Karlheinz Stockhausen - Klavierstück I | Текст песни

• Тексты песен
• Karlheinz Stockhausen
• Klavierstück I

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Klavierstück I, for piano (1952)

Herbert Henck, piano

This brief piano piece, the first of a set that would require about two years to compose, is clearly a byproduct of serialism in texture and overall sound. The approach of this work is one of flung gestures that are identifiable by their rhythms and manner of attack. In essence, it is cumulative music contained in a closed system, hardly fluid, but interesting in a way that can be heard in a manner comparable to the fugues of J.S. Bach. The way in which the concurrent lines of a Bach fugue can be heard as associative to one another, Stockhausen's gestures build to create a web of meaning by their relations of harmonic and rhythmic intervals. The distinction is that this manner of listening is primarily vertical in Bach, while Stockhausen's Klavierstück I is heard horizontally. It is a stringent syntax, and famous for the challenges it presents the listener and performer. Anyone who tackles the material should not feel discouraged if the work seems genuinely unapproachable. It is tough stuff, but it is also rewarding. Few, if any artists of the twentieth century can equal Stockhausen's legitimate claim to the title of avant-garde composer.

This is hardly a promotional tactic on the part of the new music community; almost everything the German composer has published has broken some new ground. Though his powers seemed to be dwindling at the end of the century, his catalog as a whole, enjoyed by a small minority of connoisseurs, continue to champion his trailblazing output. Klavierstück I is a work that can be enjoyed by anyone who prefers to listen actively rather than passively. (This last point is particularly true; no one composer's works is so ill-suited to background music as that of Stockhausen). The difficulties of becoming at ease with the material are not particularly different than coming to terms with the prose of James Joyce or Raymond Federman. For those who enjoy the challenging horizons of art, this small work for solo piano is exactly the sort of stuff that makes the ears work. The result can easily elasticize the musical conscience of the listener and supercharge the imagination of the listener. The first four of these works are dedicated to Marcelle Mercenier. [allmusic.com]