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Topic: Kreuzspiel

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	Music 680, Fall 2005 - Lecture 2
		Music 680, Fall 2005: Special Topics in Music Theory - Algorithmic Composition Lecture 2: September 19, 2005 - Serialism I: Stockhausen Stockhausen, Darmstadt, and Kreuzspiel "the shock of the encounter with Messaien and Goeyvaerts is all there in the leap from the from the Sonatina for violin and piano, completed soon before, to Kreuzspiel...
		One might even speak of a conversion, specially when what exhilarated both Stockhausen and Goeyvaerts was the spiritual dimension of their work: the possibility of liberating, more than creating, sound structures which would have nothing human in their composition, which would be images of divine unity.
		Kreuzspiel flies free from the thematic-harmonic continuity that Schoenberg had wanted to preserve, and does so not by punishing that continuity, as Boulez had done, but by ignoring it." -- register as a crucial counter-example here?
	www.uwm.edu /~cburns/680-fall-2005/680-lecture-02.html (249 words)

	Kreuzspiel - Wikipedia, the free encyclopedia
		Kreuzspiel (Crossplay) is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and three percussionists in 1951.
		Kreuzspiel premiered at Darmstadt in the summer of 1952 where, according to Stockhausen, the work "was violently interrupted by the public." With characteristic bravado, he claims, "I knew when I wrote it that it would sound like nothing else in the world."
		This page was last modified 10:31, 27 August 2006.
	en.wikipedia.org /wiki/Kreuzspiel (93 words)

	The Music Show - 11 October 2003 - Karlheinz Stockhausen
		Andrew Ford: You mentioned 'Kreuzspiel', a piece from 1951 which is really your kind of Opus 1 it seems to me, the piece where Stockhausen first announced himself as Stockhausen.
		We can hear in a piece like 'Kontra-Punkte' for instance, that the points of sound which were also there in 'Kreuzspiel', and you've just mentioned your work in the studio of course as a composer of electronic music.
		I mean even' Kreuzspiel' is a star piece in a way, but 'Sternklang', 'Ylem', 'Sirius', and indeed 'Zodiac'.
	www.abc.net.au /rn/musicshow/stories/2003/1012737.htm (2893 words)

	Stockhausen - Advice to Clever Children
		I Composed Kreuzspiel, or Crossplay [1951], and I knew when I wrote it that it would sound like nothing else in the world.
		People were quite upset when they heard it for the first time at the national summer courses for contemporary music in Darmstadt, where I conducted the piece; it was violently interrupted by the public.
		For example, space exploration in music is one line, then sound- and word-relationship is another line, from the beginning until today, then the discovery of polyphony in many-layered composition is another line ; and that is what is essential, the discovery of sounds which are derived from formulas for particular compositions.
	www.sinologic.com /newmusic/stockhausen.html (2829 words)

	[No title]
		At the end of my studies I wrote a piece called KREUZSPIEL, 'Cross-Play', which was performed in public at Darmstadt the following summer.
		I never considered these as compositions: I was extremely conscious of the difference between imitation and originality, and much too intellectual to accept these plagiarisms of mine as original works, so studies in style they remained.
		KREUZSPIEL did not just fall out of the sky.
	www.muw.edu /honors/points.htm (2257 words)

	The Rambler
		Stockhausen had to be in here really, although it was tricky at first to choose a piece of his music post-1960: the music of his that I most enjoy (Kreuzspiel, Gruppen) dates from the 1950s, making it practically antique.
		Kreuzspiel, for example, is remarkable as one of a handful of genuine works of integral serialism, and possibly the only one that occupies a listener-friendly soundworld (twelve-note bongos are surprising effective).
		However, it also reveals a profound limitation of pure integral serial composition: once you've sussed the patterns (and they are easily discernible here - just count the number of bongo beats to get one of the 12-number series) there's not much else to hold your attention.
	johnsons-rambler.blogspot.com /2004/07/music-since-1960-stockhausen-hymen.html (1355 words)

	classical music - andante - getting him to talk is never easy(but when he does ...) -karlheinz stockhausen
		Described as an exercise in musical pointillism, Kreuzspiel was, he has said, 'influenced by the Einsteinian concept of the universal formula and also by Walter Gropius and Le Corbusier, whose modular theory is very close to the thinking of serial music'.
		It is no surprise to learn that, apart from his artistic directorship of the celebrated electronic music studio of Westdeutscher Rundfunk [WDR, or West German Radio] (1963–77) and his professorship of composition at the State Academy for Music in Cologne (1971–77), he studied phonetics, acoustics and information theory at the University of Bonn (1954–56).
		In early works such as Kreuzspiel, Punkte (1952) and Kontra-Punkte (1952), the idea of liberating musicians from the constraints of gravity is there.
	www.andante.com /article/article.cfm?id=26156 (2164 words)

