(1962)
2445:Punkte
2440:(1960)
2432:(1957)
2424:(1952)
2416:(1951)
2413:Formel
2393:(2005)
2385:(1993)
2377:(1977)
2374:Sirius
2369:(1961)
2361:(1974)
2338:(2003)
2330:(1997)
2322:(1994)
2314:(1991)
2306:(1988)
2303:Montag
2298:(1983)
2290:(1980)
2267:(1977)
2252:Operas
2192:UbuWeb
2092:
2080:". In
2039:
1951:
1943:." In
1932:
1878:(pbk).
1874:
1854:
1837:
1820:
1732:
1696:
1676:
1664:
1648:(pbk).
1644:
1636:
1615:
1577:
1557:
1171:2012.
1166:Punkte
1055:, and
1039:2005.
1026:Kurtág
1004:1996.
989:1982.
944:, and
936:1968.
919:
901:1 harp
786:1 oboe
759:
594:1 oboe
567:
556:cellos
550:violas
481:bongos
477:tumbas
451:tamtam
62:Groups
58:German
3246:(son)
3240:(son)
3196:Klang
3002:TĂĽrin
2792:Vocal
2781:Treue
2765:GlĂĽck
2757:Glanz
2669:Amour
2605:Adieu
2520:Inori
2477:Trans
2437:Carré
2421:Spiel
2277:Licht
2025:Tempo
1919:IRCAM
1911:]
1806:Carré
1202:Notes
1135:]
1034:Stele
951:Carré
806:Brass
726:piano
621:Brass
377:horns
369:Brass
327:flute
3077:Pole
3069:Expo
3037:Solo
2637:Ylem
2453:Stop
2090:ISBN
2037:ISBN
1986:und
1949:ISBN
1930:ISBN
1872:ISBN
1852:ISBN
1835:ISBN
1818:ISBN
1804:und
1730:ISBN
1694:ISBN
1674:ISBN
1662:ISBN
1642:ISBN
1634:ISBN
1613:ISBN
1575:ISBN
1555:ISBN
1114:Agon
536:harp
518:(or
479:and
344:oboe
151:and
2165:on
2103:".
2022:".
1748:."
660:14
542:10
197:'s
165:in
129:in
105:WDR
3536::
2190:,
1982:,
1909:pt
1404:^
1189:,
1185:,
1177:.
1145:,
1141:,
1133:nl
1111:,
1107:;
1101:,
1097:;
1087:,
1077:,
1073:;
1051:,
1028:,
993::
838:1
820:1
795:1
738:1
724:1
710:2
704:1
654:1
635:1
610:1
603:1
597:1
560:2
554:4
548:2
534:1
514:1
497:1
488:1
456:3
449:1
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429:1
417:1
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388:2
382:2
375:2
360:1
354:1
348:1
342:1
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189:.
60::
3512::
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2221:t
2214:v
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2096:.
2043:.
1955:.
1936:.
1858:.
1841:.
1824:.
1736:.
1700:.
1680:.
1619:.
1581:.
1561:.
1486:.
1220:.
1197:.
967:2
963:1
522:)
333:)
217:"
56:(
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