AGP101: Karlheinz Stockhausen, Klavierstucke I-XI

KARLHEINZ STOCKHAUSEN

^avmcpitUCKE 1-X»

AIAVC kONTARCKY

KARLHEINZ

1 S2K 53346

STOCKHAUSEN (mm

Iadd

DISC 1

Total lime. 7037

m-m Klavierstucke 1- IX & XI

DISC 2

Total lime. 63 48

H Klavierstiick X

Aloys Kontarsky. Piano

GO Mikrophonie I

fur Tamtam, zwei Mikrophone, zwei Filter unci Regler
AlOyS Kontarsky, Tamtam I ■ Alfred AlingS. Tamtam II
Johannes Fritsch. Mikn>phon l Handel Boje. Mikrophon n
Karlhcinz Stoekltausen. Filter & Regler I
Jaap Spek & Hugh Davies. Filter & Regler D

0 Mikrophonie II

fQr Chor, Hammondorgel unci Ringmoclulatorcn

Alfons Kontarsky. Hammondorgel

Johannes Fritseh, Zcitgeber

Mimi Berger, Meta Aekermann. Frigga Ditmar,

I ilia Terhoeven, Helga Hopf, Monika Pick, Sopran

Amo Reichardt, Dietrich Sat/ky. Hermann Steigers,

Peter Weber, Friedrieh Himmelmann,

Werner Fngelhardt, BaB

Einsnidiemng & Lwtung Herbert Sehcrnus

KARLHEINZ STOCKHAUSEN <*i928)

DISC 2

disci]

Jj Klavicrstiick I
E Klavierstitck II
S3 Klavicrstiick 111
3 Klavicrstiick IV
_ll Klavicrstiick V
13 Klavicrstiick VI
B Klavicrstiick VII
J\ Klavicrstiick VIII
I] Klavicrstiick IX
(H Klavierstiick XI

Aloys Kontarsky, Piano

(Recordings- KGH. Wkwlmi, Swiivritmi. July I 9 2, Nowniw 15-17, 1965)

Total time: 70*37

Klavicrstiick X
Aloys Kontarsky, Ptano

(Reeordi,^: KGH, WinuttJiiiT. Suwjerland. Number 15-17. 1965)

1 2 Mikrophonie I

fiir Tamtam, zwei Mikrophone, zwei Filter unci Renter

Aloys Kontarsky, T uuaop I

Alfred Alings, Tamtam II

Johannes Fritsch, Mikiophori 1

Ha raid Boje, Mikrophon II

Karlhein: Stockhausen, Filler & Reuler I

Jaap Spek & Hugh Davies, Ptltet &

(Recording. West German Radio Smdws, Cologne, Decani** 17 & Id, 1965)

1 Mikrophonie II

lur Chor, 1 lammondorgel und Ringmodulatorcn
( Text: Helmur HeissenKittcl)

Alfons Kontarsky, Hnmnwodorgcl
Johannes Fritsch, A-itLyk r

Mimi Berger, Meta Aekermann, Frigga Ditmar, UDa Terhoeven,
Helga I Iopf, Monika Pick,

Arno Reichardt, I^ictrich Satrkv, Hermann Steigers, Peter Weher,
I ricdrich Himmelmann, Werner Fngelhardt, I

Einttudierung Leitung: Herbert Sehcrnus

(Recordmjr: West German Radio Studios, Cologne, June 1 1 , 1965)

Total time: 63'48

KARLHEINZ STOCKHAUSEN:

Kl AVIFRSllLKh I XI • MIKROPHONIE 1 & II

The following texts by t/ic composer acccm(xiiucJ the original long-play recording. As they, like the
rccmSngs rJicmsdivs, are inieresttng documents of t/ierr time, they are being rcissuea in unabridged form
with this new edition.

Despite or rather because of - the
importance of tonal color composi-
tions in my electronic music, in the
orchestral and vocal works, I have
from time to time concentrated on "Klavier-
stucke" (piano pieces); on composing for one
instrument, for ten fingers, with meticulous
nuances of instrumental tone and structure.
They are my "Zeichnungen" (drawings). I
wrote the third and second Klavierstucke in
1952 in Paris for my wife Doris, who studied
piano with me at the Hochschule fiir Musik in
Cologne. I then added the first and fourth
Kla\>ierstikke. In these four pieces, a transitkm
can be seen from "selective" or "point" music to
"group composition".

