The sets gradually meet in the middle register and then move back outwards, with the original pair of 6 note sets ending up in opposite registers see moving red dot in the picture above. The structure of this idea came to Stockhausen almost spontaneously and completely formed in its shape, but without the details worked out sort of like visualizing a mountain landscape but without drawing in each of the trees and rocks. This work, which he considered his first "real" composition, also marked his first steps into "point" music, that is, manipulating notes to follow patterns based more on astronomical or biological processes, rather than forming thematic melodic motifs. The work was eventually premiered at the Darmstadt Vacation Summer Courses the next year alongside works by Pierre Boulez, Luigi Nono and others , but the performance was disrupted by a rowdy audience and "ended in a scandal". It was eventually recorded in by the London Sinfonietta during a period in the s where Stockhausen was reviving many of his early works for re-release. Working out the mathematical proportions of the individual elements Writing out a fully-notated score, and at the same time
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English PDF The upper edges of the 6 tom-toms should be tangent to the upper edge of the piano. The indications for the right pedal should call forth a resonance in the piano with the tom-tom beats. The cymbal players should constantly vary the place they strike the cymbals between the edge and the centre of the cymbal. The oboe and bass clarinet are amplified, with one microphone each. 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.
It is also possible to attach a contact microphone under the keyboard for each octave. These microphones should not pick up the drums. It is recommended to acoustically screen the sound of the tom-toms by placing pieces of thick dense foam rubber below the piano facing the tom-toms. The amplification of piano and percussion is also supported by 2 microphones on stands ca. For the sound projection, 2 x 2 loudspeakers are needed.
They are placed beside the instruments at the left and right, at least 4. A 5th loudspeaker may be hung in the middle high above the instruments. The loudspeakers should not be tipped downwards. The sound should come from where the instruments are seated — as assessed from all seats in the hall.
The treble of the piano is located at the right in the panorama as heard from the hall , the 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.
The oboe and bassclarinet are set in the panorama where they are seated oboe at the half-left, bass clarinet at the half-right. Piano, oboe and bass clarinet also sound softly over the middle loudspeaker. To set the levels, it is recommended that the musicians repeatedly play the first movement starting at bar 28 while the conductor checks the setting of the loudspeakers from the hall.
Further Remarks Since , Stockhausen used so-called bourgarabou drums instead of tumbas or congas. These instruments sound better and are easier to play than tumbas, which require a special playing technique in order to produce a balanced sound. Depending on the stage situation, the rims of the drums may be positioned 20 to 30 cm higher than the upper edge of the piano case, so that the bourgarabou drums may be seen better by the audience.
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. There is no explicit playing instruction for cases when short notes such as sixtheenth notes, sixteenth-note triples stopped beats: see footnote 2 on page 2 of the score coincide with notes rim-shots: see footnote 1 on page 3 of the score.
In such caes it is best to also play the rim-shots as stopped beats, because damping the rim-shots with the hand always results in longer durations. This is usually possible and acoustically convincing, with a few exceptions, as for example when a rim-shot is followed by a roll. The conductor should conduct relatively high, but unobtrusively, yet giving clear entries for the synchronous beats. The pianist should play calmly with little bodily movement.
The highest octave should be played one degree louder than notated. 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. In this way, the clear contour of the resonance exactly corresponds to the notated durations of these pitches. The woodwinds should never make a diminuendo before a rest, but rather should hold out the notes evenly.
Before the audience enters the auditorium, the piece should be played through once completely. To ensure a smooth course of the concert, it is important that the set-up of the instruments takes place before the concert begins and not during the concert between the pieces.
History[ edit ] Stockhausen regarded Kreuzspiel as his first original composition, as opposed to the style-imitation exercises he did as part of his music studies Stockhausen , 34, According to Stockhausen, the performance "ended in a scandal" Stockhausen , Analysis[ edit ] 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. 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. Rather, it uses constant reordering of twelve-element linked pitch, duration, dynamic, and—in the original version—attack sets—a device sometimes called " permutational serialism " e.
Home About Help Search. They are placed beside the instruments at the left and right, at least 4. The oboe and bass clarinet are amplified, with one microphone each. Before the audience enters the auditorium, the piece should be played through once completely. Cancel Forgot your password? Crossplay is a composition by Karlheinz Stockhausen written for oboebass clarinetpiano and four percussionists in it was later revised for just three percussionists, along with other changes.
KREUZSPIEL SCORE PDF