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Karlheinz Stockhausen DIENSTAGS-ABSCHIED flir Chor, einen Spieler elektronischer Tasteninstrumente und Elektronische Musik vom DIENSTAG aus LICHT 1991 Werk Nr.: 61 3 First edition 1995 Published by Sto SISI5 Kiirten, Germany usen-Ve Alle Rechte vorbehalten / All rights reserved Kopicren geset mm DIENSTAGS-ABSCHIED sind das Noten-Leihmaterial, das Tonband der Elekronischen Musik und die Demonstrations usen-Verlag, D-51515 Kuster, bestllba Kassette mit den Klangfarhen fr dic elektronischen Tasteninstrumente direkt beim S Eine Aufnahme mit dem) Chor des WDR Koln (Dirigent K. Stockhausen), Simon Stockhausen (elektronsche Tasteninsiumente) und Elektron Musik (K. Stockhausen) ist auf Compact ler Stoothausen-Gesamtausgabe verflenticht tnd kann chenfalls beim Siocthawsen-Verlagbestellt werden ora performance of TUESDAY PAREWELL, the rental parts the tape ofthe electronic music and the demonstration cassette with the electro Keyboard instrament may be ordered directly from the Stockhausen Verlag, D-S1S1S Kérten, A recording with the choir of the WDR Cologne (Stockhausen conducting), Simon Stockhausen (electronic Keyboard intrum 1 (K. Stockhausen s on ( Photos auf dem Umsehlag vorne und auf dieser Seite: / Photographs on the front cover and on this page manuscript: K. Stockhausen drawings: James tn Kathinka Pasve typesetting: Kathinka Pasves copyright K, Stockhausen 1998 translation: Suzanne Steph LICHT Die sieben Tage der Woche fe Solo-Stimmen, Solo-Instrumente, Solo-Tanzer / Chore, Orchester, Ballet und Mimen / Elektronische und Konkrete Musik DIENSTAG aus LICHT ist in 4 Finzelpartituren veroffenticht: DIENSTAGS-GRUSS (WILLKOMMEN mit FRIEDENS-GRUSS) LAkI JAHRESLAUF IL Akt INVASION ~ EXPLOSION mit ABSCHIED OKTOPHONIE (Elektronische Musik) Die ersten drei dieser Partturen kinnen auch fur sich allein szenisch oder quasi konzertantrealsiert werden, Fir eine Auffuhrung von OKTOPHONIE allein gilt eine besondere Auffuhrungspraxis. Eine Gesamtpartitur fur Opernauffuhrungen wird zusammen mit dem Aujfuhrungsmaterial ausgelichen Das Textbuch ist getrennt verdfentlicht. Auber diesen Partturen der Oper sind noch einzelne Teile ~ wie die vorliegende Parttur vom DIENSTAGS-ABSCHIED — veraffentlicht, die man separat in Konzerten auffubren kann (siehe Werkverzeichnis) LIGHT ‘The Seven Days of the Week for solo voices, solo instruments, solo dancers / choirs, orchestras, ballet and mimes / electronic and concrete music TUESDAY from LIGHT is published in 4 individual scores: TUESDAY GREETING (WELCOME wit PEACE GREETING) Act | COURSE OF THE YEARS Act Il INVASION ~ EXPLOSION with FAREWELL ‘OCTOPHONY (Electronic Music) ach of the firs three scores may also be performed by itself, either staged or in a quasi concert version, ‘When OCTOPHONY is performed by itself, a special performance practice applies. A complete score with the performance parts is rented out for performances of the opera. The libretto is published separately. In addition to these scores of the opera, certain excerpts have also been published ~ as the present score of TUESDAY FAREWELL ~ Which may be performed separately in concerts (see list of works). Introduction DIENSTAGS-ABSCHIED (TUESDAY FAREWELL) for choir, a player of electronic keyboard instruments, and electronic music Duration: 22 minutes, 45 scons, ‘TUESDAY FAREWELL originates from INVASION ~ EXPLOSION with FAREWELL, Act I of TUESDAY from LIGHT, Direcily succeeding the «lectronic music at the end of PIBTA and of EXPLOSION, follow the scenes