The second cycle, begun in late 1953 in
Cologne, is characterized by an expansion of
the tone composition by means of the piano: I
found six new "touch fonns" that changed the
way the piano tone was built up. just as before
in Elekmmische Studien I had composed tones
using a series of "envelopes". 1 defined new
symbols for these touch forms. Above all, I was
greatly aided hv the discovery of harmonics

with "subharmonic" resonances: these made
possible the simultaneous combination - on
one tone - of short, staccato notes with soft,
undamped "echo" tones. In addition, I no
longer composed single notes and chords, hut
sounds with characteristic mner structures. The
so-called "small notes" - what were earlier
known as "grace-notes" - were used in great
number, composed in groups of varying density
■SOUnd "nuclei": Rlivicrstuckc V'-X were .ill
characterized by preceding, simultaneous and
succeeding tone groups arranged around their
nuclei. Klavierstitck X consists almost entirely
of "small notes" forming tonal complexes of
greater or lesser density around few tonal
nuclei.

1 have written several texts about the
Khvterstitcke for radio programs, and they have
all been published in "TEXTE" (two volumes,
DuMont Schauberg, Cologne) which includes
an extensive analysis of the first Kunieruuck.
As early as 1954, 1 worked ixit a plan for a cycle
of twenty-one KSmikritikkt divided into six
subcycles as follows: /-IV / V-X / XI / XII-XVI /
XVIJ-XIX / XX-XXI, of which J-XJ have been

completed to date. Klavierstucke I-IV are
dedicated to the Belgian pianist Marcelle
Mcrcenier, Klawerstucke V-VUI to the Ameri-
can pianist David Tudor, Kltvierstucke IX and X
to Aloys Kontarsky, and Klavtersiuck XI to
Doris Stockhausen, nee Andreae.

Documentation
COMPOSER

Since finishing his studies (1947-51, Cologne
University and Hixrhschule fiir Musik),
Karlheinz Stockhausen, bom August 22, 1928
near G>logne, has composed KREUZSPIEL for
oboe, bass clarinet, piano, ? percussionists
(1951); SPIEL for orchestra (1952); PUNKTE
for orchestra (1952-62); KONTRA-PUNK-
TE for 10 instruments (1952/3); KLAVIER-
STUCKE I-1V (1952/3); ELEKTRONISCHE
STUDIEN I and II (1953/4); KLAVIER-
STUCKE V-X (V-VIII 1954/5, IX-X 1954/
61 ); ZE1TMASZE for five woodwinds (1955/6);
CRUPPEN for 3 orchestras (1955/7); KLA-
V1ERSTUCK XI (1956); GESANG DER
JUNGLINGE (1955/6); ZYKLUS for 1 pcr-
cii-sioni-t (1959); CARRE for 4 orchestras and
choirs (1950/60). REFRAIN for 3 performers
(1959); KONTAKTE for electronic sounds,
piano and percussion instruments (1959/60);
ORIGINALE. musical theater (1961); MO-
MENTE for soprano solo, 4 choir groups and 1 1

insrrumentalists( 1962/4); PLUS-MINUS, twice
seven pages for elaboration (1963); MIKRO-
PHONIE I for tam-tam, 2 microphones and
2 filters (1964); M1XTUR for orchestra, 4 sine-
wave generatiHs and ring modulators (1964);
MIKROP1 IONIE II for 1 2 singers, 4 ring modu-
lators and Hammond organ (1965); SOLO for
one melody instrument and magnetic tape
recorder (1966); TELEMUSIK (1966); ADIEU
for wind quintet (1966); PROZESSION for
tam-tam, viola, clectronium, piano, micro-
phones, filters and potentiometers. All works
Live been published by UNIVERSAL EDI-
TION, Vienna-Zurich-London.
Writings. TEXTE, Vol. I, zur elektronischen
und instrumti\talen Musik; TEXTE, Vol. 11, (p
(ipmen Werken, zur Kumt anderer, Aktueiles
(IniMont Schauberg, Cologne); numerous arti-
cles in periodicals, principally in "Die Reihe"
(Universal Edition, Vienna; Theodore Presser
G>., Bryn Mawr, Pennsylvania).
First Stockhausen monograph: K. H. Worner
(P. J. longer, Rodenkirchen/Rhine. 1963).
Since 1955. instructor at the Darmstadt In-
ternal k>nal Summer Courses for New Music;
since 1963, instructor at the Gilognc Gxirses
lor New Music; 1963, teacher of composition at
the conservatory in Basel, Switzerland; 1964,
visiting professor of composition at the Uni-
versity of Pennsylvania, Philadelphia, U.S.A.;
1966/7, leader of a composition class at the
University of California, Davis; since 1953,
permanent participant in the Studio for
Electronic Music of the Westdeutscher Rund-

16

17

funk (West German Radio] in Cologne, where
he has been the artistic director since 1962.
Regular concert tours as director and performer
of his own works in all European countries, the
U.S.A. and Canada; 1966, five-month stay in
Japan (for composition) and Asian tour.

