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Each pitch also has an assigned duration and dynamic value (an idea used in Messiaen's piece), in other words, each note here is considered a 'point', with its own independent characteristics. However, Stockhausen often 'massages' some of their personalized traits to make their interactions more musical (in this way, he fought against the dryness of purely mathematical composition).A pair of Tumba drumsPercussion-wise, there are 4 drums used in the 1st stage, made up of tumbas (or congas) and tom-toms. The tumbas (high, thin bongos) play a continuous 'pitter-patter' in the 1st stage, but have intermittent accents at points according to a 'duration' sequence which is also permutated (in fact, the percussion sequences coincide with the pitch sequences (about 6 1/2 measures each)). A woodblock accelerando marks the point where the percussion duration series has become completely 'backwards', after which it begins a process of reversing back to its original duration sequence (a ritardando). The woodblock crescendo also marks the point where all of the pitches are spread equally over the 4 voices.In the 2nd stage, ringing cymbals replace the rhythmic drums. Pitch-wise, the oboe and bass clarinet own all of the pitches at the start, after which the notes spread out to the high and low piano registers and then return (a reversal of the 1st stage's procedure).
The piano here (as revised in 1959) also plays additional soft chords in between the single note points, and in general the 'cross play' is not as methodical as in the 1st stage. In fact, it's actually more intuitive and almost foreshadows 'statistical' methods to come, as observed by Jerome Kohl in 'Serial and Non-serial Techniques in the Music of Karlheinz Stockhausen from 1962-1968'. Johnson's above-mentioned thesis points out that the permutations reorganize the pitch series in adjacent 'groups' of notes, which foreshadows ideas soon to be explored in.In the 3rd stage, the 1st and 2nd stage processes and percussion instruments are combined (super-imposed) and played backwards (except for the tumbas from the 1st stage). The oboe and bass clarinet basically just play material from the 1st stage. The percussion parts (drums versus cymbals) have exchanged rhythmic meters (16th-notes vs.
16th note triplets), which is another expression of 'crossplay' (Johnson again). TrkDurTimeBarSection73:090:00(silent pause)0:051-13IntroductionA constant tumba tremolo pattern provides a background 'groove', but uses accents to express 2 sets of 12duration values. The second set (starting with 1st tom roll) is simply 1, 2, 3, 4, etc.(accent ritardando).Isolated high and low piano notes bracket soft middle register chords (built from the pitch series). A tom-tom crescendo leads to the 1st stage.0:4214-90Stage 1The tumba tremolo groove continues but with increased tom-tom accents.
The high and low notes gradually spread from the piano parts to the bass clarinet and oboe (the bass clarinet enters at bar 28, oboe at bar 32). At 1:46 (bar 46), an accelerating woodblock crescendo (the retrograde of the 2nd tumba series (12, 11, 10,etc.)) signals the moment of even distribution in all registers and voices.
Giacinto Scelsi Score Pdf
The process then reverses (winds retreat).83:350:0091-98TransitionLow tumbas play a rhythm with cymbal accents.0:2799-141Stage 2In this slower, somewhat lyrical section, the rhythmic drums are replaced by ringing metal percussion. Notes spread from the wind instruments' registers out to the piano's high and low registers, and then starting from 2:02 (bar 120) reverse direction. The piano also plays soft middle register chords throughout.94:470:00141-145TransitionA tumba rhythm with accents is played against a held piano and bass clarinet chord from the previous section.0:19146-202Stage 3The percussion is more syncopated and dominated by rolled tom-tom attacks, and the tempo is faster again (same as Stage 1). The 1st and 2nd stage pitch material for the piano are combined (played at the same time), but in reverse. The winds play material from Stage 1 in reverse. The 2nd stage middle register piano material (w cymbals)enters at 0:45 (bars 153-190). In general this stage is the most dynamic, and ends after a brief percussion climax on a fading tom-tom note.