JENSEITS = SYNTHI-POU and ABSCHIED (BEYOND ~ SYNTHI- FOU and FAREWELL) with choi, solo sythesizer and electronic music TUESDAY FAREWELL may be performed by isl. Near the end of the 3nt INVASION ia EXPLOSION), choir singers come mo the fom the left and right (see drawings in Performance Prac ce). At the same time, a keyboard player inconspicuously emerges fom the background and sts doin at the half-ef in semicirele of electronic keyboard instruments BEYOND follows, with stong humming in ewo calm high and low hora pars, mixed with eleetroic sounds The huanming becomes singing Tenors: "HUrantia Planeton —Solarson —Nebudon Miron Basses: “LU: Ceferrt— Invasion Rocky chrome Crystallon Tenors: Fight-Time Fight-Fright-Time Plight. Time Light-Time Basses: Fight Time Flight Tenors KAEL Spunk Basses: Fright Time ight -Time Tenor: HU HU HU War of Tein Basses: Ex-plo-sions- Time War Tenors: ter nity re Basses: efaces time effaces death efaces the aering mall ete” At the words, “faces suffering in all etemity some of the singers raise thsirarms above their heads and wave from back to font. One aller another, ‘women enter from both sides unl 3 woman fas halted behind each man, Iollng the Finger ip of one or both of bs hands fom Pend With can, Synuhi-Fou begins to ply a foutourisic solo, happy, becom. ing more exuberant with each bar, The choir singers now strongly sing agains each other in chords, and they lightly sway’ their shoulders at each chord change. Theie language sounds unknown, their gestures look like hieroglyphs. Bur i is obvious from thir expressions tht hey are amused by Symthi-Fow and admire him. Unswervingly, the women as well as the men watch Synthi-Fow, and sing along, swaying hack and forth with the chord changes: the soprano ‘ices in couner-fhythm to the tenors, an he allo voices in counter-hythm tothe basses ‘The sound sully changes to crystal timbres Syhi-Fo becomes cesta, infecting everyone with his happines [Un the end, he dances with his lon fingers on the Keys, gasps sings, svtches, plays - ~~ happy! Following the Final choir chord “Himmel the choir light oes out [At he rtardando of 13 final chow, which play by themselves, Synth Fou has sood up, and counting backwards ina high, suddenly ted voice, he pull an imaginary long finge-glove fom every finger, ossing each one in aif ferent di AU "uhyee” and “D0 he tosses imaginary huge ears away, and at “ome™ an imaginary long nose ‘Then he charmingly bows and silks out, als his lighting Fades ou, For & Jong time, the electronic music continues to turnin sound loops, becoming softer and ever soe. jon: “Thirteen ~ twelve ~ eleven TUESDAY FAREWELL was performed for the first time i the context of the quasi concert world peemize of the complete TUESDAY from LIGHT, fon May 10th 1992 at the Grande Auditorio ofthe Gulbendian Foundation i Lisbon, The student choir of Cologne University, conducted by Dieter Gut ‘echt, participated in addition to an ensemble of 35 solo singers and in Srumentaisis, Simon Stockhausen played the solo part for electronic ‘keyboard instruments. Direction and sound projection: K, Stockhausen, The staged world premlére of the entite opera TUESDAY from, LIGHT took place on May 28th 1993 atthe Leipeig Opera, (See the som prehensive documentation with photographs in the scores TUESDAY GREETING, COURSE OF THE YEARS, INVASION ~ EXPLOSION with PAREWELL.) In TUESDAY GREETING and TUESDAY FAREWELL the choir ofthe Musikalische Komodie Lips together with the Leipziger Vlensemble sng. Andreas Kom conducted TUESDAY FAREWELL. Simon