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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It’s fairly easy to appreciate the music just by listening to how the tom-toms and the piano parts set each other up. The loudspeakers should not be tipped downwards. Your list has reached the maximum number of items.
Stockhausen Scores| Universal Edition Scores
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. You may have already requested this item. Stockhausen regarded Kreuzspiel as his first original composition, as opposed to the style-imitation exercises he did as part of his music studies Stockhausen34, 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.
Karlheinz Stockhausen Find more information about: Citations are based on reference standards.
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 kruezspiel.
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. Would you also like to submit a review for this item?
Kreuzspiel, for oboe, bass… | Details | AllMusic
He personally mixed kreuaspiel the recordings, mastered them for CDs, wrote the texts and drew the covers. 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 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.
From that point to the end of the movement, the process is reversed, so that all notes arrive again in the two extreme registers, only the six notes originally in the top are now at the bottom, and vice versa. In the first stage, six notes begin in the highest register, and six others begin in the lowest register. The kreuzsoiel set starting with 1st tom roll is simply 1, 2, 3, 4, etc Compositions by Karlheinz Stockhausen Portal: The oboe and bassclarinet are set in the panorama where they are seated oboe at the half-left, bass clarinet at the half-right.
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Karlheinz Stockhausen: Kreuzspiel
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Please verify that you are not a robot. Scores and parts Additional Physical Format: In the CD booklet, Stockhausen describes the concept of 2 “principles” coming together and creating a new, 3rd entity after which they then “return to a situation which is beyond the physically representable”.
The woodwinds should never make a diminuendo before a rest, but rather should hold out the notes evenly. 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.
Find a copy in the library Finding libraries that hold this item To set the levels, it is recommended that the musicians repeatedly rkeuzspiel the first movement starting at bar 28 while the conductor checks the setting of the loudspeakers from the hall. HathiTrust Digital Library, Limited view search only.
The sound should come from where the instruments are seated — as assessed from all seats in the hall. It is also possible to attach a contact microphone under the keyboard for each octave.