	[No title] (Site not responding. Last check: 2007-10-22)
		The first work written with the unmistakable imprint of Stockhausen as the composer he was to emerge is KREUZSPIEL (Cross-play) from 1951.
		It is a serial work, and Stockhausen used and extensively further developed serial parameters in his compositions (going far beyond the traditional pitch series from earlier serial music).
		From KREUZSPIEL (1951) on, which produced a scandal at its first performance, Stockhausen became the archetype of progress in classical music for many, and the scary bogyman of classical music for many others (keyword chaotic plinky-plonky music).
	home.earthlink.net /~almoritz (1740 words)

	Karlheinz Stockhausen - Encyclopedia.com
		Stockhausen's unique approach is well illustrated by his composition Gruppen [groups] (1959); in this piece three separate orchestras, each with its own conductor, play simultaneously; sometimes their music coincides; sometimes they play against one another; sometimes they play antiphonally.
		Among Stockhausen's other compositions are Kreuzspiel (1948); Kontrapunkte No. 1 (1953), for 10 instruments; Kontakte (1959), for electronic music; Stimmung (American premiere, 1971), for voices; and Jubilee (1981), for orchestra.
		His monumental Licht [light], with a separate opera for each day of the week, was begun in 1977; completion is expected early in the 21st cent.
	www.encyclopedia.com /doc/1E1-Stockhau.html (779 words)

	Well worth the stretch
		Here and in the 1951 "Sonatine," the young Stockhausen pays his debts to Alban Berg: From the meandering piano to the violin's simple, heartbreaking solo, there is heart as well as wild experimentation.
		The jazzy, downright spooky "Kreuzspiel," also from 1950, brings to a close this first chapter in one of the most entertaining and challenging musical adventures of our time.
		The recordings were originally on Deutsche Grammophon but went out of print and were repossessed by the composer.
	www.sfgate.com /cgi-bin/article.cgi?file=/c/a/2003/01/19/PK161870.DTL&type=printable (618 words)

	Karlheinz Stockhausen - Music Downloads - Online
		Born outside the city of Köln (aka Cologne) on August 22, 1928, Stockhausen studied at the Cologne Musikhochschule from 1947 to 1951; influenced by Olivier Messiaen's Mode de valeurs, he began exploring long-range serial composition, a process he first tackled in 1951's Kreuzspiel and the following year's KontraPunkte, both written for piano-based ensemble.
		While working on the latter he travelled to Paris to study under Messiaen himself, and it was there he first delved into electronic music.
		Remaining active as the century drew to its end, he was celebrated as a trailbrazing force behind the rise of contemporary electronic music -- while still primarily a cult figure, Stockhausen's place in 20th-century musical history is nevertheless assured.
	musicstore.connect.com /artist/bio/112/583/47/bio-11258347.html (592 words)

	Stockhausen: Advice to Clever Children
		People were quite upset when they heard it for the first time at the national summer courses for contemporary music in Darmstadt, where I conducted the piece; it was violently interrupted by the public.
		For example, space exploration in music is one line, then sound- and word-relationship is another line, from the beginning until today, then the discovery of polyphony in many-layered composition is another line ; and that is what is essential, the discovery of sounds which are derived from formulas for particular compositions.
		Going back to Kreuzspiel - that was around the time you first started using technology...
	cara.gsu.edu /courses/MUS_COMP/stock.html (2954 words)

	VARIATIONS Sound Recording bah0829 (Site not responding. Last check: 2007-10-22)
		Stockhausen, Karlheinz, 1928- > Kreuzspiel, fur Oboe, Bassklarinette, Klavier und drei Schlagzeuger.
		Stockhausen, Kreuzspiel for Oboe, Bass Clarinet, Piano and Three Percussionists
		Use of this copy is restricted to authorized computers at Indiana University.
	www.dlib.indiana.edu /variations/html/bah0829.html (90 words)