Stockhausen Played the soo symtesirer part ing of TUESDAY PAREWELL with the choie ofthe WDR Cologne ‘conducted by K. Stockhausen was made from October 4th to Sth 1993, The electronic keyboard instruments were recorded beforchand from September 27th to 29th by Simon Stockhausen on the same 24-tack tape onto which the electronic music had been already copied. A detailed description of the recording and mix-down is included in the booklet of Compact Dises (GAB) ofthe Stockhausen Complete Edition The instruments and equipment used by the player ofthe electronic key- board instruments, ogcther with the 131 sounds as employed by Simon Stockhausen are described in the scores of SYNTHI-FOU and INVASION, = EXPLOSION with FAREWELL, Simon Stockhausen demonstrates and explains these sounds on CD G28) Performance Practice ‘Sound Equipment MICROPHONES ~ TRANSMITTERS Inthe first quasi concert performances, te choir was amplified using x4 cable microphones, mounted on stands atthe left and right on the tae, These microphones stood in font ofthe singers a about mouth height. For the staged performances in 1993 at the Leipsig Opera, it was planned that each choi singer would have s lipel microphone with cable 40 microphones altogether, balanced and pre-mixed backstage in 8 small mixers § groups ofS woes cach ($1 -S2-T1-T2/A1-A2-BL -B2 and circuited a signa othe mixing console tthe centre of dhe audtriam (see mixing console setting), However, during the rehearsals, the stage director and stage designer ecided that al the singers should stand ~ athe et a8 well as al the night side ‘of the sage = the women about 6 cam higher, om wowden boxes behind dhe ‘The women, who become visible ony later, ud to come in from the sides over an ascending wooden podium, and their microphones could not be connected beforchand. The cable microphones forthe women were therefore replaced by 22 transmiter-microphones with 22 transmitters and receivers, In subsequent quasi concert performances, the choir was ampliid using ‘inca 40 individual cable microphones, which were pre-mixed backstage Jno $ groups and balanced atthe mixing console atthe cence of the hall by 2x 4 faders (left choir ~ right choir) TAPE MACHINE ~ TAPE For TUESDAY FAREWELL, one track tape recorder is needed ‘Two 24-tack digital original apes <> and > ofthe electronic music of ‘TUESDAY from LIGHT ar stdin he archives ofthe Sudo for Ele tronic Masco the WDR Cologne. A analogue ot digital copy of the S-ack tape (> for TUESDAY FAREWELL or of the entire electronic muse ented OCTOPHONY may te ordered from the Soekhauen-Verag For the sound projection, 8 x 2 loudspeakers are nocessary (and in systems with separate treble and hass, 8 additional bass loudspeakers), v For the octophonic sound projection, it is best to choose a quasi cubical, circa 14 high (oe higher) auditorium with a Mat floor and ite reverberation, IF there is a baleony, then listeners should be seated neither on nor below it “The tracks 1-8 ofthe 8-track tape are circuited onto the loudspeaker groups T- VIE asin the drawing below oh bas) hs Equipment 8-track tape recorder, ‘mixing console (18 inputs, 8 outputs, 4 AUXILIARY outputs), 1852 loudspeakers (possibly plus 8 hass loudspeakers), 4 monitor loudspeakers. SPATIAL PROJECTION ‘The sopranos and tenors are projected in 4 groups (via 4 panorama Potentiometers on the mixing console) above the stage a the upper let front (loudspeakers VI-VII with 4 left-right positions), basses and altos correspondingly atthe upper right front. ‘The player with his keyboard