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High Quality Content by WIKIPEDIA articles! Process music is music that arises from a process, and more specifically, music that makes that process audible. Although today often used synonymously with minimalism, the term predates the appearance of this style by at least twenty years. Elliott Carter, for example, used the word "process" to describe the complex compositional shapes he began using around 1944 (Edwards 1971, 90?91; Brandt 1974, 27?28), with works like the Piano Sonata and First String Quartet, and continues to use down to the present time. Michael Nyman has stated that "the origins of this minimal process music lie in serialism" (Nyman 1974, 119). Kyle Gann (1987) also sees many similarities between serialism and minimalism, and Herman Sabbe (1977, 68?73) has demonstrated how process music functions in the early serial works of the Belgian composer Karel Goeyvaerts, especially in his electronic compositions Nr. 4, met dode tonen (1952) and Nr. 5, met zuivere tonen (1953). Elsewhere, Sabbe (1981, 18?21) makes a similar demonstration for Kreuzspiel (1951) by Karlheinz Stockhausen. ... Read more

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subterranean silences, order from chaos
this is a fairly exhaustive analysis of one of the more distinguishable pieces of Stockhausen's various 'Klavierstuck', He wrote the first 11 in fairly quick succession throughout the Fifties culminating with this Tenth piano piece, and the poster-size-like Eleventh Piano Piece, with indeterminate structure, unfolding as the pianist wishes with some suggestions from the composer.Those piece afterwards came to be fragments in his massive opera for each day of the week LICHT, sort of franchising them out,to work either within the opera, as #13 in 'Samstag', an accompaniment to Luzifer's aria, half n'hour roughly, or to be projected as solos.There is one #16 I believe for DiskKlavier, where you can ask a program from the Stockhausen Archive to play with you as you mount variouselectric keyboards.

Henck studied all these "pieces" that he has played in Europe and recorded with Stockhausen. This massive Tenth was premiered by Fredric Rzewski at the Palermo Festival in 1963.And still to me plays the hell out of it; understands the energetic impetus of the work more than anyone.
The work's length is fairly indeterminate in that the pianist performer needs to select a tempo and then stick to it, sliding and acceleratingdurational means in and with and away from it per the horizontal lines that encompass the linear arrays Stockhausen provides. Bernhard Wambach plays this piece circa 8 minutes longer than Rzewski, and Kontarsky someplace in between.Ellen Corver,Florent Boffard and Frank Gutschmidt also play it,at slower tempi; I think the piece works best at a fast accelerated tempo, to draw and solicit upon the work's conceptual cognitive irrationalities. It can be quite exciting.

The analytic focus for Henck was to chart and have a vision of the workstotality, its structure and disintegration processes at work, usually bundled with the choice of tempo. The "materials" of the work are numerous but the "iconic" dimension surrounds fast cluster glissandi,played with the palm of the hands, silk gloves with the tips cut out is useful, but not necessary if baby-powder is used sparingly, the glissandi represent the more noise-like aspects of the works with entire forearm clusters as well.There is a gradation that Henck traces from three notes, to plam-clusters, to full hanf clusters, to forearm clusters;all quite momentious is power and mystery; The work is interested in extremes of timbre,where lectronic music thinking certainly impinges the concpetual framework of the piece; where pitch and lines disintegrate into noises,(glassandi,clusters, AFAP lines) in that the linear lines are extremely fast, they represent delicate, gentle noises themelves, also at tork here is the use of silences, like a subterranean element of the work, that even when you are not playing the work persists in playing itself in your mind. Robin Maconie writes about this. Henck here traces all these materials, how often things occur, when they occur in what context.
See Florent Boffard has a nice introduction to the creative contours of the work in the Internet. ... Read more

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High Quality Content by WIKIPEDIA articles! In music, serialism is not only a technique, method (Griffiths 2001, 116), "highly specialized technique" (Wörner 1973, 196), or "way" (Whittall 2008, 1) of composition, but also "a philosophy of life (Weltanschauung), a way of relating the human mind to the world and creating a completeness when dealing with a subject" (Bandur 2001, 5). "Serial music" is a problematic term because it is used differently in different languages and especially because, shortly after its coinage in French, it underwent essential alterations during its transmission to German (Frisius 1998, 1327). Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though his contemporaries were also working to establish serialism as one example of post-tonal thinking (Whittall 2008, 1). ... Read more

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This is a piece for five woodwinds bearing Universal #UE12697 ... Read more

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Blast from the Past
Karl Worner and more recently Robin MacConie have written well of this work, it was a super-charged short classic in the Fifties, post-war avant-garde; Stockhausen here re-visiting the classic genres of the Woodwind Quintet,and accelerates the terms of virtuosity for its time; however here he eliminates the French Horn and replaces it with an English Horn, It may bemore interestingly as a thornier timbral choice, each instrument have their own uniqueness-es, but the more reedy,nasal Eng. Horn lends more a full modern relief to the overall sonority.The Horn would have blended the proceedings more. And there are great abundances of pointillisms herein,with the Clarinet reaching all over itself in all registers, likewise the bassoon, Oboe and Flute.It would have been interesting to have doublings with the Contra-Bassoon, and the Bass Clarinet, but I suspect there was no one to play the complexities.
The agenda here is to reveal gradations of differing speeds of linear ideas,pulses than expand like a balloon and contract so you have like temporal durational "swells" and "surges", then "recessions", and envelopes of time slowing down. We never really perceive these transformations(some may) for your attention is draw to whatever is moving,and who what follows the ascending line; read Henri Bergson, or Dan Dennett on the perceptions of memory and time,. It is curious what you actually recall when you experience this work, I always recall the Bb Clarinet, to the point of singing it in real time back to you, and the bassoon, you are as well drawn to highr register ideas, that's why they, (parents) give high pitched rattles and contraptions(toys)that make noises to infants to draw their attention to shutting up, or adults certainly gets sparks in the brain when high pitched kitchen cutlery is heard, banging,clanging plates and spoons together.Stockhausen had then utilized these processes in his larger works as the :Sixth klavierstuck: that is accompanied above the piano system by a graft of ten lines revealing the gradations of tempi. This is however a very exciting work trying to decipher all the marvelous complex counterpoint.And the denssities, when they come together and when they are exposed. Boulez with the Domaine Musicale in Paris in the Fifties regulary performed this work,.It needs a conductor. It makes for a grand etude for ear training or sight singing. You will not be disappointed. ... Read more

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indeterminate beginnings
dedicated to the marvelous pianist David Tudor, for which much of the avant-garde piano music from the Fifties would be inconceivable.The first performance by Marcelle Mercenier was stopped because of audience reactions and disturbances.

Above the staff system of the piano here, Karlheinz gives a grid of tempi,"time fields" metronome indications to the extreme left margin, then a fluid like line accompanies the music above, where the performer is to follow this and have this fluid uninterrupted conception of time progressing.In reality you divide this grid into three regions, slowest, middle and fastest, for metronome indication of a few number differences cannot be conceived now, perhaps at some future date,when the human species evolves more.
The music materials without this tempi grid as well is quite difficult with a large array of timbral usage, harmonics, swirling textures, mixed textures, sustained combined with sharp single tone attacks, the work has a beauty.There is no shortage of recordings,vintage David Tudor, Herbert Henck, Kontarsky, Ellen Corver. ... Read more