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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. A list of compositions by Karlheinz Stockhausen (alphabetical by title—a link to a chronological list is given at the end). Adieu, for wind quintet (flute, oboe. Tierkreis, for high soprano. Worklist PDF version This page was last edited on 5 August 2020, at 23:23 (UTC). Text is available under. Alternative Names/Transliterations: Franz Anton Adam Stockhausen. Show works by type/instrument.

The number of different timbres increases and decreases twice. Tom-tom and marimba cycles occur in both iterations. (© www.karlheinzstockhausen.org)

No. 9: ZYKLUS
(Cycle) for solo percussionist (snare drum, hi-hat, triangle, vibraphone, gongs, güiro, marimba, bells, tom-tom drums, etc...)
1959 (9-15')
Development
Stockhausen wrote ZYKLUS for solo percussionists to use as a music competition piece, specifically for the Kranichstein Music Competition in 1959. This kind of opportunity to write for would-be virtuosos to prove themselves would pop up from time to time, even up to 1997's KLAVIERSTUCKE XVII, written for the Micheli Competition (and derived from part of FREITAG AUS LICHT). In fact MITTWOCH AUS LICHT's 2nd Act is titled ORCHESTRE FINALISTEN (Orchestra Finalists). Sadly, it seems the competition performance of ZYKLUS didn't actually win the contest, but it was still the first major composition for a soloist on multiple percussion instruments (13 in all).
Sound Impressions
Like MANTRA, ZYKLUS has lots of underlying theory which is not easy to hear when just listening to it (especially without the score). Actually for most people it may be more fun to just listen without knowing the theoretical structures underneath it. In that spirit, I'll detail some broad strokes before going over the structural stuff.
In a way, this piece can be enjoyed purely as 'cartoon music' - that is, it is constantly changing, dynamics are all over the place, and there is a feeling of youthful vitality in all the rim shots and glissandi. On another level, ZYKLUS is a kind of showpiece for different percussive timbres. In a 'straight-forward' performance (starting from page 1) it cycles through 'featured' sounds in this order: snare drum, hi-hat, triangle, vibraphone (glissandi/trills), gong (& tam-tam), güiro, marimba (glissandi), bells and tom-tom rim shots. As described in more detail below, these sounds come to a climax and then recede (also matching the rotation of the soloist inside his circular percussion set-up).
Stockhausen here is also interested in demonstrating the difference between 'determinate' (scored) figures and 'statistical' (indeterminate) melodic figures. In his first 1972 British Lecture, 'Musical Forming', he expects that a listener could detect the movement from one kind of gesture to another. In order to identify the determinate parts, he suggests listening for repeating patterns or directional processes (such as accelerando/ritardando). Personally I've found this pretty difficult, but it's worth mentioning.
Finally, the recurring tom-tom rim shot is a nice motivic event which occurs frequently enough to stand as a kind of 'speed bump'. There are 41 of them - count them all! This idea of a periodic 'rifle crack' would return in TELEMUSIK.
Form Structure
ZYKLUS is very true to its name in that it is composed of 'cycles'. In fact there are actually 5 separate layers of cycles built into ZYKLUS's mere 12 minutes.
1. Timbre Sequence:

Skeletal Structure of scored parts. (© www.karlheinzstockhausen.org)

During the work, 9 kinds of percussion timbres gradually become more dense, then dominant, and then gradually sparser (over 17 equal sections or 'Periods'). The climaxes of these 9 timbre types are spaced equally through the piece (see at left). These hits make up the 'Skeletal Structure'. Since each approach/climax/departure cycle takes place over the full length of the piece, the percussion types naturally end up cross-fading with each other. The sequence of 'featured instrument' in a performance starting from Period 1 is snare drum, hi-hat, triangle, vibraphone (glissandi/trills), gong (& tam-tam), güiro, marimba (glissandi), bells and tom-tom rim shots. However there are not an equal number of 'attacks' per instrument. As seen above, there are only 11 snare attacks (all rolls) distributed in the piece, but 41 tom-tom rim shots. This variation in the number of attacks for each percussion type is designed to be somewhat analogous to 9 musical intervals (minor 2nd to major 6th), but is basically just a technique to create variety.
2. Aleatory Sequence

Aleatory structures. (© www.karlheinzstockhausen.org)

On top of the Skeletal Structure, there exists the aleatory, statistical 'free-choice' layer, as touched upon earlier. Instead of 9 overlapping cycles, here there are 2 cycles in a row, and instead of a timbre approaching/receding, here the performer's 'free choice-ness' (variable form) increases or decreases, based on 9 'Structure-types'. On each page there are different sections where the soloist has a choice of

