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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Please enter recipient e-mail address es. The 1st and 2nd stage pitch material for the piano are combined played at the same timebut in reverse. The cymbal players should constantly vary the place they strike the cymbals between the edge and the centre of the cymbal. Document, Internet resource Document Type: Rather, it uses constant reordering of twelve-element linked pitch, duration, dynamic, and—in the original version—attack sets—a device sometimes called ” wcore serialism ” e.

The highest octave should be played one degree louder than notated. Don’t have an account?

Share on facebook twitter tumblr. 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 kreuzs;iel time, being at the right height for the rim-shots to be played. The percussion is more syncopated and dominated by rolled tom-tom attacks, and the tempo is faster again same as Stage kreuzdpiel.

However, I actually find listening to the “point” field and it’s collective behavior against a canvas of “jagged” timpani dynamics to be kreuzsiel fun. The indications for the right pedal should call forth a resonance in the piano with the tom-tom beats. Linked Data More info about Linked Data.

Karlheinz Stockhausen: Kreuzspiel

Though routinely described by the composer as well as others as a ” serial ” composition, Kreuzspiel does not employ scoree referential, recurring twelve-tone ordered set. No Linguistic Content View all editions and formats Rating: Your request to send this item has been completed. Sincea complete edition of all recordings in which Karlheinz Stockhausen has personally participated is being released on compact discs.


Even without being aware of the “crossing” of pitch fields, the melodic elements of the pitched wcore interact with the percussive rolls and accents in a very organic, almost scre way. Please create a new list with a new name; move some items to a new or existing list; or delete some items. In the CD booklet, Stockhausen describes the concept of 2 “principles” coming together and creating a new, 3rd entity after which they then “return to a situation which is beyond the physically representable”.

No Linguistic Content View all editions and formats. SinceStockhausen used so-called bourgarabou drums instead of tumbas or congas.

Kreuaspiel sound should come from where the instruments are seated — as assessed from all seats in the hall. Please select Ok if you would like to proceed with this request anyway. Please re-enter recipient e-mail address es. Kreuzspiel has been analysed in print more often than any other work by Stockhausen, though all but one Borio and Garda restrict themselves to just the first of its three stages.

List of kfeuzspiel by Karlheinz Stockhausen Category: Before the audience enters the auditorium, the piece should be played through once completely. A tumba rhythm with accents is played against a held piano and bass kreuspiel chord from the previous section. Stockhausen realised the electronic music and participated in these recordings as conductor, performer, sound projectionist, and musical director.


Stockhausen regarded Kreuzspiel as his first original composition, as opposed to the style-imitation keruzspiel he did as part of his music studies Stockhausen34, Cancel Forgot your password? Even though these works are basically part of the “avant-garde” classical movement of the post-war era an era normally krejzspiel for it’s dry and impenetrable stylethey are surprisingly accessible.


Further Remarks SinceStockhausen used so-called bourgarabou drums instead of tumbas or congas. The piano also plays soft middle register chords throughout. Your list has reached the maximum number of items.

Dcore is usually possible and acoustically convincing, with a few exceptions, as for example when a rim-shot is followed by a roll. Allow this favorite library to be seen by others Keep this favorite library private. From Wikipedia, the free encyclopedia.

Search WorldCat Find items in libraries near you. A constant tumba tremolo pattern provides a background “groove”, but uses accents to express 2 sets of 12 duration values. scorre

Kreuzspiel – Wikipedia

The E-mail Address es you entered is are not in a valid format. A performance of Kreuzspiel was broadcast by West German Radio Cologne in December ; the first public “in-person” performance took place at the Darmstadt Summer Courses on July 21, The process then reverses winds retreat. Please enter the message.

For the sound projection, 2 x 2 loudspeakers are needed. Drinking Hanging Out In Love.

Stockhausen: Sounds in Space: KREUZSPIEL, SCHLAGTRIO

The amplification should be adjusted so that all the instruments can be heard equally well even in pianissimo passages, when the drums are playing and and so that the highest and lowest notes on the piano sound equally loud. Compositions by Karlheinz Stockhausen Portal: 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.

The amplification of piano and percussion is also supported by 2 microphones on stands ca. At bar 78, the 2 timpani players have a duet.