PERFORMER

Aloys Kontarsky, bom May 14. 1931 in
lserlohn, Westphalia, received his first piano
lessons it the age of five from his mother, Liter
(1939-49) from Franz Hanemann Jr. (pupil of
James Kwast and Max van de Sandt). In 1951,
schcxil-leaving certificate at the Oherschule,
lserlohn. In 1949, public concert with his
brother Alfons (Stravinsky's Concerto for two
pianos); 1951, Bartok's Sonata for two pianos
and percussion. From 1949-51 lessons with Else
Schmitz-Gohr at the (Cologne Htxrhschule fiir
Musik, together with his brother Alfons,
followed by one semester at the University of
Freiburg (German studies and musicology).
From autumn 1951 to January 1953, University
of Cologne (German studies and musicology)
and piano duo (again with Else Schmitz-Gohr).
One year of illness. From January 1954 to
autumn 1955, Cologne Hochschule tiir Musik,
iota pimp and chamber music with Maurits
Frank, music theory. In 1955, first prize for
piano duo, together with his brother Alfons, in
the fourth German Radio International Music
Competition. Autumn 1955 to 1957. pupil of

18

m

Eduard Enlmann (Hochschule fiir Musik,
Hamburg). Since 1959, regular activity as con-
cert pianist, mainly as a duo with his brother
Alfons.

Since 1962, instructor at the Darmstadt Inter-
national Summer Courses for New Music; since
1963, instructor at the Coli>gne Courses for
New Music; since 1962, member of the Ltorm-
Itadi International Q hambci Ensemble (as well
as public performances with individual soloists
from this ensemble: Siegfried Palm Icellol,
Chnstoph Caskel (percussion), Sevenno Gaz-
zcloni IflutcJ). In 1959 he married the actress
Giscla Saur.

Most important pTernieres: Stockhausen: K'la-
vierstiick HX. MiKropfionie I, Momcnte (Ham-
mond organ); Kagel: Sur Scene; Pmisseur:
Caracteres; in addition, works by Brown, de
Pablo and Zimmcrmann.
Frequent tours in all Western European
countries; extensive tours in the Middle East,
South and Middle America.

RECORDING PRODUCTION
Tape recording:

Phonag AG, Stadthausstrasse 69, Winterthur,
Switzerland, commissioned by COLUMBIA
RECORDS, New York, MASTER WORKS,
Mr. John McClurc. Sound supervision and
editing: Hellmuth Kolbe (Fohrlibuckweg 9,
Zunch, Wallisellen). Assistant: Robert Latt-
mann (Etzbergstrasse 70, Winterthur). Record-

ing supervision: Karlheinz Stockhausen and
Hellmuth Kolbc.

Location: the large auditorium of the Parish
Hall (Liebestrasse 3, Winierthur).
Time: July 1, 1965. 10:00 a.m. - 2:00 p.m.:
technical set-up, microphone adjustment and
test recording; 3:00 6:30 p.m.: recorded
KlaticrstMe f, II, III, IV, V & Vlll, 6:30 -
10:00 p.m.: edited Klavientucke IV. V & Vlll
July 2, 1965, 10:00 a.m. - 2:00 p.m.:
microphone adjustment and test recording;
3:00 - 3:30 p.m. and 4:00 - 6:00 p.m.: recorded
Klawentucke VII and IX; 6:00 - 9:30 p.m.:
editing.

July 3, 1965, 10:45 a.m. - 2:25 p.m.: edited
KTatimtwcke I, II & III, 2:30 - 3:00 p.m.:
listened to the edited tapes of ffhrtcilfflflll 1,11,
III. IV. V, VII, VIII & IX.
November 15, 1965, 10:00 a.m. - 2:00 p.m.:
technical set-up, microphone adjustment and
test recording; 2:45 - 4:00 p.m.: recorded
Khvientikk XI; 4:00 - 6:10 p.m.: recorded
Mailers luck VI up to page 17.
November 16, 1965, 11:00 a.m. - 3:00 p.m.:
recorded Klawerstucfc VI Irom page 1 1 to end;
4:20 - 8:00 p.m.: recorded Klawerstiiclc X to the
top of page 8.

