Sheet Music - £ - Stockhausen's Kreuzspiel, number one of seven, for oboe, bass clarinet, L'Ascension: 4 Mediations Symphoniques (Study Score). Kreuzspiel (Crossplay) is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in (it was later revised for. 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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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 stockhausen kreuzspiel score 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 Stockhausen kreuzspiel score the next year alongside works by Pierre Boulez, Luigi Nono and othersbut the performance was disrupted by a rowdy audience and "ended in a scandal".


The "cross play" idea itself as stated above may make this work seem very simple in conception, but it's important to note that up until this time most composers were still using tone stockhausen kreuzspiel score to essentially create music which sounded like late-era Romantic music, but with liberated harmony.

It was eventually recorded in by the London Sinfonietta during a period in the s where Stockhausen was reviving many of his stockhausen kreuzspiel score works for re-release.

Kreuzspiel - Wikipedia

First, a basically fully-formed aural "vision" of a work, then Working out the mathematical proportions of the individual elements Writing out a fully-notated score, and at the same time Changing abstract elements as they occur to make them more "musical" ie - changing registers, shifting rhythmic values of notes to create chords, etc And finally, revising the score during rehearsals or after initial performances.

This quote from Mya Tannenbaum's book "Conversations with Stockhausen" seems appropriate: The checking and the chiseling, once things are done, concern details, while the plan of an entire work is there in front of me right from the very beginning of every large-scale work - a plan, which, above all, fixes for me all the proportions, the duration, the dynamics, stockhausen kreuzspiel score sound quality, the ranges, the harmonies… etc.

Of course, it's doubtlessly true than many composers have a similar work procedure, but in Stockhausen's stockhausen kreuzspiel score these steps are extremely well-documented in interviews, sketches, performances and newly-revised editions of his works, and this thread is present for his entire career.

Die Grundlegung der Musik Karlheinz Stockhausens.


Borio, Gianmario, and Michela Garda. Kreuzspiel di Karlheinz Stockhausen. Berkeley and Los Angeles: University of California Press.


A Miscellany, edited by David Blake, — Contemporary Music Studies 9. Luxembourg; Australia; New York: The Music of Karlheinz Stockhausen.

  • Kreuzspiel. (Downloadable musical score, ) []
  • Stockhausen: Sounds in Space: KREUZSPIEL, SCHLAGTRIO
  • Special Features

Lanham, Maryland, Toronto, Oxford: The Scarecrow Stockhausen kreuzspiel score, Inc. The Challenge of Legacy: Looking Back and Forward, edited by M. Grant and Imke Misch, 11— Dargestellt aufgrund der Briefe Stockhausens an Goevaerts".

Heinz-Klaus Metzger and Rainer Riehn, 5— In Karlheinz Stockhausen, Texte, Band 2: Lectures and Interviews, compiled by Robin Maconie.

English PDF The upper edges of the stockhausen kreuzspiel score 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 stockhausen kreuzspiel score cymbals between the edge and the centre of the cymbal.

The oboe and bass clarinet are amplified, with one microphone each.