instruments and monitor loudspeakers sts fn the stage atthe half-Ift (as seen by the audience) and arranges his in struments insoch a way that as moc as possible of his keyboards and play ing hands can be seen. With his own mixer, he mixes all outputs of his instruments to a stereo mix, which is circuited to the mixing console at the centre of the hall, ‘There, sound projetionist controls the balance ofthe electronic keyboard instruments with the electronic musi rom the mixing console, a 2-channel mix ofthe 8 channels ofthe elec= tronic masic is cncuited via 2 AUXILIARY outputs to the monitor loud speakers of the Keyboard player: channels 1-2 - $ - 6 onto his left ‘monitor and channels 3 -4 7-8 onto his right monitor. ‘The spatial projection of the solo symtbesizer part from JENSEITS bar 1 (page 3) to SYNTHI-FOU (page 9) corresponds to that ofthe electronic ‘music: upper staff on loudspeakers 1/1 V VI eft {as seen by the audience) lower staff on loudspeakers II /1V / VIL/ VII right. ‘Starting at SYNTHI-FOU, the upper staf is projected from the upper left (loudspeakers V, VI) panned predominantly tothe front. The lower staff is projected from the upper right (VIE, VI}, also panned predominantly 9 the front. They are sometimes irregularly moved from side to side by the Sound projectionist. If this distribution is not clear enough ~ depending on the acoustics ~, left could adtionally be circuited softer onto, and right could he adtionaly circuited softer onto vl cme (EUEREPER) ERECT er “en |! re meee | She os wa at le If posible, the balance ofthe 8 channels of the electronic music should bbe regulated using 2 group faders (1/ 11/1 /1V | V/ ¥I/ VIL/ Vil). OF course, the individual channels have been definitively balanced by me and in principle should not be changed; however, it depends on the height ofthe ‘upper loudspeakers if the relationship which I established in the stu, bberween the lower and upper loudspeakers, may be retained unchanged. In addition, stating with page 29 ofthe score, envelope curves forthe upper loudspeakers (E V-VIII) are prescribed, Tn any case, the upper loudspeakers should be heard exactly as clearly asthe lower ones; it should be possible to cleaey follow all vertical and 4iagonal sound movements. As the height of the loudspeakers increases (and aso due othe usually very Hive acoustics of the higher parts of au ‘oriums), it is necessary to set the dynamic level of the upper loudspeakers \V-- VI- VIT- VII correspondingly higher. The 8 channels of the choir are also regulsted via 2 group faders sopranos and tenors on the left one, basses and altos on the Fight one. The thick << and = above the choir staves (se stating at page 16) ae regu- lated by the sound projections. MIXING CONSOLE Setting For TUESDAY FAREWELL, a mixing console with 18 inputs, 4 group fa ders (master VCA), 8 sum outputs, 4 AUXILIARY outputs is needed ‘Quadrophonic Projection (only in exception tuations) Ian ocophonc, cubical installation ofthe loudspeakers is impossible, then 2 quadrophonc lowspeakrarangement may be wed (although in doing this half ofthe composed pati movements are lost), The 8 tacks ofthe tape recorder ae then circited ~ aided by panorama potentiometers ~ asf lows ont the loudspeaker groups: A This “exception” should, however, be avoid if possible. Tape When ordering Strack tape copy of the electronic music of TUESDAY fom LIGHT fom de Sicthausen- Verlag foe TUESDAY FAREWELL. tis necessary to explicitly indicate if an analogue oe digital copy is desired, and which ae is prefered: ether