November 17, 1965, 10:30 a.m. - 3:00 p.m.:
recorded the rest of KlaMerstiicIc X; 5:30 - 7:45
p.m.: edited k'latimtiiciv XL
November 18. 1965, 11 £0 a.m. -2:00 p.m. and
3:00 - 7:00 p.m.: edited KaWiersl«ck X and VI.
November 19, 1965. 10:00 a.m. - 1:30 p.m.:
listened to Kiaxiemucke I-XI.

A list with all information on che segments
recorded, as well as the sheet music with all
remarks entered during editing, arc in the
possession of Phonag AG.
Instruments-

For the recordings on July 1 and 2, a Steinway
(Hamburg) grand piano was used. Model D,
built in 1959, No. 361 880, lent by Pianohaus
Jecklin, Zurich. The piano had a definitely hard
touch, its dynamics were balanced throughout
the entire range and the resonance time was
comparatively short, particularly in the highest
range. 'I"he tone was considerably affected by
the relatively high humidiry (75%) at 21" C
nxmi temperature (rainy, muggy summer
weather); it had to he retuned frequently
(piano tuner Doldinger, Winterthur).
For the recordings made on November 1 5 to 1 7,
this piano was not available, as it had been
rented Bo the Zurich Tonhalle for the entire
1965/6 winter season. Instead, the Steinway
(Hamburg) grand piano Mixlel D, built in
1964. No. 386 360, was borrowed from
Pianohaus Hug, Zurich. This piano had a very
soft touch and tone, was not balanced
dynamically (volume fell off in the lowest and
highest ranges, no brilliance), ind had i rathet !
long resonance time. The relative humidity was
approximately 50% at an average room
temperature of 18" C (because of the excessive
heating, all the windows were opened at
frequent intervals to keep the auditorium at
this average tempenmire; dry, frosty weather,
snow). Several notes had to be retimed

19

repeatedly; the entire tuning was correcred
once on the 16th and once on the 17th; the
left pedal made a creaking noise that could
only he corrected after several repairs (piano
tuner: Wilhelm Baehr, Zurich).
Recording cowipmcnt:

Microphones: Neumann U 67, Tclcfunkcn KM
54, three Sennheiser MD 421s. The KUfcr-
stiickc I. II, III. IV. V, VIII & IX were lo i idfed
with one KM 54 and two MD 421s, Klauer-
stitcke VI and XI with an additional U 67 under
the piano to bring out the hiss. KlaiHcrstucke
VII and X with the additional U 67 (as for VI
and XI) used still another MD 421 (cardioid)
directly above the piano strings to bring out the
long, sustained resonant tones.
Recorder: Studer C 37 Stereo.
Three-channel mixer: Kudelski (Paudex near
Lausanne) anil Leonhard (Zurich).
Recording tape: AGFA PER 555, high output.
Monitor speo/orr: KLH. Mcxiel Four.
Musk:

Koat&rtky: k'lawTsiiicke I— IV, V and VI, pub-
lished by Universal Edition, reprint 1965;
Klawerstiiclie VII and VIII, a photocopy of the
manuscript that had been compared with the
UE 1965 edition; IX and X, photocopy of the
manuscript; XL published by UE. new edition
(1964).

Stockhausen and Kolbc: Ktpfawrtfcfa I - VIII,
published by UE. 1965 edition; IX and X, a
photocopy of the manuscript; XI, published bv
UE. new edition (1964).
Photographs were taken in the recording audi-

20

tormm by Glartfelder, Winterthur, on July 2,
1965 from 10:00 to about 10:30 a.m. and from
3:30 to 4:00 p.m.

