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I incorporated minor corrections or additions suggested by the composer. I am especially grateful to Stockhausen for his interest shown by reading all my other texts until he passed away in 2007, a generosity very much appreciated in my quest for musical accuracy. Some revisions were made by me according to her comments. Many thanks to Kathinka Pasveer, a close collaborator of Stockhausen, for taking the time to read the "Introduction to Stockhausen", my first six essays (Gruppen, Carré, Mixtur, Ylem, Montag aus Licht, Welt-Parlament), the essay on Tierkreis (Trio version) and, after 2007, several other essays, including the texts on KATHINKAs GESANG. That during his long career as a composer he always managed to do that according to his motto, which he formulated with KREUZSPIEL from 1951, amounts to a staggering lifetime achievement. Stockhausen did not repeat himself or others, settling into a "style", but instead continued to always create new excitement in unique sonic textures. What amazes me is that Stockhausen not only continued to write fantastic music until the end, but that he also kept creating new sound worlds with every new work. Only few of the works have not been recorded thus far. No worry about deletions of works from the CD catalog (to how many frustrations these can lead with other composers I do not need to tell anybody) – Stockhausen's output can be heard practically in its entirety. The music is all at Stockhausen-Verlag to be acquired, CDs and scores. My essays on these and other more recent works – including electronic ones – therefore were a great pleasure to write, as were the others. I truly mean it, while I dearly love the music of Bach, Haydn, Beethoven, Bruckner, Hindemith, Bartok and so many others before, in between and after. I am deeply satisfied and excited to experience that the more recent output of Stockhausen continued the amazing quality and innovativeness of his well-known classics, and that works like ENGEL-PROZESSIONEN and LICHT-BILDER are not only among the very best of the music of the last 50 years but also among the best music ever written.
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The texts are addressed to all music lovers all should listen to Stockhausen's music and enjoy its greatness. They intend to raise interest in the works from any potential listeners, listeners with either advanced or basic musical background, and they intend to facilitate listening once the music is experienced. The essays are mainly the result of just listening (and studying the informative CD booklets of course), and closely observing what the music I heard told me. These texts address musicians and general listeners likewise. Thus, this site will be regularly updated with new texts over the years. In a moving posthumous tribute, the carillon within the bell tower of the city of Cologne has been programmed since 2009 to play one of the airs from Tierkreis each day at 12 noon.Since the inception of this project in 2000 I have steadily added new texts to this site, and my final goal is to write essays on the complete recorded works of Stockhausen. Portions of Tierkreis were used to form the central Wheel Section of the vocal/instrumental/electronic chamber work Sirius, which has been described as a visual representation of the annual cycle.
Stockhausen tierkreis score serial#
Each melody employs all of the notes in the chromatic scale, is entirely free of motivic elaboration, and appears to have transcended the patterns of traditional serial and 12-tone methodology. Nine more were written during the spring and summer of 1975 to complete the cycle of Tierkreis. Three zodiacal airs were used for Musik im Bauch (Leo, Capricorn, and Aquarius). Croix, Switzerland, studying how the little mechanisms operated and researching possible modifications, including the installation of multiple teeth for the same tone. During the fall and winter of 1974-1975, Stockhausen visited the Jean Reuge music box factory in St. The first original composition ever devised for music boxes, Tierkreis was conceived and created in the same period as Musik im Bauch (Music in the Belly), a theater ritual during which ambulatory percussionists cut open the belly of an eagle-headed anthropomorphic sculpture and pulled out music boxes.