tbe S-track tape INVASION ~ EXPLOSION wilh FAREWELL. tape > (which begins with PIETA), of OCTOPHONY. nthe later the final fade-out i lready on the tape, otherwise both tapes For practicing, the stereo version of OCTOPHONY (Compact Dise GD of the Sock Complete Edition) my be used The tape of OCTOPHONY must he advanced t0 36°23" (from 36°18" to 36°23" isa pause) and re-set to ("a his point, Then te tape is advanced fuer o shout 9°2 The tape is stared bere (by the sound projectonist via x on the play-back machine ifs dnety next othe mixing console) and softly fade i, starting at 9°24" with crescendo to 0 dB in 20 From citea 12°57" to 13°00" (just before the entry of the choir and eyboard player) a decrescendo to -3 dB is made, s0 thatthe cca mp en trance can be heard. Since in BEYOND the keyboard p Pitches in the tape, his sounds may con ‘music and should not proteus Staring with SYNTHI-FOU, however, every note of the keyboard in struments should be clearly anible In the tape of OCTOPHONY, the final fae-out from 29° to 31°55” has already been made by me in the stu The elect Studio for nic music of TUESDAY from LIGHT was tronic Music of the WDR Cologne together with my son, Simon, from August 2rd to November Sth 1990. From November aise by me inthe van to 6th and 26th 1 30Mh 1 spied the music up to and including PIETA, and from August Sth uhough 3th 1991 1 completed the spataisation. ‘The production of the 8-wack ape is describe inthe score of OCTOPHONY, ‘Synchronisation ofthe choir The choir director sts or stands ona pedestal ~ invisible to the audience wo the right ofthe stage or inthe right wing of the stage. Wear aephones, he hears a mono-mix ofthe electronic music and solo synthesizer in one et and inthe other ear he hears mono-mi ofthe choi. He conducts the choir and symhesizer player via a camera and several monitor screens, bute of his conducting movements monitor stands next to him at is A spotlight pointed at him was faded in by te ftom the mixing console just before BEYOND, und fade out at the en f/ t 3 meni 7 Special rehearsals must be onganised for only the conductor with monitor equipment before the echeatsls with the choir Also, several rehearsals with only conductor and syhesier player must take pase 1 tape recorder with more than 8 tracks is available, a tape with the 8 usic plus a click-track spoken by me may be of- wm the Stockhausen: Verlag. Ths tape (click-tack mixed with the tricks of the electronic er earphones by the conductor and possibly als by the synthesizer player. The conductor must be able 0 adjust the levels of the left and right ea. phones separately. the organ from where see parof the cto Lighting Inall concent performances until 1995 I ako controlled the lighting by way of alight mixing console (with sliding fers) which tow tthe right next ‘o the sound mixing console Before the beginning, the lights inthe hall are slowly faded out. Only a ‘small disc of light, like & moon, remains lit atthe upper rear wal of the stage (noiseless follower spotlight at the centre of the hall next tothe mixing console) The electronic music sounds inthe darkness, Shorty before the end ofthe 3nd EXPLOSION (ctca 12°35"), the key bard player walks to his instruments in the dark, and sits down, Then, the sound projetionist operating the light mixing console, slowly fades in three spotlights aimed atthe keyboard player The tenors and basses of the choir emerge onto the stage from the back sound (in the dark) before the end of EXPLOSION, and stand in place ina ration, the alos remaining