Things "with a uill of their ow\" (one of many):
During (he recording of the eleventh Klatier-
stikk on July 15, Kontarsky's every movement
caused the stool to creak on the wooden floor.
First, the recording was stopped and restarted
several times; then pieces of rubber were put
under the shxil legs; finally, different sub q|
mat were procured and put under the stool.
Recording started again. Stopped again several
times. The stool was taken apart and put hick
together. Recorded. Again intcrnipted. Other
stools tried: same result. Finally, after about one
and a half hours of fruitless effort, a wixxlen
organ bench was found upon which Kontarsky
played the rest of the recordings undisturbed.
As In- starred recording again, Kontarsky called
through the microphone, "My heartfelt thanks,
many thanks, thank you, I'll never forget you!
You know, you have to be able to move around
for this piece. Thanks, many thanks. . . fantas-
tic, thank you, gentlemen, thank you'" ^Un-
answered over the loud speaker, "But now
people listening to the record won't know when
you've shifted your center of gravity, Mr. Kon-
tarsky!"
Compensation:

During the flight from LHisseldorl to Zurich on
June 29, from 8:30 to 10:40 p.m.. the Caravellc
went through some heavy turNilcncc, and what
was left of the evening meal, which had already
been served, was cleared away as quickly as

rx»ssible; only Kontarsky, who had refused the
"warmed-over" airline dinner, kept his Tuhorg
beer in hand, with the somewhar wi>rried
remark that this would be the last decent beer
he would get for days. Aftet arriving in the
Gartenhotel in Winterthur, he made NUCattfa
comments in the bar about Haldengut beer, the
only brand available, and slept "rather badly"
from 12:30 to 8:30 a.m. That morning, he tixik
- as usual - a hot bath and his habitual
breakfast with orange juice, a three-minute egg,
tea with cream and a roll with cherry jam.
Contrary to his habit of talking about Wx>ks in
the most excited tones, telling anecdotes in
dialect and commenting on the latest Spiegel
(news magazine] stories, he used every
opportunity dunng the days we were recording
to dream aloud about past and future gastro-
lutmicai pleasures. On the day of the first
recording session, as a matter of principle, he
abstained from all alcohol until 10:00 p.m.,
drank only an espresso at noon, ate a fillet of
perch with a bottle of 1 lermiez mineral water in
the Gartenhotel at 2:00 p.m., and in the
evening in the Hotel Krone - whose cuisine he
henceforth praised - consumed a clear oxtail
broth, a schnitzel in cream sauce with
tagliatelle, green salad with oil and vinegar.
Brie with black bread. l h lit. Johannisbcrg wine
and two bottles of Hermie: mineral water. He
went to bed early and slept "somewhat better"
from 1 1:30 p.m. to 8:30 a.m. On the following
day, he lunched on a glass of tomato juice, a
saltimhocca alia ntmana with spaghetti, an ice-

cream coffee float with whipped cream, 2 /l0 lit.
Johannisbcrg wine, and two bottles ol mineral
water; at around 6:00 p.m. he ordered a bottle
of Coca-Cola, and for dinner (die kitchen had
already stopped serving warm meals) a Btindner
Platte (smoked country ham) with a tossed salad
and V« 'if- Johannisbcrg wine; afterwards at
Kolbe 's house, he ate a piece ol "Movenpick'"
ice-cream cake and drank two glasses of cognac :
he slept "marvclously" from 2:30 a.m. to 8:30.
On Saturday, July 3, he ate steak tartare at
midday shortly before the departure, and drank
a glass of mineral water.

On the evening of November 14, alter landing
at Zurich airport, Kontarsky passed the time
spent waiting for the bus with a BKxxly Mary,
and in the bar of the Gartenhotel, prepared
himself for bed with two Haklcngut Pilsners as
a nightcap. On November 15 at noon, he
ordered a salami omelet and High Grown
Ceylon tea; in the evening in the Krone Hotel:
bouillon with beef marrow, two baked fillets of
sole, chipped veal in a herb sauce on spaghetti,
'A lit. Johannisbcrg wine, one bottle of
Hermiez mineral water and a hazel-nut desert.
Then we went to the City-Lichtspiele (a
cinema], where during the showing of Moritwri
he looked at mc from time to time and rolled
his eyes; I motioned in the direction of the exit
three times, but he remained seated and
shrugged with his right shoulder. After the film,
he drank two John Haig "Red Label" whiskies
on the rocks. On November 16, we went to
lunch so late that the 1m Silbemen Winkel was

