Apr 02, 2011 Karlheinz Stockhausen's Tierkreis (Zodiac) is excerpted from his 1975 work Musik im Bauch (Music in the Breast) for six percussionists and music boxes. Musik im Bauch is a musical 'fairy tale.

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Carré (Square) for four orchestras and four choirs (1959–60) is a composition by the German composer Karlheinz Stockhausen, and is Work Number 10 in the composer's catalog of works.

Boxes and harmoniums are destined to play themselves in Stockhausen’s Tierkreis (1975) and Der Jahreslauf (1977). The two Cologne electronic studies, Stockhausen’s work numbers 3/I and 3/II, appear altogether too sophisticated, too ‘through-composed’, and acoustically speaking, too. (Score) Karlheinz Stockhausen Tierkreis. Stockhausen 2008 ‘The score of HARMONIES for bass clarinet is dais!

History[edit]

Carré was commissioned by the Norddeutscher Rundfunk (NDR) in Hamburg. The essential ideas occurred to Stockhausen in November–December 1958 while on a tour of the United States where, during hours spent each day flying from one location to another, he experienced the slowest temporal rates of change of his life. The work was composed in 1959–60, in collaboration with Stockhausen’s assistant Cornelius Cardew, and was premiered on 28 October 1960 in the Festival Hall of the 'Planten un Blomen' Park in Hamburg, as part of the NDR's concert series Das Neue Werk, with the NDR Chor und NDR Sinfonieorchester, conducted by Mauricio Kagel (orchestra I), Stockhausen (orchestra II), Andrzej Markowski (orchestra III), and Michael Gielen (orchestra IV) (Stockhausen 1964, 102–103). The score is dedicated to the former director of Das Neue Werk, Herbert Hübner.

Material and form[edit]

Carré is a serial composition in which (together with the concurrently composed Kontakte) Stockhausen for the first time treated spatial distribution on the same level of structural importance as properties such as pitch, rhythm, timbre, dynamics, register, density, and others (Stockhausen 2009, 229).

Stockhausen groups Carré with Kontakte (1958–60) and Momente (1962–64/69) as representatives of moment form, in which he tried

Stockhausen Tierkreis Score Pdf Online

to compose states and processes in which each moment is a personal, centred one, that can exist on its own and, as something individual, can also always be related to its surroundings and to the whole; something in which everything that happens does not pursue a determined course from a defined beginning to an inevitable end. (Stockhausen 1963b, 250)

A large orchestra of 80 players is divided into four orchestral units, each of approximately the same scoring and each with its own conductor. A mixed choir of between 12 and 16 singers is attached to each orchestra (Stockhausen 1964, 103).

Carré unfolds 101 'moments' with durations varying from 1.5 to 90 seconds, each of which is characterised by one or several notes and chords (Rigoni 1998, 189). However, Stockhausen originally planned 252 sections in his draft form scheme, where eight basic categories of sound are arrayed, each with four levels (Toop 2005, 172):

1. Type: the four solo instruments used to furnish each of the four orchestras with a characteristic timbre: cimbalom, vibraphone, piano, and harp
2. Attack: four 'attack transient' percussion instruments, also used to differentiate the four orchestras: Indian bells, drums, Alpine cowbells, and cymbals
3. Gestalt variation: four parameters within which transformations are to occur: rhythm, 'height', timbre, and dynamics
4. Density: number of notes present, from one to four
5. Register: four principal octave registers
6. Duration: four generic values from 'short' to 'as long as possible'
7. Amplitude: four basic dynamic levels, notated in the sketch (but not the score) with numerals
8. Colour: four basic timbres: voices, strings, woodwinds, and brass

In contrast to the complex interrelationships of these eight sound categories, the underlying pitch structure of Carré is so simple that Stockhausen was able to write it out on a single sheet of music paper (Toop 2005, 172). The basic pitch series used throughout the work is

The regular melodic succession of this all-interval row is obscured compositionally, however, through the grouping of some notes into chords—e.g., in the first section, one three-note chord, F♯ B G, and one two-note chord, B♭ A♭ (Frisius 2008, 125).

