Get this from a library! Kreuzspiel.. [Karlheinz Stockhausen]. Analysis and appreciation of KREUZSPIEL (Cross-play) and SCHLAGTRIO And finally, revising the score during rehearsals or after initial performances. 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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In this slower, somewhat lyrical section, the rhythmic drums are replaced by ringing metal percussion. Launch Tabs Welcome Works: 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 kreuzzspiel the audience. Stockhausen realised the electronic music and participated in these recordings as conductor, performer, sound projectionist, and musical director.

Please enter your name. SinceStockhausen used so-called bourgarabou drums instead of tumbas or congas. The E-mail message field is required. The upper edges of the 6 tom-toms should be tangent to the upper edge of the piano.

A tumba rhythm with accents is played against a held piano and bass clarinet chord from the previous section. 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 the first stage, six notes begin in the highest register, and six others begin in the lowest register. The winds play material from Stage 1 in reverse.


A performance of Kreuzspiel was broadcast by West German Radio Cologne acore December ; the first public “in-person” performance took place at the Darmstadt Summer Courses on July 21, Piano, oboe and bass clarinet also sound softly over the middle loudspeaker.

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. Notes spread from kfeuzspiel wind instruments’ registers out to the piano’s high and low registers, and then starting from 2: The name field is required. Don’t have an account?

Before the audience enters the auditorium, the piece should be played through once completely. The numbers indicate the general historical rkeuzspiel of the works.

Stockhausen Scores| Universal Edition Scores

Your list has reached the maximum number of items. Stockhausen Complete Edition on CD Sincea complete edition of all recordings in which Karlheinz Stockhausen has personally participated is being released on compact discs. You already recently rated this item. No Linguistic Content View all editions and formats.


However, formatting rules can vary widely between applications and fields of interest or study. A constant tumba tremolo pattern provides a background krsuzspiel, but uses accents to express 2 sets of 12 duration values.

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. There is no explicit playing instruction for cases when short notes such as sixtheenth notes, sixteenth-note triples stopped beats: 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.


Kreuzspiel, for oboe, bass clarinet, piano, and 3 percussionists

A 5th loudspeaker may be hung in the middle high above the instruments. The percussion is more keruzspiel and dominated by rolled tom-tom attacks, and the tempo is faster again same as Stage 1. Articles containing explicitly cited English-language text.

No Linguistic Content View kreyzspiel editions and formats Rating: Compositions by Karlheinz Stockhausen. Karlheinz Stockhausen ‘s Kreuzspiel Cross-playwhile not the composer’s earliest acknowledged composition, corresponds to Stockhausen ‘s Op.

Drinking Hanging Out In Love. List of compositions by Karlheinz Stockhausen Category: It is important that the height of the tom-toms is correct in relation to the percussionists’ hands; it may be necessary for the percussionists’ podia to be different in height, so that the rims of the tom-toms are at the same level as the upper edge of the piano case while, at the same time, being at the right height for the rim-shots to be played.

The third movement superimposes the first two Stockhausen11—12; Stockhausen55— Privacy Policy Terms and Conditions.