Im Zyklus der Zeit (German Edition)

Karlheinz Stockhausen

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Because his relationship with his new stepmother was less than happy, in January Karlheinz became a boarder at the teachers' training college in Xanten , where he continued his piano training and also studied oboe and violin Kurtz , In he learned that his mother had died, ostensibly from leukemia, although everyone at the same hospital had supposedly died of the same disease.

It was generally understood that she had been a victim of the Nazi policy of killing " useless eaters " Stockhausen a , 20—21; Kurtz , The official letter to the family falsely claimed she had died 16 June , but recent research by Lisa Quernes, a student at the Landesmusikgymnasium in Montabaur , has determined that she was gassed along with 89 other people at the Hadamar Euthanasia Centre in Hesse-Nassau on 27 May Anon.

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Stockhausen dramatized his mother's death in hospital by lethal injection, in Act 1 scene 2 " Mondeva " of the opera Donnerstag aus Licht Kurtz , In the autumn of , he was conscripted to serve as a stretcher bearer in Bedburg Kurtz , In February , he met his father for the last time in Altenberg. Simon, who was on leave from the front, told his son, "I'm not coming back. By the end of the war, his father was regarded as missing in action, and may have been killed in Hungary Kurtz , A comrade later reported to Karlheinz that he saw his father wounded in action Maconie , Fifty-five years after the fact, a journalist writing for the Guardian newspaper stated unequivocally, though without offering any fresh evidence, that Simon Stockhausen was killed in Hungary in O'Mahony He had training in harmony and counterpoint , the latter with Hermann Schroeder , but he did not develop a real interest in composition until He was admitted at the end of that year to the class of Swiss composer Frank Martin , who had just begun a seven-year tenure in Cologne Kurtz , He arrived in Paris on 8 January and began attending Messiaen's courses in aesthetics and analysis, as well as Milhaud's composition classes.

He continued with Messiaen for a year, but he was disappointed with Milhaud and abandoned his lessons after a few weeks Kurtz , 45— From to , he studied phonetics, acoustics, and information theory with Werner Meyer-Eppler at the University of Bonn Kurtz , 68— Together they had four children: They were divorced in Rathert Four of Stockhausen's children became professional musicians Kurtz , , and he composed some of his works specifically for them.

Stockhausen , 13—16; Tannenbaum , His daughter Christel is a flautist who performed and gave a course on interpretation of Tierkreis in Stockhausen Texte , 5: He had a house built there, which was designed to his specifications by the architect Erich Schneider-Wessling, and he resided there from its completion in the autumn of Kurtz , —17, — He was guest professor of composition at the University of Pennsylvania in and at the University of California, Davis in —67 Kramer ; Stockhausen-Verlag , 2—3.

From the mids onward, Stockhausen designed and in some cases arranged to have printed his own musical scores for his publisher, Universal Edition , which often involved unconventional devices. The score for his piece Refrain , for instance, includes a rotatable refrain on a transparent plastic strip. Early in the s, he ended his agreement with Universal Edition and began publishing his own scores under the Stockhausen-Verlag imprint Kurtz , This arrangement allowed him to extend his notational innovations for example, dynamics in Weltparlament [the first scene of Mittwoch aus Licht ] are coded in colour and resulted in eight German Music Publishers Society Awards between Luzifers Tanz and Hoch-Zeiten , from Sonntag aus Licht Stockhausen-Verlag , 12— The Momente score, published just before Stockhausen's death in , won this prize for the ninth time Deutscher Musikeditionspreis In the early s, Stockhausen reacquired the licenses to most of the recordings of his music he had made to that point, and started his own record company to make this music permanently available on Compact Disc Maconie , — He was 79 years old.

Stockhausen wrote individual works. Stockhausen began to compose in earnest only during his third year at the conservatory Kurtz , 26— In August , just after his first Darmstadt visit, Stockhausen began working with a form of athematic serial composition that rejected the twelve-tone technique of Schoenberg Felder , He characterized many of these earliest compositions together with the music of other, like-minded composers of the period as punktuelle "punctual" or "pointist" music, commonly mistranslated as "pointillist" Musik , though one critic concluded after analysing several of these early works that Stockhausen "never really composed punctually" Sabbe However, several works from these same years show Stockhausen formulating his "first really ground-breaking contribution to the theory and, above all, practice of composition", that of "group composition", found in Stockhausen's works as early as and continuing throughout his compositional career Toop , 3.

This principle was first publicly described by Stockhausen in a radio talk from December , titled "Gruppenkomposition: Experiences gained from the Studies made plain that it was an unacceptable oversimplification to regard timbres as stable entities Stockhausen Texte , 1: Reinforced by his studies with Meyer-Eppler, beginning in , Stockhausen formulated new "statistical" criteria for composition, focussing attention on the aleatoric , directional tendencies of sound movement, "the change from one state to another, with or without returning motion, as opposed to a fixed state" Decroupet and Ungeheuer , 98— The principles underlying the latter three compositions are presented in Stockhausen's best-known theoretical article, ".

His work with electronic music and its utter fixity led him to explore modes of instrumental and vocal music in which performers' individual capabilities and the circumstances of a particular performance e.