Instrumentation[edit]

Orchestra I[edit]

• 1 Alto Flute (doubling flute)
• 1 Oboe
• 1 Bass Clarinet in B♭
• Tenor Saxophone in B♭
• 1 Horn (high, in F)
• 1 Trumpet in D
• Bass Trumpet in B♭
• Bass Trombone
• SATB choir (2 or 3 voices per part)
• Piano
• 2 Percussionists:
  • 2 Tomtoms and 1 Bongo
  • 3 Alpine Cowbells [Almglocken]
  • 1 Bass Drum (as large as possible)
  • 1 Snare Drum (very bright)
  • Indian Bells
  • Suspended Cymbals (large and thin)
  • 1 Hihat (as large as possible, thin cymbals)
  • 1 Gong (as large as possible)
  • 1 Tamtam (as large as possible)
• 4 Violins
• 2 Violas
• 2 Cellos

Orchestra II[edit]

• 1 Flute
• 1 Cor anglais
• 1 Clarinet in B♭
• 1 Bassoon
• 2 Horns (1 high, 1 low)
• 1 Trumpet (in C)
• 1 Tenor Trombone
• SATB choir (2 or 3 voices per part)
• Vibraphone
• 2 Percussionists:
  • 2 Tomtoms and 1 Bongo
  • 3 Alpine Cowbells [Almglocken]
  • 1 Bass Drum (as large as possible)
  • 1 Snare Drum (very bright)
  • Indian Bells
  • Suspended Cymbals (large and thin)
  • 1 Hihat (as large as possible, thin cymbals)
  • 1 Gong (as large as possible)
  • 1 Tamtam (as large as possible)
• 4 Violins
• 2 Violas
• 2 Cellos

Orchestra III[edit]

Stockhausen Tierkreis Score Pdf Converter

• 1 Oboe
• 1 Clarinet in B♭
• 1 Baritone Saxophone in E♭
• 1 Bassoon
• 1 Horn (low)
• 1 Trumpet (in C)
• 1 Alto Trombone
• 1 Bass Tuba
• SATB choir (2 or 3 voices per part)
• 1 Cimbalom (amplified)
• 2 Percussionists:
  • 2 Tomtoms and 1 Bongo
  • 3 Alpine Cowbells [Almglocken]
  • 1 Bass Drum (as large as possible)
  • 1 Snare Drum (very bright)
  • Indian Bells
  • Suspended Cymbals (large and thin)
  • 1 Hihat (as large as possible, thin cymbals)
  • 1 Gong (as large as possible)
  • 1 Tamtam (as large as possible)
• 4 Violins
• 2 Violas
• 2 Cellos

Orchestra IV[edit]

• 1 Flute
• 1 Clarinet in A
• 1 Alto Saxophone in E♭
• 1 Bassoon
• 2 Horns (1 high, 1 low)
• 1 Trumpet (in C)
• 1 Tenor Trombone
• SATB choir (2 or 3 voices per part)
• 1 Harp (amplified—the harp part may be supplemented by an amplified harpsichord)
• 2 Percussionists:
  • 2 Tomtoms and 1 Bongo
  • 3 Alpine Cowbells [Almglocken]
  • 1 Snare Drum (very bright)
  • Indian Bells
  • Suspended Cymbals (large and thin)
  • 1 Hihat (as large as possible, thin cymbals)
  • 1 Gong (as large as possible)
  • 1 Tamtam (as large as possible)
• 4 Violins
• 2 Violas
• 2 Cellos

Discography[edit]

• 1968. WDR Symphony Orchestra, Cologne, conducted by Karlheinz Stockhausen, Andrzej Markowski, Mauricio Kagel, and Michael Gielen. Recorded May 1965; released with Stockhausen’s Gruppen on Deutsche Grammophon DG 137 002 (LP), DG921022 (Cassette). [N.p.]: Polydor International GmbH.
  • reissued under the same LP disc number, in the first set of Deutsche Grammophon’s Avant Garde series. [Hamburg]: Deutsche Grammophon Gesellschaft, ca. 1972.
  • reissued on reel-to-reel 7½ ips tape, as DGC 7002. Elk Grove Village, Illinois: Ampex/Deutsche Grammophon, ca. 1974.
  • reissued on Stockhausen Complete Edition CD 5. Kürten: Stockhausen-Verlag, 1992.

