Work of Karlheinz Stockhausen

Flo Menezes is a 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 20th century.’Hans Tutschku, Fanny P. Mason Professor of Music, Harvard University

• VOLUME 1: SERIAL MUSICA period almost as long as the LIGHT (by way of introduction)1.1. About the origins of this book1.2. “Too many notes?”1.3. The structure of the book1.4. Writing criteriaPUNKTE (1952/1962)MixturesKONTRA-PUNKTE (1952-53)STUDIE I (1953)5.1. The frequencies and correlations of sound parameters5.2. Regarding the groups5.3. Regarding intensities5.4. Regarding durations5.5. Regarding the overall musical form and its balance5.6. Sketches or score?5.7. Rigor versus imponderabilitySTUDIE II (1954)6.1. A Realisationspartitur?6.2. Regarding frequencies and variants of "sound mixtures"6.3. Regarding the simultaneity of sinusoidal sounds6.4. The serial structure6.5. Regarding the overall musical form6.6. Regarding intensities6.7. Is there subtractive synthesis in STUDIE II?6.8. Regarding attack durations and distances6.9. Are there mixtures in STUDIE II?6.10. Re-realize STUDIE II6.11. A mixture is missing in STUDIE II!6.12. A strange episodeKLAVIERSTÜCK VIII (1954)GESANG DER JÜNGLINGE (1955-56)8.1. The choice of text and its characteristic marks8.2. The binary opposition at the interval level8.3. Sound spatiality8.4. Sprachkomposition (verbal composition)8.5. Regarding timbres and intensities8.6. Regarding the serial matrix8.7. Regarding sound textures8.8. Concerning text intelligibility8.9. Fixed time versus real time?8.10. The restored SongPhonemesKLAVIERSTÜCK IX (1954/1961)KLAVIERSTÜCK X (1954/1961)KLAVIERSTÜCK XI (1956)PolysemiasZEITMASZE (1955-56)GRUPPEN (1955-57)15.1. Interlocution with Luciano Berio15.2. Regarding the spatial distribution of orchestral groups15.3. About the tone row15.4. Regarding the tempos15.5. Concerning the Global Form of the work15.6. About the Groups and durations15.7. About the Inserts15.8. The three spatial chords15.9. An "electronic" orchestral scripture15.10. Regarding formantic structures15.11. The many musics of GRUPPEN15.12. Regarding spatialityVirtualitiesZYKLUS (1959)VOLUME 2: INTUITIVE MUSIC18. KONTAKTE (1958-60)18.1. The origins of the piece18.2. KONTAKTE and its mysticism18.3. The versions of KONTAKTE18.4. The surprising fusion between the instrumental and electronic universes18.5. Innovations in KONTAKTE18.6. About the differences of durations in the score18.7. Regarding spatiality18.8. The use of electronic pulses18.9. Regarding timbre families18.10. The iterative copy procedure (Dauerkopierverfahren)18.11. Serial music?18.12. The invention of the Moment-form18.13. The types of Moment in KONTAKTE18.14. Motive recurrences18.15. The use of the Fibonacci Series18.16. The Unity of Musical Time19. MOMENTE (1962-64/69)19.1. The typology of Moments and the Love19.2. Regarding instrumentation19.3. Regarding the texts used19.4. The open form of MOMENTE19.5. The binary oppositions and their stratification19.6. Harmonic center and expansions in MOMENTE19.7. A review of MOMENTE and its actuality20. Extensions21. MIKROPHONIE I (1964)21.1. The spectral extent of the physical instrument21.2. The organological extent of the physical instrument21.3. The internalization of polyphony: micro-phony21.4. Serial numerology in MIKROPHONIE I21.5. The microphone as an instrument21.6. Towards words: sound categories and quasi-onomatopoeias21.7. The Moments and form of MIKROPHONIE I21.8. Rite and communion21.9. Approaching and distancing in relation to musique concrète22. MIXTUR (1964)22.1. The strangeness with Boulez22.2. Ring modulation and its complexity22.3. Regarding instrumentation22.4. The musical form: its characters and reversibility22.5. Regarding serial thought and the organization of pitches22.6. Tachism-music?23. TELEMUSIK (1966)23.1. Collage of materials or new polyphony?23.2. The form and realization of the work23.3. A work full of signals23.4. Intermodulation23.5. Music of the nervous system23.6. An undeniable, yet unrealizable request24. HYMNEN (1966-67)24.1. Origins of the piece and its designation24.2. The different versions of HYMNEN24.3. Once again intermodulation, and radical extensions24.4. Regarding materials and form24.5. The use of quotations and referentiality in HYMNEN24.6. The controversy surrounding the anthems24.7. The making of the magnetic tape and the sonorities of HYMNEN25. Universals26. STIMMUNG (1968)26.1. The formants' song26.2. A vocalic music26.3. Enjoyment or alienation?26.4. STIMMUNG's vocal micro-macro-spatiality26.5. Regarding the form26.6. As for the Poems used26.7. Regarding the days of the week26.8. Stockhausen's