Work of Karlheinz Stockhausen Volume 1

Flo Menezes is Full Professor at the São Paulo State University (Unesp), Brazil. He studied composing at the University of São Paulo as well as the Studio fur Elektronische Musik in Cologne, Germany. He specialized at Centro di Sonologia Computazionale of Padua, Italy, completed his doctorate in Belgium in 1992 on Luciano Berio, under the supervision of Henri Pousseur, and postdoctoral fellow at the Paul Sacher Foundation. At Stockhausen’s invitation, he taught analysis at the Kürten Courses in Germany. As a composer, his works have been performed by leading ensembles and orchestras around the world and he has received many awards for composition, including the Prix Ars Electronica, Austria (1995) and Giga-Hertz-Preis of Karlsruhe/Freiburg, Germany (2007), with Pierre Boulez and Wolfgang Rihm on the jury.

‘Anyone interested in the evolution of post-World War II music, particularly in terms of musical structure and thought, will find profound insight in the detailed analysis of the music of German composer Karlheinz Stockhausen.Spanning three volumes, the analysis covers distinct phases of Stockhausen's work, from structural serialism, intuitive music, and moment-form, to his later development of formula-composition, culminating in the monumental work Licht, Stockhausen’s seven-day opera cycle. Flo Menezes, who personally knew several key composers of the second half of the 20th century, including Luciano Berio, Henry Pousseur, and Pierre Boulez, taught analysis classes at the Stockhausen Summer School in Kürten, Germany. Menezes even surprised Stockhausen by revealing structural insights in Studie 2 that the composer himself had not been aware of.Although Menezes’ writings primarily focus on Stockhausen's work, readers will find it to be a profound treatise on composition in the second half of the twentieth century.’Hans Tutschku, Fanny P. Mason Professor of Music, Harvard University

• 1 A period almost as long as the LIGHT 1.1 About the origins of this book 1.2 “Too many notes?” 1.3 The structure of the book 1.4 Writing criteriaVolume 1: Serial Music 112 PUNKTE3 Mixtures 4 KONTRA-PUNKTE5 STUDIE I 5.1 The frequencies and correlations of sound parameters 5.2 Regarding the groups 5.3 Regarding intensities 5.4 Regarding durations 5.5 Regarding the overall musical form and its balance 5.6 Sketches or score? 5.7 Rigor versus imponderability6 STUDIE II 6.1 A Realisationspartitur? 6.2 Regarding frequencies and variants of “sound mixtures” 6.3 Regarding the simultaneity of sinusoidal sounds 6.4 The serial structure 6.5 Regarding the overall musical form 6.6 Regarding intensities 6.7 Is there subtractive synthesis in STUDIE II? 6.8 Regarding attack durations and distances 6.9 Are there mixtures in STUDIE II? 6.10 Remaking STUDIE II 6.11 A mixture is missing in STUDIE II! 6.12 A strange episode7 KLAVIERSTÜCK VIII8 GESANG DER JÜNGLINGE 8.1 The choice of text and its characteristic marks 8.2 The binary opposition at the interval level 8.3 Sound spatiality 8.4 Sprachkomposition (verbal composition) 8.5 Regarding timbres and intensities 8.6 Regarding the serial matrix 8.7 Regarding sound Textures 8.8 Concerning text intelligibility 8.9 Fixed time versus real time? 8.10 The restored Song9 Phonemes 10 KLAVIERSTÜCK IX 11 KLAVIERSTÜCK X 12 KLAVIERSTÜCK XI 13 Polysemias 14 ZEITMASZE15 GRUPPEN 15.1 Interlocution with Luciano Berio 15.2 Regarding the spatial distribution of orchestral groups 15.3 About the tone row 15.4 Regarding the tempos 15.5 Concerning the Global Form of the work 15.6 About the Groups and durations 15.7 About the Inserts 15.8 The three spatial chords 15.9 An “electronic” orchestral scripture 15.10 Regarding formantic structures 15.11 The many musics of GRUPPEN 15.12 Regarding spatiality16 Virtualities 17 ZYKLUS