References[edit]

Stockhausen Tierkreis Score Pdf Format

• Frisius, Rudolf. 2008. Karlheinz Stockhausen II: Die Werke 1950–1977; Gespräch mit Karlheinz Stockhausen, 'Es geht aufwärts'. Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International. ISBN978-3-7957-0249-6.
• Rigoni, Michel. 1998. Stockhausen: ... un vaisseau lancé vers le ciel, 2nd edition, revised, corrected, and enlarged. Lillebonne: Millénaire III Editions. ISBN2-911906-02-0.
• Stockhausen, Karlheinz. 1963a. 'Momentform'. In his Texte zur Musik, vol. 1, 1edited by Dieter Schnebel, 89–210. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg.
• Stockhausen, Karlheinz. 1963b. 'Erfindung und Entdeckung'. In his Texte zur Musik, vol. 1, edited by Dieter Schnebel, 222–58. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg.
• Stockhausen, Karlheinz. 1964. 'Nr. 10: Carré (1959/60), für vier Orchester und Chöre'. In his Texte zur Musik, vol. 2, edited by Dieter Schnebel, 102–103. DuMont Dokumente. Cologne: Verlag M. DuMont Schauberg.
• Stockhausen, Karlheinz. 1971. 'Gruppen und Carré'. In his Texte zur Musik, vol. 3, edited by Dieter Schnebel, 22–34. Cologne: Verlag M. DuMont Schauberg. ISBN3-7701-0493-5.
• Stockhausen, Karlheinz. 2009. Kompositorische Grundlagen Neuer Musik: Sechs Seminare für die Darmstädter Ferienkurse 1970, edited by Imke Misch. Kürten: Stockhausen-Stiftung für Musik. ISBN978-3-00-027313-1.
• Toop, Richard. 2005. 'Form Schemes'. In his Six Lectures from the Stockhausen Courses Kürten 2002, 166–207. Kürten: Stockhausen-Verlag, for the Stockhausen Foundation for Music. ISBN3-00-016185-6.

Further reading[edit]

• Cardew, Cornelius. 1961a. 'Report on Stockhausen's Carré' [Part 1]. The Musical Times 102, no. 1424 (October): 619–22.
• Cardew, Cornelius. 1961b. 'Report on Stockhausen's Carré: Part 2'. The Musical Times 102, no. 1425 (November): 698–700.
• Cott, Jonathan. 1973. Stockhausen: Conversations with the Composer. New York: Simon and Schuster. ISBN0-671-21495-0.
• Driver, Paul. 2010a. 'Works of Modern Composers That Move You'. The Sunday Times (28 March).
• Driver, Paul. 2010b. 'Labours of love; Two Contrasting Concerts of Work by Modern Masters Make Paul Driver Mad with Joy'. The Sunday Times (28 March): 30.
• Harvey, Jonathan. 1975. The Music of Stockhausen: An Introduction. Berkeley and Los Angeles: University of California Press.
• Heyworth, Peter. 1971. 'One of the Outstanding Scores of Its Time'. New York Times (28 November): D15.
• Kelsall, John. 1975. 'Compositional Techniques in the Music of Stockhausen (1951–1970)'. PhD diss. Glasgow: University of Glasgow.
• Kurtz, Michael. 1992. Stockhausen: A Biography, translated by Richard Toop. London and Boston: Faber and Faber. ISBN0-571-14323-7 (cloth) ISBN0-571-17146-X (pbk).
• Maconie, Robin. 2005. Other Planets: The Music of Karlheinz Stockhausen. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press, Inc. ISBN0-8108-5356-6.
• Stockhausen, Karlheinz. 1998. 'CARRÉ—Ergänzung 1986 zum Vorwärt der 4 Partituren', in his Texte 7, selected and assembled by Christoph von Blumröder, 41–49. Kürten: Stockhausen-Verlag. ISBN3-00-002131-0.
• Wörner, Karl H. 1961. 'Current Chronicle: Germany'. The Musical Quarterly 47, no. 2 (April): 243–47.