21

filled to overflowing with cakc-eating ladies
and he could only order, of the three warm
dishes oltered, a helping of jugged venison on
spdet;le |a regional variety of pasta] and a green
salad, with a cup of tea with lemon. In contrast,
the evening meal in the Schloss Wiilllingen
restaurant was a minot feast. He consumed a
bouillon with beef matrow (incomparably
better than the one mentioned above), six
In lpuiL's of sahimhxxa alia romana (he sent the
rice back), another six helpings of soitimhocca
alia romana, green salad; he drank '/> lit.
Johannisbcrg wine; there followed crepes
Suzetre. together with mocha coffee; and to
accompany three glasses of pear schnapps, he
chose a "Montecristo" Havana cigar, with an
extended commentary on European cigar duties
(he praised Switzerland for reckoning duty by
weight) and on the preparation and packaging
of Havana cigars. On November 17, he closed
the recording sessions by composing a lunch:
bouillon with beef marrow, sole meunicre,
l ll lit. Johannisbcrg wine, a pear Helene, mocha
coffee, one glass ol pear schnapps and an
Upman Havana cigar.

1 mention the technical and material details
of the recording sessions because 1 learned from
these sessions how much the recording process,
playback quality, and even the pianist's playing
is dependent on all these conditions. These
were the first recording sessions at which I
personally had Ixrcn present, and I was shaken
by the extremely artificial situation, the
amount of influence exercised by "impon-

derables", and the technical intervention in the
musical sphere.

After finishing the score of Mixtur for orchestra
and ring modulators, I soughr flexible metrwxls
of composing for the recording process with
microphones as well. To do this, the micro-
phone, which until then had been used as a
rigid, passive recording device for the purpose
of repnxJucing sounds as faithfully as possible,
would have to beo>me a musical instrument
whose manipulation could influence all tonal
qualities, in other words, an instrument that
could autonomously form not only the pitch for
harmony and melcxly in accordance with
composed instructions, but also the rhythm,
dynamics, tonal color and the spatial projection
of the sound.

As my next work, I then composed Micro-
phonic I for tam-tam and six performers. Several
years before, I had bought a large tam-tam for
the composition Moment* and set the instru-
ment up in the garden. Last summer I therefore
made a number of experiments in which I
excited the tam-tam to vibration using the
most varied of objects - made of glass, card-
board, metal, wood, rubber or plastic - which 1
had assembled from around the house. In one
hand 1 held a highly directional microphone
that was connected to a filter; the output of the
filter was connected to a potentiometer, whose

output was in turn made audible by speakers.
Meanwhile, my assistant, Spek, improvised at
the controls of the filter and the potentiometer.
At the same lime, we recorded the result on
tape. The tape recording of this first experi-
ment constitutes for me a discovery of great
importance. We hadn't arranged anything; 1
used as I pleased several of the objects that had
been placed to hand, at the same lime scanning
the surface of the tam-tam with the micro-
phone, much as a doctor ausculates a patient's
body with his stethoscope. Spek's reactions to
what he heard as the result of our joint activity
were spontaneous as well.

On the basis of this experiment I wrote the
score of Microphonic I. Two performers excite
the tam-tam with the most varied of materials
while two others scan the tam-tam with micro-
phones. A suitable notation prescribes for them
the distance between microphone and tam-tam
(which influences volume and tonal color), the
relative distance of the mictophone from the
point of excitation (which determines pitch,
tonal color and, above all, the sound's spatial
impression ranging from far off, echoing away,
to very near) and the rhythm of the micro-
phone movements. A third pair of performers
operates the controls of a filter and a poten-
tiometer each, and they in turn influence the
tonal color and pitch of the structures (by adjust-
ing the filter), volume and spatial effect (by
adjusting both filler and potentiometer), and
rhythm (by making changes to the two pieces
of apparatus in time with the instructions).

In this way, three processes for tonal struc-
turing have been connected: processes that are
interdependent and intcrreactivc. Kit at the
same time autonomous; priKesses that have
been composed as synchronous or temporally
independent, homophonic or with as many as
six polyphonic voices.

The score consists of thirty-three indejxMi-
dent musical stnictures that the musicians com-
bine for a performance in accordance with a
prescribed scheme. The scheme indicates the
relationship between the structures. Three
musicians (one tam-tam player, one micro-
phonist and one filter and potentiometer
operator) form one group and play respectively
one of the thirty-rhree structures mentioned.
At a definite point in time they cue the other
group to start with the next structure, this
group then cues the first again after a prescribed
time, and so on. The relationships between
these structures are defined in three different
ways: with resriect to the foregoing structure,
the one that follows may either be similar,
different, or opposite; this relationship may-
remain constant, increase or decrease; and the
succeeding structure (which in most cases
begins before the previous one has ended) may
have a supportive, neutral or destructive effect
in relation to this previous structure. Thus the
scheme gives three iastnictbns for each
connection between two structures. For exam-
ple, a similar structure is to be constantly sup-
portive, an opposite one is to be increasingly
desmictive, or a different one is to be less and

23

less neutral, and so forth. According to these
prescribed criteria, then, the musicians choose
the sequence of the composed structures that
are themselves composed according to such
points. Although the relationship between the
structures, i.e. the scheme, always remains the
same for all performances so as to guarantee .1
rigorous and concentrated form, the versions of
the structure sequences can be extremely
different.