Vocalic Square26.9. The tempos, the rhythm of the Models and their main vowels26.10. The "error" as a deviation26.11. From multiple to one, from one to multiple27. KURZWELLEN (1968)28. Processes29. AUS DEN SIEBEN TAGEN (1968) and FÜR KOMMENDE ZEITEN (1968-70)VOLUME 3: MUSIC BY FORMULAS30. Enchantments31. MANTRA (1970)31.1. Composition by Formula (Formel-Komposition)31.2. The Formula of MANTRA31.3. The structure of the Formula31.4. The Scales and Formula projections: profile composition31.5. The ring modulation31.6. The structural constellation of the global form of MANTRA31.7. The use of antique cymbals and wood blocks31.8. "Morseing": the fascination for aperiodicity31.9. The Inserts in MANTRA31.10. Flaw or deviation?31.11. Theme and Variations?31.12. The place of MANTRA in Stockhausen's Work32. TRANS (1971)32.1. The oneiric function and the lights in TRANS32.2. The spatial arrangement of the instruments: between visuality and acousmatics32.3. The transcendental meditation has a color32.4. The form of TRANS32.5. Inserts in TRANS: the beginning of Scenic Music32.6. Unusual aspects of the writing (notation) and musical scripture of TRANS33. “Am Himmel wandre ich...” (Indianerlieder) (1972)34. Melodies35. INORI (1973-74) and “Vortrag über HU” (1974)35.1. When the analysis becomes a work35.2. The Urgestalt or INORI Formula35.3. The arrangement of the musicians on stage35.4. The Scales of Dynamics in INORI35.5. The strict link between gestures of solo mimes and sounds35.6. Unraveling the Formula35.7. The tempos and the projection of the Formula in Global Form35.8. Analysis of INORI's Main Parts35.8.1. Rhythmus35.8.2. Dynamik35.8.3. Melodie35.8.4. Harmonie35.8.5. Polyphonie35.9. Polyphony or heterophony?35.10. Against the grain of history? Mystique, rigor and delicacy in INORI36. MUSIK IM BAUCH (1974-75), TIERKREIS (1974-75) and SIRIUS (1975-77)37. HARLEKIN and DER KLEINE HARLEKIN (1975)37.1. Intertextualities and militant didacticism37.2. Regarding form and its development37.3. HARLEKIN’s Formula37.4. Directional profile projection37.5. DER KLEINE HARLEKIN: a rare gesture of temporal contraction38. JUBILÄUM (1977)38.1. In contrast to melody: a chordal Formula38.2. The intervals under the magnifying glass38.3. Musical scripture by layers and Global Form39. IN FREUNDSCHAFT (1977-78)39.1. A Formula that unfolds: from melody to latent polyphony39.2. Form and its deconstructive Introduction39.3. The trill as a metaphor for coitus and the three layers of the piece39.4. The Cycles and their concentric directionality39.5. The interchangeability of Cycles and the irregularities as a compositional strategy39.6. The Explosions: how one Insert emancipates itself within another39.7. Eroticism at scriptural level40. DER JAHRESLAUF (1977) and JAHRESLAUF (1977/1990-91)40.1. The illuminated access door to LICHT40.2. An agonistic view of Nature40.3. Multiple temporalities and the scenic arrangement of the work40.4. Theater music40.5. The Formal Scheme40.6. A Music without Formula evoking past Formulas40.7. A very simple writing for a very complex scripture41. Introduction to LICHT – Die sieben Tage der Woche (1977-2003)41.1. Thematic of LICHT41.2. The influence of the Urantia Book41.3. Dantesque roots41.4. A polysemic structuring of the Joycean type41.5. Recontextualizing the Opera41.5.1. The authorship of the libretto and the relationship with operatic arbitrariness41.5.2. The absence of a story and its apotheosis41.5.3. The choice of leading characters41.5.4. Multiple spaces: theatrical music everywhere41.5.5. Multiple architectures?41.6. LICHT’s Scenes as the apogee of Moment-Form41.7. The LICHT Superformula: Themes and Variations?41.8. The Superformula unraveled in its intervallic and directional structure41.9. The Superformula in its final matrix configuration and the projection technique41.10. Criticism of the omnipresence of the Superformula41.11. DONNERSTAG aus LICHT (1978-1980)41.12. SAMSTAG aus LICHT (1981-1983)41.13. MONTAG aus LICHT (1984-1988)41.14. DIENSTAG aus LICHT (1977; 1987-1991)41.15. FREITAG aus LICHT (1991-1994)41.16. MITTWOCH aus LICHT (1995-1997)41.17. SONNTAG aus LICHT (1998-2003)42. Introduction to KLANG – Die 24 Stunden des Tages (2004-2007)42.1. Farewell to Formulas42.2. From Love to Sound... and to every Moment42.3. LICHT’s synesthesia in the Hours strand42.4. The KLANG Series of 24 notes42.5. The 21 Hours of KLANG42.6. The first four Hours of KLANG42.7. The 5th Hour of KLANG, HARMONIEN, and the 1st Subcycle42.8. COSMIC PULSES and the farewell to Sound42.9. The 2nd Subcycle and the arrival at PARADISE42.10. KLANG: Stockhausen’s Requiem for himselfPOST-MUSIC43. Personæ