External links[edit]

Media[edit]

two realizations of Stockhausen's beautiful '12 Melodies of the Zodiac' for five musician
with
Wolfgang Fernow - double bass
Michael Kiedaisch - drums and vibraphone
Stefan Hussong - accordion
Scott Roller cello
Mike Svoboda - trombone, music boxes, tapes and musical direction

concert programm
Karlheinz Stockhausen (1928-2007) - Tierkreis - 12 melodies of the star signs (1975-76)
1. realisation for trombone, accordion, cello, double bass, percussion, and music boxes
2. realisation for five improvisers, music boxes and tape
duration 75 minutes without an intermission
CD available: Karlheinz Stockhausen: Tierkreis

Stockhausen Tierkreis Score Pdf 2017

program text

Stockhausen Tierkreis Score Pdf Download

Tierkreis: a classic played like a standard
Tierkreis of 1975–76 is one of the most beautiful, and hence one of the most accessible, works in the oeuvre of the Cologne composer Karlheinz Stockhausen, who is both celebrated and hotly debated as a “classic composer of New Music in Germany” after 1945. Mike Svoboda, having collaborated with Stockhausen for many years, had already had several opportunities to realize the work beautifully as an arranger. In his current homage to Stockhausen he presents two very different solutions that in concert nonetheless fit together into a compelling whole: an instrumentation for chamber quintet that remains true to the original as well as an improvisational variant that treats the model like a standard from the “real book” of jazz. With this creative maneuver Svoboda and his musicians demonstrate once again that “New Music” and “dry as dust” need not necessarily remain synonyms. Precisely because of its liberties Tierkreis is a welcome extension of the performer’s possibilities, a rewarding task beyond mere display of virtuosity, explains Mike Svoboda, who collaborated directly with Stockhausen when he prepared his first instrumentation of Tierkreis for trombone and piano in 1988 and again in 1991 when he produced his second for trombone and percussion. His solution for trombone and large brass ensemble (1995) was followed, on the occasion of Stockhausen’s seventy-fifth birthday in September 2003, with the two present variations, recently documented on WERGO in a new CD produced in collaboration with Deutschlandradio in Cologne. The unmistakably sterling musical quality of this dual result is owed above all to Svoboda’s inner knowledge of the music, an internalization of it that was achieved through years of working on it. The demands that Stockhausen places on the ‘working out’ of his model are extremely high: he hopes the performer can provide a clarification of his composition. Tierkreis is thus no platform for virtuosic self-display. Without a doubt, the composition stands in the foreground. When working out what became the first version here, my desk was covered with plans for the distribution of the instruments, registers, timbres, and densities. And yet my work was not essentially different from that of an improviser. In what became the second version here, I presented the musicians with several structures and asked them to improvise on Stockhausen’s melodies. The performance criteria specified in the score that any performance be faithful to the written notes is met here with the help of a prerecorded tape accompaniment and the use of the original music boxes. Each of the Tierkreis melodies is heard several times, establishing the original tempo. I combined the melodies of Tierkries in groups of three according to the seasons; and the players improvise on a group, on a “quarterly basis,” as it were. The creative freedom that Stockhausen offers the performer in specifying how performances are to be worked out are fully exploited for the first time by means of the improvisational approach. Mike Svoboda - April 2003