concealed behind the busses, it possible audience Choir and symhesizer begin BEYOND (13°00"), the choir spotlights ae faded in_Just before SYNTHI-FOU (at about [7 minutes), the altos and sopranos come o Highs for thean ae also faded in Begining t 28°08", the choir disappe fad out sand the choir spotlights ae The symesizer player slowly walks out to the lef (starting st 28°40"), and te spolights shin the symthesze ae extemely slowly faded out uni the end ofthe music Costumes In the Choir of Those the Beyond, the sopranos and tenors are dressed in light blue or white, dhe altos and basses in lack, The synthesizer player Synthi-Fou may be colourful dresse. Notation Electronic Music The electronic music is depicted in a simplified notation, It was composed in 8 layers, which are designated by the numerals (9) 10 (@ infront of the aves, On the 8 tracks ofthe performance tapes, these 8 layers are, however, not recorded inthe division and order notated, but rather are mixed acording to different spatiaisaions of the individual layers (described in the so 460" = In this notation ofthe electronic music, J intially lasts 60 seconds. The duration of J changes, a8 indicated in the sore 120" | = Between the vertical ines, the duration is 120 seconds. = counter-clockwise rotation with aocelerando and ritardand (QO) elocksise rotation IRR = iegula. LVM = inall § loudspeakers, AM. = amplitude modulation (AM. VAR = varied AM} FM = frequency modulation. mks . SIS = spaal movements ae paral othe pitch gl sand Sate = The scunds choot upwards ftom below between loud sem speakers T= 11 == 1V (pr sound from a diferent loca Ty loudspeaker uquare V = VE VIL ~ VIL The exact fing an skin pints are indicated inthe OCTOPHONY score \v-I- ViT-V1:] =2 looping movements altemate in space (see OCTOPHONY score). tavemay solo synthesizer part (page 3 uni the end) are nal boxes «© = lass sound (ikea harmonic The phonetic indications forthe cho should he articulated according tothe phonetic alphabet (The Principles ofthe Internati University College, Gower Street, London WCTE 68 the pronunciation of the text, the rsording with the the WDR conducted by me can serve as model Pitches All pitches sound as notated, Aa accidental $or b applies only to the one note it immediately precedes $ = accidental applies to the repeated pitches. + n°" = pu paral upper cetave FE= = micro-ptch steps between GF and DF ‘Time Notation for the Keyboard Player ome temp 4. = time-signature indicating 4 7 = erace-notes should generally be broad and not softer than the staccato always short All measured durations must always be held for ther entire duration, if There isa tape with beat and bar-counting (spoken by K. Stockhau sen) forthe 3nd INVASION nl the end. The player of SYNTHI-FOL and the choir conductor can practice exactly syachronsing themselves, Further Indications a Ubersetoung der Spiclanweisungen, Die Ubersetzung der Spilanweisungen liuft systemweise von oben nach unten, Begriffe werden nus einmal pro S le ubersett. DIENSTAGS-ABSCHIED ‘Translation ofthe performance instructions The performance inteuctions have been translated stave for stave, from top to bottom. Instructions are translated only once per page. Seite / Page 1 Pasta eg be 00 SSpurTontand INVASION ~ BX. PLOSION mit ABSCHIED Band <> (OKTOPHONTE > Te) - us 8:Spur‘Tonband INVASION — EXPLOSION mit ASCHIED Band © oder das” 8-Spur-Toaband OKTOPHONIE 2 Teil (36°25 ee 000") wind vor 9°24" gestae, nde 926" kee singebende it ‘recendo Ws 0dB ia 20 on e412°57° bis 13°00" wird ci Decrescendo 