Despite all of the serial and statistical inventions of KREUZSPIEL, a 'musical' element of KREUZSPIEL is highlighted in this interesting quote found in Mya Tannenbaum's 1988 interview with Stockhasuen (also pointed out in Johnson's thesis):I’d like to make it clear that no one up to today has ever recognized that in the middle of the first movement (and at the beginning and the end of the second, and in the middle of the third), there’s a very singable episode contained within the interval of an octave (these are the places where the 2 rows completely converge). People tend not to take note of the process of coming towards (of preparation for) melody. The musical texture goes on, in fact, without any deviations until it arrives just one time at the moment of song And here, in fact, there’s a brief interlude for woodblock, just to point up the shapely appearance of the melody - an easy, singable melody To look for singability in the entire course of a composition is absurd. The moment reserved for song must always be very mysterious In this sense, there is in every one of my compositions the moment in which I sing my song, too All the rest is just preparation for that moment. SCHLAGTRIO score coverNo.1/3: SCHLAGTRIO (PERCUSSIVE TRIO)for piano and 2 x 3 timpani(1952) 15'15'IntroductionSCHLAGTRIO was another work which was revived, from 'the desk',as they say. Originally scored for 4 performers (as SCHLAGQUARTETT), italso uses a similar concept of 'attraction' in that a high register 12-notepitch row and a low register 12-note row move towards each other. Whenthey finally meet, a 3rd 'entity' is created from this union.
The 2'parent' melodies disappear and this 'child' melody expands to fill thepitch space (this biological analogy is mine, butStockhausen's terminology implies something of the sort). The premierein 1952 was so unsatisfactory that Stockhausen withdrew the work,thinking that the rhythmic attack types in the score were too demanding to beplayed effectively.
In 1974 it was revised and simplified for readability and alteredso that 3 percussionists could play it. The premier for this versionwas performed by Les Percussions de Strasbourg in 1975, and thenrecorded by Aloys Kontarsky (piano), Jean Batigne, and Georges von Gucht(timpani) in 1976. Texturally, this work sounds very much like a natural progression from the 3rd stage of KREUZSPIEL, but with pitched percussion and without the wind instruments.AnalysisAn important difference from KREUZSPIEL is that here the percussion isused as a 6-note counterpoint to the piano (but with similar, analogous attacktypes), whereas in the earlier work it was used more texturally (with its own independent permutation scheme).Additionally there is no 'passing of notes' to middle range instruments such as an oboe or bass clarinet. From a letter Stockhausen wrote in 1952, he further describes his initial inspiration. The 2 parent pitch rows each have 12 notes (one is a retrograde of the other, or backwards).
Over a sequence of 23 sections, the 2 parents overlap and then pass by each other. The section in which both parents are 'on top of each other' is section 12. This is because 1 note (out of 12) is added in each section, and it's at the 12th section where the 12th and last note has finally appeared, and the pitch row has completely 'unfolded'. Since the other parent has also been slowly adding a pitch at a time (from the retrograde row), both parents are fully unfolded and superimposed in the 12th section.
From the 13th section to the 23rd, the 2 parents begin eliminating notes from their rows, one at a time (first in, first out, essentially a mirror process of the first 12 sections).(from SCHLAGTRIO score cover, ©Universal Editon,The above sketch is from the score cover and frankly, I don't know that much about it. However, I can make a few guesses.
One possibility is that the Roman numerals I and II refer to Parent 1 and Parent 2. The 'a' possibly means this is used for the 1st half of the 23 sections (1-12).
On the same page (not shown) are Ib and IIb, which may be for sections 13-23. Another possibility is that 'a' means 'section a out of 23 sections, a through w', but I don't feel that. In any case, each of the 2 parents have a 12-box table which contains the full 'row' for their dynamic values and the note durations available (some are repeated, since there are only 8 unique dynamics, etc.). The curving line shows the sequence in which the box values are used (ie - 1st top box, then 1st bottom box, then 2nd top, 2nd bottom, 3rd top, etc.). The table for the Parent II has a curvy line going in the opposite direction. The 12-element row is arranged in this way because the top row refers to piano octaves, and the bottom refers to timpani quarter tones - again, this is a guess, but it basically shows that Stockhausen was very methodical in his distribution of musical elements.
From a listening standpoint, it would be pretty difficult to hear these additive row operations, I think.Score. Even though these works are basically part of the 'avant-garde' classical movement of the post-war era (an era normally known for it's dry and impenetrable style), they are surprisingly accessible.
The percussion part for the 1st stage of KREUZSPIEL actually plays a continuous tremolo rhythm, which would never happen again in so continuous and obvious a manner in Stockhausen's percussion work. The percussion parts of the 3rd section, as well as the dynamic timpani figures of SCHLAGTRIO, make these two pieces simply exciting to listen to. 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. It's fairly easy to appreciate the music just by listening to how the tom-toms and the piano parts set each other up. Present also, of course, is the 'song' Stockhausen mentions in several parts of KREUZSPIEL (where the points are at maximum convergence).SCHLAGTRIO presents the 6-note timpani melody as a kind of 'shadow-mirror' to the 6 octave piano part.
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. 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'). However, I actually find listening to the 'point' field and it's collective behavior against a canvas of 'jagged' timpani dynamics to be more fun.