	La Folia -- Stockhausen’s Helikopter-Streichquartett
		Scores, recordings, videos, posters, etc., fetch a high price — the exchange rate notwithstanding — though they come with detailed and colorful notes and annotations that are Stockhausen sanctioned.
		Stockhausen place in the history books of the 20th century is assured through such classic works as Kreuzspiel, Gesang der Jünglinge, and the several Klavierstucke.
		The Klavierstucke are available in several recordings, though Kreuzspiel, Gesang der Jünglinge, and other works which originally appeared on DG are out of print.
	www.lafolia.com /archive/covell/covell200004helikopter.html (689 words)

	PHILHARMONIC: SHANKAR'S 'RAGA-MALA' - New York Times
		Mehta, understandably eager to devote as much rehearsal time as possible to this complex commissioned world premiere, replaced the originally scheduled Haydn Symphony No. 98 with Beethoven's ''Leonore'' Overture No. 3, neatly and solidly done.
		Before the intermission came ''Kreuzspiel,'' an early (1951) total Serialist piece by Karlheinz Stockhausen.
		It has a certain visceral appeal, but it seemed, with its six players, to be an odd choice for a symphonic program.
	query.nytimes.com /gst/fullpage.html?res=9B03E5DD1738F936A15757C0A967948260 (431 words)

	Karlheinz Stockhausen (1928- ) (Site not responding. Last check: 2007-10-22)
		In 1950, he wrote his first piece Chöre für Doris for Doris Andreae, who he married in 1951.
		The same year, Stockhausen premiered what he considered to be his first substantial work, Kreuzspiel, which employed serial techniques.
		It was also his first piece to employ sound projection (four microphones and speakers).
	www-camil.music.uiuc.edu /Projects/EAM/stockhausen.html (558 words)

	The Ensemble Sospeso - Karlheinz Stockhausen
		Serialism (music based on a series of tones in an ordered arrangement without regard for traditional tonality) was a guiding principle for him.
		But whereas composers such as Anton Webern and Arnold Schoenberg had confined the serial principle to pitch, Stockhausen, beginning with his composition Kreuzspiel (1951), set about extending serialism to other musical elements.
		Thus, instrumentation, pitch register and intensity, melodic form, and time duration are deployed in musical pieces that assume an almost geometric level of organization.
	www.sospeso.com /contents/composers_artists/stockhausen.html (683 words)

	Zactly Whut (Site not responding. Last check: 2007-10-22)
		I Composed Kreuzspiel, or Crossplay [1951], and I knew when I wrote it thatit would sound like nothing else in the world.
		People were quite upset whenthey heard it for the first time at the national summer courses forcontemporary music in Darmstadt, where I conducted the piece; it wasviolently interrupted by the public.
		So it depends just where you touch my musical mind, and I will showyou how many, many lines are running in parallel and crossing each otherconstantly in different compositions.
	www.zactlywhut.com (3937 words)

	Karlheinz Stockhausen
		Between 1947 and 1951 he attended the Cologne Musikhochschule, but it was his attendance at Darmstadt (1951) and the subsequent years studying under Olivier Messiaen at the Paris Conservatoire that had the most significant impact upon his musical development.
		During this period he began his exploration of serialism and made his first ventures into electronic music -- the former first realized in 1951's piano-oriented Kreuzspiel and followed by KontraPunkte in 1952.
		Although he achieved some recognition with these earlier works, the piece that fully established his reputation on an international scale was the 1956 magnetic tape composition Gesang der Jünglinge, created after the completion of his studies in Paris.
	www.nndb.com /people/169/000057995 (736 words)

	Classical Net - Basic Repertoire List - Stockhausen
		He was initially influenced by the music of Anton Webern, and by serialism (a method of composing non-tonal music).
		He studied under Olivier Messiaen in 1952, and his early works, like Spiel and Kreuzspiel, show the influence of both these masters.
		He was one of the first composers to write electronic music, having first studied phonetics and information/communication theory at Bonn University.
	www.classical.net /music/comp.lst/stockhausen.html (669 words)