2a 3.8 geese 2 Shen tr. ceva ngs als Sur @) Die CTL-Spur des 24-Spur-Origie saandes © hspinot mit 3 Min ‘ud ist be allen folgenden Zeitanga- ten 3 Min yoru. Yq tegen Co toga Oo «46 angeboten Yon Hand OBEN «+ UNTEN ana ‘neg. silioh ae IRR see lang ern, 1 extrem angsarer Tiler wie Fg Seite / Page 2 Alsen orden ganven Akkons VIL I abwochsclad gegencinander ral at Gis. OBEN +» UNTEN Sehise IRR saceoto schnell Kubgeriushe Inala, Wassereopten IRR Kutgerusche serporir @), ster a 1/1 Seite / Page 3 (Esse eee Syathesizer-Solo (Band > 13°00 bissr'ss*) Sear ning ogi a -00" S.inck tape INVASION ~ EXPLO. SION wit) FAREWELL, pe <> COCTOPHONY, put) ‘The Strack tape INVASION = EX- PLOSION wit FAREWELL pe the Soak tie OCTOPHONS Pu 3 (26:27 = ce 000") sae ‘efore 9°26" and soy faded in a S°24" with cetcendo so 0 in From cia 12°57" 10 19007 2 ecrecende cic 3 i mak wo fp lean ower than ack@) “The CTL. ack ofthe original 24 tack ape G> begin wiih 3 min and is 3 min. seal at all the following time indications, vow Oo Level abet 6 Manually stick ABOVE ++ BELOW and sdemaye ep IRREGULAR very sow ovenione gland IRREGULAR extremely sow til II stigey apse oo ne anther i eration parallel with glssnio ABOVE + upheat shore IRREGULAR staccato fst Ksing IRREGULAR hsing- iss temporary @- tate on sata aine Sutee 31s") C Seite / Page 3 (Forts. / cont.) JENSEITS Seiten 3s 8) ~ ABSCHIED (23-36) Sele 107 Aosta lech auschig) inn gcaichete Hullhuren im Tonbund geez. Singen Alstinenanstlle vor Coo tra-Tenaten, so bleiben se by hire sor SYNTHIEFOU unsshhar bite Sen Bison Contra -Tenre inks Tene rests ise summon mit fenen Lippen af. Tonafngeakzentier Tonband = * Sind eine Conra-Teie vorhan- sn, so ingen Altstianen die unter nove Oktve Toba und Soo-Sya, IRR langsam Kuberiusche, Wasser tropfen ua w AUF IRR Fasc ser. OBEN «+ UNTEN (HUNTEN) Seite / Page 4 ‘oaband <= = (chon gree) mw AUF Seite / Page S “Ten, bla E> langfrben 3 und $24 1 und 2 in asgeblenet Seite / Page 6 ‘Mixuparteen bs 7.42 w BEYOND (pages 3108) SINTHI-FOU (9-23) TAREWELL 23-36), loop 107 (slighty sing) eon repute inthe te 1 alos sing instead of couse: tenor, then they remain invisible bend he Rasen unis belo SYNTHI-FOU. uses athe ight naming wit ips open crea f begining of ots ascemtted ‘ope 1 ere ace no counter ens, altos sing he wer octane nates lupe and solo mtbesze pet IRR stow hissing-oises, water drops cLoseD opex IRREGULAR time change sllerating ABOVE + BELOW (REAR) tape <> (aveaty repaaed) eLosen ove “Tenors remain on E Sounds 3 and 4 faded in, added 10 faesout ratre-paraies an bar 42 cuosen Seite / Page 7 oben ets leer Konsonanten sehr laut Tonband < > (schon geeget) AUF Seite / Page 8 ‘en. ble, ‘Tonband < > (schon perege) bers System fe Solo-Syn, a ih (ie Hat) Seite / Page 9 Scheite 13° Dic 4 Stimmgrppen sollen gleich lant king. Desh rssen si je tach Lage aigepichen wenden. Die Sopranesingen die hohen Tine mur ‘nfs mp nd wechseln sich ab. Bet TEL, (ee [a] Mundwiket note en sonst de Tone snk. tins § recht mur Al links Contra -Tenee mit Teen recht Basse imme oh ark Salo sehr leicht, gai Megend (Hate-Pedat ab bier verenzet komische Klinge ingefgt('Spehile', apace ina ders Pinger‘) (OBEN ++ UNTEN ater, Trompuenion mit 6 subbarm. Tien utreeim.verindert Seite / Page 10 suspiclen ‘Gis, Seite / Page 12 lis mit Ansehigen Klanaarbe unbestim Seite / Page 13 rach Unterbrechang_ ines Tones ‘Weick mit cetendo eingetoen voter stmen sls cag Sek vt. oe Glsand Seite /Page 14 Akkord-Gtissndo fangsam IRR. Seite / Page 15 Tatsclige Dick geaschneteHkurven reget der Klngreiseur. upper