Microphonic / was premiered on December 9,

1964 in Brussels. The German premiere (WPR
[West German Radio)) tix>k place on June 1 I,

1965 with the following perfonners: tam-tam
players 1 and 2, Aloys Konrardcy and Christoph
Casket; microphonists I and 2, Johannes
Fritsch and Bernhard Konrarsky; filter and
potentiometer 1, Karlhcinz Stockhauscn;
filter 2, Jaap Spek; and potentiometer 2, Hugh
Davies (Spek and Davies divided these tasks
between them as Jaap Spek. my assistant, had
to handle the overall control of the rather
complicated technical processes). The work is
dedicated to Alexander Schlee.

After Mikrophtmte I for tam-tam, two micro-
phones, ami two filters with potentiometer, I
composed Mikrophonie II. In this work, a
synthesis was attempted between vocal and
electronic music. In Microphonic //, the voices
are transformed during the pertbnnance with
the aid 0/ electronic equipment. Twelve choir
singers (six sopranos and six basses) are seated
in a semicircle on the stage, with their backs
turned to the audience (they might also be

24

seated in the center of the auditorium
surrounded by the audience). Groups made up
of three singers - three first sopranos, three
second sopranos, three first basses, three second
basses - each have a directional microphone in
front of them. The choir director sits in the
middle of the semicircle, facing the audience,
and directs die different layers of the work,
which is polyphonic throughout. Beside him is
seated a timekeeper who, with suitable gestures
of his hands, indicates to the choir the duration
of the thirty-three musical moments. Behind
the choir singers and on a higher level there Is a
Hammond organ with the organist sitting
facing the audience. The technical principle of
this tonal composition is as follows: the four
microphones are individually connected to four
ring modulators, to which the electrical output
of the Hammond organ is likewise connected.
These devices modulate the sounds produced
by the choir singers and the tones of the
I lammond organ in such a way that the input
frequencies are suppressed and the output is
composed of the sums and differences of these
input frequencies. This pnxluces completely
new tonal spectra with unusual, suhharmontc
colors.

The different types of music modulate each
other. Transformed sound is produced only
when both organ and choir produce sound at
the same time. 1 "he sound mixed in the four
modulators is then put through four poten-
tiometers whose outputs arc connected with
four groups of speakers. The speakers are placed

on the stage behind the choir, and thus the
original sound of the choir and organ is mixed
with the modulated sound that simultaneously
comes from the speakers. At the premiere in
the large radio-network studio in Cologne, I
operated these potentiometers from the gallery.
I was to turn the four speaker mpurs up or down
as directed by the score, and I could influence
the mixture between natural and transformed
sound. It is important to me for the sound of the
choir in Mikrophonie if to be transformed in
different degrees, and for untransformcd layers
to be mixed with more or less transformed
layers, often simultaneously, or for there to he
transitions from natural to artificial sound and
vice versa. In contrast to purely electronic
music, a piece like Mikrophonie li offers a
greater opportunity to compose on a scale
ranging from natural to artificial sound, from
familiar (nameable) to unfamiliar (non-name-
able) relationships. One of the most important
reasons for pursuing such sound compositions
as with all new music, especially electronic
music - lies in composing a unique, unmis-
takable world of sound for a work, and in giving
no further support to the old dichotomy that
states that, in composing, it is not primarily a
question of the "what", the material for
example (in this case, the sounds of the choir
and organ), but only of the "how", of the way
one composes with such sounds. In a work such
as Mikrophonie 11, the "what" can in no wise be
separated from the "how". I would never have
composed the way 1 did if the "what" had not

had quite specific qualities particular to this
wotk, qualities which led to quite definite types
of the "how". For example, one must compose
quite specific types of structure when using ring
modulators: the superpositions must be kept as
simple as possible, many notes held on, with
the layers transparent and not too fast, because
the ring modulators make very dense, sym-
metrical spectra from simple sound processes,
and this can easily lead to a predominance of
noise or to a stereotyped articulation of the
sounds.

