KREUZSPIEL SCORE PDF

Get this from a library! Kreuzspiel.. [Karlheinz Stockhausen]. Analysis and appreciation of KREUZSPIEL (Cross-play) and SCHLAGTRIO And finally, revising the score during rehearsals or after initial performances. Kreuzspiel (English: Crossplay) is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in It is assigned.

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Kreuzspiel, for oboe, bass clarinet, piano, and 3 percussionists

Notes spread from the wind instruments’ registers out to the piano’s high and low registers, and then starting from 2: The sound of the rim-shots should be an equal mixture of skin head and wood rim ; therefore, it may be necessary to play the head louder so that it can be clearly distinguished from the rim noise.

In this slower, somewhat lyrical section, the rhythmic drums are replaced by ringing metal percussion. In general this stage is the most dynamic, and ends after a brief percussion climax on a fading tom-tom note.

Remember me on this computer. Kreuzspiel has been analysed in print more often than any other work by Stockhausen, though all kreuuzspiel one Borio and Garda restrict themselves to just the first of its three stages.

Kreuzspiel. (Downloadable musical score, ) []

The treble of the piano is located at the right in the panorama as heard from the hallthe bass at the left resulting in a cross from the oboe high instrument at the left to the piano treble at the right, and from the bass clarinet low instrument at the right to the piano bass at the left. Please choose whether or not you want other users to be able to see on your profile that this library is a favorite of yours.

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The pianist should play calmly with little bodily movement. For the high piano pitches which have no mutes, it is recommended to depress the right pedal just before playing the note and release it precisely with the end of the note.

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List of compositions by Karlheinz Stockhausen Category: It’s fairly easy to appreciate the music just by listening to how the tom-toms and the piano parts set each other up. Even without being aware of the “crossing” of pitch fields, the melodic elements of the pitched instruments interact with the percussive rolls and accents in a very organic, almost “jazzy” way. You may send this item to up to five recipients.

The indications for the right pedal should call forth a resonance in the piano with the tom-tom beats. No Linguistic Content View all editions and formats Rating: Though routinely described by the composer as well as others as a ” serial ” composition, Kreuzspiel does not employ a referential, recurring twelve-tone ordered set. A microphone on a low stand is placed half left beneath the piano to amplify the lower register, and a contact microphone and possibly in addition a second, normal microphone beneath the piano to the right to amplify the higher register — particularly the top octave.

KARLHEINZ STOCKHAUSEN

Compositional control of these shapes is determined in the first stage through the parameter of duration, while in the second stage the dominant element is pitch Kohl Please enable JavaScript in your browser to use the site fully. In the CD booklet, Stockhausen describes the concept of 2 “principles” coming together and creating a scoer, 3rd entity after which they then “return to a situation which is beyond the physically representable”.

On the first few listens the piano and fortissimo timpani accents dominate one’s impressions, but on further listens the beauty of the timpani melody fragments become much more appreciable. Further Remarks SinceStockhausen used so-called bourgarabou drums instead of tumbas or congas.

Please enter the message. Please select Ok if you would like to proceed with this request anyway. It is also possible to attach a contact microphone under the keyboard for each octave.

This page was last edited on 23 Juneat The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied. The name field is required. The conductor should conduct relatively high, but unobtrusively, yet giving clear entries for the synchronous beats. It is important that the height of the tom-toms is correct in relation to the percussionists’ hands; it may be necessary for the percussionists’ podia to be different in height, so that the rims of the tom-toms are at the same level as the upper edge of the piano case while, at the same time, being at the right height for the rim-shots to be played.

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Finding libraries that hold this item He personally mixed down the recordings, mastered them for CDs, wrote the texts and drew the covers. The loudspeakers should not be tipped downwards. From that point to the end of the movement, the process is reversed, so that all notes arrive kreuzs;iel in the two extreme registers, only the six notes originally in the top are now at the bottom, and vice versa.

Stockhausen regarded Kreuzspiel as his first original composition, as opposed to the style-imitation exercises he did as part of his music studies Stockhausen34, From Wikipedia, the free encyclopedia. ecore

Stockhausen: Sounds in Space: KREUZSPIEL, SCHLAGTRIO

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In this scene from “Musical Oreuzspiel,Stockhausen describes how each one of the 12 starting pitches starts at an extremely high or low point in this case highoscillates up and down moving towards the middle register and then back outwardsand finally ends up in the opposite register in this case low. A 5th loudspeaker may be hung in the middle high above kreyzspiel instruments.

It is recommended to kreuzspeil screen the sound of the tom-toms by placing pieces of thick dense foam rubber below the piano facing the tom-toms. Cancel Forgot your password? Herbstmusik Oben und Unten Originale. Document, Internet resource Document Type: There is no explicit playing instruction for cases when short notes such as sixtheenth notes, sixteenth-note triples stopped beats: You already recently rated this item.