1. Which notes/phrases to play (out of 2-5 multiple choices)
2. What order to play them
3. When to play them within a specified duration

These 3 kinds of choices come in combinations which make up the 9 Structure-types (more detail about these is in the score explanation below).
All of these factors are designed so that at one end of the scale every attack is scored (Period 1, Structure-type 1 only, determined), and at the other end pure graphic notation exists as different-sized dots (Period 17, Structure-type 9 only, highest free choice, or 'indeterminate').
From a listener standpoint this layer is not particularly audible, unless of course the listener knows the work so intimately that he is familiar with every choice available. But from a performer standpoint, this basically allows a level of collaboration with the composer. Stockhausen identifies 2 cycles here based on the number of kinds of notation techniques used, but again (sorry) from an aural standpoint it's fairly irrelevant. He however does prefer that as many simultaneous hits as possible occur, so a 'good' performance could be one where the performer has figured out how to play many aleatory parts simultaneously with the fixed parts. Someone with 3 arms would easily win this competition.


- Stockhausen, from “An Interview with Karlheinz Stockhausen.” Michael Udow, Percussive Notes Research
Edition 23, no. 6 (1985), (found in Stuart Gerber's superb performance thesis, link at bottom)

Stockhausen Tierkreis Score Pdf Online

3. Instrument Density in the Aleatory Parts Sequence
In the aleatory parts (but not hits that are part of the Skeletal Structure), each percussion timbre comes in and then departs after 4 cycles (tom-tom and marimba actually get 2 cycles). The picture at the top of this article shows the timbre distribution over the 17 periods. The sequence of timbres matches the circular placement of the drum surfaces around the performer, so the soloist ends up slowly rotating 1 time (360 degrees) during a single performance.
4. Tom-tom Rim-shot Intensity Levels Sequence
The rim shots divide ZYKLUS into 41 segments, each with its own dynamic range and 'intensity-form'. The intensity-form basically comes from 5 types of dynamic distribution (all loud, all soft, mixture, crescendo, etc...).
5. Vibraphone/Marimba Glissandi Range Sequence
Each vibraphone and marimba glissandi determines a range of pitches to be used until the next glissandi (with a few exceptions). The pitch range basically shrinks and expands 1 time over the entire piece (see below).

(© www.karlheinzstockhausen.org)

Score
ZYKLUS is probably Stockhausen's most graphically interesting score. Each of the 17 periods gets its own page (actually 1 and 17 are split on 1 page). On each page there is 1 central timescale divided into 30 beats. Above and below this central timescale are the aleatoric elements, usually in boxes, triangles or brackets. The percussion instruments are indicated by graphic symbols both before and after the staff it is on.

Set up of the percussion and the notation guide.

These are the instructions on how to interpret the 9 aleatory Structure-types (click to enlarge):

(© Universal Edition)

Period 3 (© Universal Edition)

In the first large box with the triangles, the soloist must play the 3 sounds (tom-tom, cowbell, cymbal) in any order, but in the spots connected to the hi-hat timescale. Then, the 3 bracketed parts (2 above and 1 below the timescale) means that the soloist must choose 1 of the 3 to play in that section. The 3rd section is played as it is written with no aleatory elements.

Period 12 (© Universal Edition)

Here the soloist can choose 1 of 2 boxes to play in the first section (either marimba/vibraphone or log drums). Either way the soloist can play the 3 attacks in any order and at any time during the period adjoining the box. However it is preferred that the attacks coincide with the güiro, snare and marimba sounds as much as is technically possible. In the next section everything in the 2 boxes must be played but all of one box must be completed before the other. In Section 3 the 6 attacks can be in any order at any time. Section 4 is an extended box, basically more stuff to play during the marimba-dominating timescale.
The score can also be played backwards or upside down. That's why each staff has symbols and clefs on both sides. It can also be started from any page, but must continue until all pages are completed.

Stockhausen Tierkreis Score Pdf 2016

Links
Sound samples, tracks listings and CD ordering
Buy the Score
ZYKLUS Wiki
Stockhausen's Solo Percussion Music: A Comprehensive Study (Gerber, Thesis)
A Performers Approach to ZYKLUS (Kearney)
ZYKLUS' 9 Aleatory Structure-types (B. Michael Williams, PDF)
Sonoloco Review of ZYKLUS
ZYKLUS (Aleksander Wnuk, Live YouTube)
Interview with Max Neuhaus discussing preparations for ZYKLUS

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.

Stockhausen Tierkreis Score Pdf Format

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 Tierkreis Score Pdf Converter

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

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

E♭ D E C♯ F C F♯ B G B♭ A♭ A.

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]

• 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]

• 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]

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