The notation in the score was changed
many times in the course of the work, mainly
during the tehearsals, as some of the
interactions between natural and transformed
sound were unpredictable. The final result was
a score that enabled each individual choral
singer and the organist to react to the others,
according to the context. Unusually high
demands were placed on the singers. Not only
did they have to be able to sing well, but based
on my insttuctions, they were themselves
required to invent melodic, rhythmic and dy-
namic articulations in various variations. The
organist had to decide from the context on the
tune and degree of electronic transfonnation by
setting the potentiometer. For example, 1 might
give the instructions for a musical moment of
114 seconds as follows: the three high sopranos
are to sing, pianissimo, their middle-register
C-sharp very slowly, with irregular durations,
continuously and synchronously, changing at
will the number of simultaneously singing

25

voices; starting with a "solemn Levitical tone",
gradually changing into "sexy, seductive, with
small glissandi"; rhey have the text "die I.age,
in die ich gekommen bin, 1st die Lage, in die ich
gekommen bin" (as text, by the way, 1 used
Emfache grammaasche Meduatiancn by Helmut
Hcissenbiittel). At the same time, the sec-
ond sopranos sing, on the average, meizofortc,
and individually (that is, in polyphonic
association); starting syllabically, they sing
melody groups around a iow D-sharp in | tonal
space limited by their highest and lowest note;
they are to begin in slow tnple measures and
sing "like a baby"; then, after accelerating
gradually, they sing mixed (meltsmatic ana
syllabic) melody groups in quick four-four time
with the instruction "in baroque invention
style"; after a gradual rallcntando they sing in
slow four-fiHir time, mixed syllabic and
melismaiic, "somewhai hoarse a la ja^, slow",
ending synchronously (one singer beats time for
all three); the text for this layer is "Rede
uberquert Rede, und es gibt es nicht". At the
same time, the first basses sing individual
chords mezzoforte or forte, very slow, at
irregular intervals (which one bass directs); the
tones change individually with each syllable
varying between low D and G-sharp. with the
Instruction to articulate "like drunks, raucous at
times"; they have the text "gesprungenere
Nachmittage und gesprungenere Nachmitta-
ge". The second basses sing, with crescendos
and decrcscendos, synchronously, quick tone-
groups with prescribed numbers of notes, with

long pauses of different length between the
gnxips (here, too, one bass directs) and with
long fennatas at the end of the individual
groups; the pitch around a low G-sharp varies
individually, syllable for syllable, between D h
and one-line E; they are to begin "a la jaiz, cool, J
fast, like plucked basses" and gradually go over
to articulating "like an affected snob"; as text, •
they use the syllables "oder und oder oder". The \
organist is instnictcd to play slowly expanding
and contracting clusters »>f held notes around
two-line F-sharp, sometimes with vibrato; in
addition, he is at times to play quiet,
polyphonic melcxly groups around one-line
D-sharp, quiet at first, then increasingly with
small dynamic changes; meanwhile - using the
stops on the Hammond organ he is at times to
change the timbre slowly in the direction Irom
dark to light and back to dark, always playing
with pure tones; at the same lime, extremely
slowly and periodically, with interruptions at
times, he is to play, with a long-decay stop and
reverb, single staccato pedal notes between low
G -sharp and D.

A lively interchange between all the
perf ormers can result from this type of notation
- using words and few written notes - for the
singers and organist, provided one is able to 1
find inspired musicians like those who rhearsed
MfatifMniS // for its G>logne premiere, and, t
above all, a choir director like Herbert j
Schemus. The sopranos were: Mimi Berger,
Meta Ackermann, Frigga Ditmar, Ulla Ter-
hoeven, Hclga Hopf and Monika Pick; the

hisses were Arno Rcichardt, Dietrich Satzky,
Hermann Sieigers. IVier Weber, Friednch
Himmelinann and Werner Engelhardt. The
Hammond organ was played by Aloys Kon-
tarsky. Johannes Fritsch was the timekeeper.
The choir leader, Herbert Schemus, rehearsed
the choir and directed. This is the recording of

the premiere, from a public "Music of Today*
concert of the Wc-r German Radio in Cologne
given on June 1 1 , 1965. The work is dedicated
to the American, Judith Blmken.

Karlhcinz Stockhauscn
(Translation. © J 993 Griffin Anderson)

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