"Zyklus" English translation

In other cases, a work may be presented from a number of different perspectives. In Zyklus , for example, he began using graphic notation for instrumental music. The score is written so that the performance can start on any page, and it may be read upside down, or from right to left, as the performer chooses Stockhausen Texte , 2, 73— Still other works permit different routes through the constituent parts.

Stockhausen called both of these possibilities "polyvalent form" Stockhausen Texte , 1: In many of his works, elements are played off against one another, simultaneously and successively: In Gruppen —57 , fanfares and passages of varying speed superimposed durations based on the harmonic series are occasionally flung between three full orchestras, giving the impression of movement in space Maconie , In his Kontakte for electronic sounds optionally with piano and percussion —60 , he achieved for the first time an isomorphism of the four parameters of pitch, duration, dynamics, and timbre Stockhausen , Some of his later works, such as Ylem and the first three parts of Herbstmusik , also fall under this rubric Maconie , , — Several of these process compositions were featured in the all-day programmes presented at Expo 70, for which Stockhausen composed two more similar pieces, Pole for two players, and Expo for three Kohl , —93; Maconie , — In other compositions, such as Stop for orchestra , Adieu for wind quintet , and the Dr.

K Sextett , which was written in —69 in honour of Alfred Kalmus of Universal Edition, he presented his performers with more restricted improvisational possibilities Maconie , , —68, — Improvisation also plays a part in all of these works, but especially in Solo Maconie , He also composed two electronic works for tape , Telemusik and Hymnen —67 Kohl ; Stockhausen-Verlag , The latter also exists in a version with partially improvising soloists, and the third of its four "regions" in a version with orchestra Stockhausen-Verlag , At this time, Stockhausen also began to incorporate pre-existent music from world traditions into his compositions Kohl , 93—95; Stockhausen Texte , 4, — Telemusik was the first overt example of this trend Kohl , In the following year, he created Fresco for four orchestral groups, a Wandelmusik "foyer music" composition Maconie , This was intended to be played for about five hours in the foyers and grounds of the Beethovenhalle auditorium complex in Bonn , before, after, and during a group of in part simultaneous concerts of his music in the auditoriums of the facility Maconie , — This had precedents in two collective-composition seminar projects that Stockhausen gave at Darmstadt in and In lectures such as "Music in Space" from Stockhausen Texte , 1: In the middle of this spherical space a sound-permeable, transparent platform would be suspended for the listeners.

They could hear music composed for such standardized spaces coming from above, from below and from all points of the compass. Stockhausen Texte , 1: In , the West German government invited Stockhausen to collaborate on the German Pavilion at the World Fair in Osaka and to create a joint multimedia project for it with artist Otto Piene.

The pavilion theme was "gardens of music", in keeping with which Bornemann intended "planting" the exhibition halls beneath a broad lawn, with a connected auditorium "sprouting" above ground. Initially, Bornemann conceived this auditorium in the form of an amphitheatre , with a central orchestra podium and surrounding audience space.

Although Stockhausen and Piene's planned multimedia project, titled Hinab-Hinauf , was developed in detail Stockhausen Texte , 3: According to Stockhausen's biographer, Michael Kurtz, "Many visitors felt the spherical auditorium to be an oasis of calm amidst the general hubbub, and after a while it became one of the main attractions of Expo " Kurtz , Sometimes, as in Mantra and the large orchestral composition with mime soloists, Inori , the simple formula is stated at the outset as an introduction.

He continued to use this technique e.

German-English translation for "Zyklus"

Some works from the s did not employ formula technique—e. Two such pieces, Tierkreis "Zodiac", —75 and In Freundschaft In Friendship, , a solo piece with versions for virtually every orchestral instrument , have become Stockhausen's most widely performed and recorded compositions Anon.

This dramatic simplification of style provided a model for a new generation of German composers, loosely associated under the label neue Einfachheit or New Simplicity Andraschke The best-known of these composers is Wolfgang Rihm , who studied with Stockhausen in — Other large works by Stockhausen from this decade include the orchestral Trans and two music-theatre compositions utilizing the Tierkreis melodies: Musik im Bauch "Music in the Belly" for six percussionists , and the science-fiction "opera" Sirius —77 for eight-channel electronic music with soprano, bass, trumpet, and bass clarinet, which has four different versions for the four seasons, each lasting over an hour and a half Stockhausen-Verlag , 24— Between and , Stockhausen composed seven operas in a cycle titled Licht: Die sieben Tage der Woche "Light: The Seven Days of the Week" Maconie , — Each of these characters dominates one of the operas Donnerstag [Thursday], Samstag [Saturday], and Montag [Monday], respectively , the three possible pairings are foregrounded in three others, and the equal combination of all three is featured in Mittwoch Wednesday Kohl , Stockhausen's conception of opera was based significantly on ceremony and ritual, with influence from the Japanese Noh theatre Stockhausen, Conen, and Hennlich , , as well as Judeo-Christian and Vedic traditions Bruno , In , at the time of the composition of Aus den sieben Tagen , Stockhausen had read a biography by Satprem about the Bengali guru Sri Aurobindo Guerrieri , and subsequently he also read many of the published writings by Aurobindo himself.

This directive does not close or complete a cycle. That, in turn, reduces oil exports, driving up prices further. There is no reason to assume that this cycle will be any different. Es gibt keinen Grund zu der Annahme, dass der jetzige Zyklus irgendwie anders sein wird. Tell us what you think!

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