voices lig softer consonants very oad tape < > (aredy regulated) OPEN “Tenor remain, tape < > (already reputed) upper af for sol ym a ib, (70ch reverberation) Joop 1 ‘The 4 voice groups should sound sully loud. Therefore they mast be balanced depending on repser The Sopatos sin the high ates only mf tmp and reieve one anther. At (el [tel (3) aw op the comers the mouth othersize the pitch all. atte sopranos stright only alos tet counter-tenor wth ens ses atthe ight tnses always very oad solo sythesier| vey lig racy ying (sai peda) From hereon isolated comical sounds (Ceamblng den, “space invaders inball machin (“figper"V et) are nner [ABOVE +> BELOW alterating trumpet tone with 6 sob-bamonic tones reel changed Phy out for piasando slisando with atacks ndefned inte Mier note has been inte, softly re-enter wih racendo, Breathe previousy slsando crc major second possibly without lisandé chord alistndo Slow IRREGULAR, eats inthe bar Ampliode envelopes drawn vith thik ines af be epulaed by the Seite / Page 16 Diese Crescendi-Decrescendi fr den ganmen Chor rept der Klan regisiew mit einem VCA-Resler ca. £5 dB oder meh Sie beiehen sch taf den. Syntesizer Digest ond (Chor bertcsicigen si nicht, sete Seite / Page 17 ‘Trempli INDIVIDUELL langsan RR 1. Tene leer Seite / Page 19 alles lagen asen ingen sen Seite / Page 21 ‘Temoli INDIVIDUELL lang IRR ede Systeme pec aut ‘Akzente mit Pps! Seite / Page 22 (nit. Seite / Page 23 (Gasca) Sparen @ nd ) mehmals tang stm LINKS-RECHTS peau. Scheie 9 [Akhord AMCca 9s. (Gas Sample AM-FM-Fiterod ea hse mit ibrato und eee Tonbten- Schwankangen (ot ohne Gis.) Doppel-Rot.4.5° Seite / Page 26 Krill Farbe Krill Farben ‘ir2. Gis AM und PM (keine Interval wn E) aleatorsch mation in Fach geblasen Seite / Page 27 ‘Akkord Sek Iangsan IRR. Page 28 sezogenes Gas Akhord Sok L Hat ‘These crescendl-decrecend fot the centre choir * 5-48 (or more) are made bythe sound projections wing 2 VCA fader. They teat 10 the Synthesizer Conductor tnd choir do ot pay stenton oto fase INDIVIDUALLY, sing slow remot! IRREGULAR steno softer Let everything sound, Let sound INDIVIDUALLY, sing slow remot IRREGULAR both staves equally load cent with fot pa onion ot STFS) " heore FAREWELL) (tt it = 6) TAREWE treks (D and @) lowly exchanged several ines LEFT RIGHT oop 9 chord AM cite 9 per second las sample AM-FM of fille, cca 12 pesecnd with [~~ bra and sph pitch deviations (possibly witout gtisando) Payout double ation 4.5" cyst inbre| crystal timbres for 2nd plisando softer AM and EM (ml intra around) ‘modulated aleatoricaly ‘own ino ahotle ‘hod ransposed minor second | slow IRREGULAR, ss pulled (cross srace) hor wanspsed minor second reverberation Seite | Page 28 (Forts. / cont.) rial Fake eset Gas urd Hale Ales rit Fatestse locke. Abzeme (Kuang INVASION 16°55") AM Rawchen Doppel-Rot.lngsamer Krisal- Farben Gasser eich Glock, lekton, mit ang ine Fierhurve Seite! Page 29 Unters nc stacato EV-Vit (oben) ante esr Seite Page 30, Ce Sopan ou ie Hate ‘remo INDIVIDUELL angsam wR Seite | Page 31 ausspilen Seite | Page 32 uch Unerstinine oktvien mah oben West ots slr) [he] (Muntwiake sh) Seite | Page 35, ‘remo INDIVIDUELL langsam mR Seite / Page 36 Tonhand sh ang egela == DP bis 31°35" schnell 15, bei 1M 2s Glrissraa" Micipult-Lampen ausblenden Marcirosel auf 2° wint a low dtc Taste EO Auten, sychton mit den Aor. en Zablen mit ober Senin ule, bet jeer Za 13 is nen Hand ‘shah: Finger ausoichen und wepswer fen, fei 3 lnkes Ott be 2 recon (ts, be 1 die Nase. 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