	HODAD STRUT
		Disk one featured their Darmstadt creation, Beans, followed by a Lance Boyle original, Wax My Woody (On the Autobahn), with him reciting gibberish through a bullhorn in a Belgian accent that convinced most listeners it was something by Serge Gainsbourg that they had somehow missed.
		Disk two was occupied by a dance mix of Karlheinz Stockhausen's Kreuzspiel, driven by a hip new disco/surf beat with Lance jamming on bongos.
		Of course Scab and Lance are claiming The Disco Surfers Bumpus Rumpus as their creation entirely and are splitting all the royalties 50/50, so Itchy, Rat and Melvyn are suing them, meanwhile gigging around Ohio as the Real McBoogers and doing their own version of the song.
	www.invisibleguy.com /hodad.html (599 words)

	STLtoday - Entertainment - Music (Site not responding. Last check: 2007-10-22)
		Webern's "Concerto for Nine Instruments" challenged the musicians by calling on them to play more softly than was really practical at times, and challenged listeners with its squeak-squawk argumentativeness.
		Stockhausen's "Kreuzspiel" ("Crossplay") was more interesting visually than aurally; it would help if the chairs could be staggered just a bit so that more in the audience could see the musicians.
		Three percussionists were arranged around the piano, itself in percussion mode, and two wind players off to the sides.
	www.stltoday.com /stltoday/entertainment/reviews.nsf/concert/story/1638A5EE15BF9C03862570AE00657480?OpenDocument (412 words)

	La Folia -- Stockhausen is Invisible
		To get complete recordings of the music that got Stockhausen into the history books (Kreuzspiel, Gesang der Jünglinge), you would have to go to right to the source at Stockhausen Verlag.
		There’s a teasingly gutsy Kreuzspiel excerpt on Montaigne’s Passport to the 20th century (Auvidis Montaigne 780518), a single CD of excepts picked by Pierre Boulez to illustrate what he considers essential characteristics of 20th century music (music by Ligeti, Varese, Stravinsky, Berio, Webern, and of course Boulez are featured).
		I thought he died in the 60’s!" But maybe not if Stockhausen Verlag were to stock-up endcaps in several Towers and HMVs with recent CDs, flood college radio with promos, and let Dover Publications reprint the Klavierstücke and Kreuzspiel.
	www.lafolia.com /archive/covell/covell200011stockhausen.html (2349 words)

	Compositions, Michael Scott Cuthbert (Site not responding. Last check: 2007-10-22)
		If I were to give the generating of the group and it is like the meaningless expression Stefan George Perle where the first and the amplification close our ears to the teacher who never would let me get out of step.
		Think of Reich's work Eight Lines or Kreuzspiel of Stockhausen, or as an extreme Satie's Vexations.
		The musicianship of Bang on a Can allows all these digressions to be at the unison might switch suddenly so instead they are moving in parallel motion at the front of the but always with a hint of order.
	www.myke.trecento.com /compose/boac/notes.pl (123 words)

	KarlheinzStockhausen < Hiaz < TWiki (Site not responding. Last check: 2007-10-22)
		And Herbert Eimert said: "You must make a night programme out of this Bartok thesis without fail." He went on to ask me if I wrote music myself.
		I told him I did and showed him Kreuzspiel (Crossplay), which in December 1951 had conducted and recorded on the radio myself.
		This was the start of a different music.
	web.fm /twiki-bin/view/Hiaz/KarlheinzStockhausen (890 words)

	MTO 2.5: Castine, Review of "The Beginnings of Serial Music"
		The first problem was clear before the series began: the planned performance of Goeyvaert's Composition No. 2 had to be canceled because the instrumentalists required to perform the piece could not be found among the students of the Berlin Hochschule der Künste (HdK).
		Similarly, a closing concert that would have included Webern's Concerto for Nine Instruments, Nono's Polifonica-Monodia-Ritmica, and Stockhausen's Kreuzspiel was canceled.
		This is a disturbing state of affairs, particularly since there are doubtless students at the HdK technically capable of playing the music, and comparable programs have been executed successfully in the past.
	mto.societymusictheory.org /issues/mto.96.2.5/mto.96.2.5.castine.html (1936 words)

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