Karl hei nz St ockhause

KL A VIERSTOCK
EX A M EN vom DONNERSTA G au~
al s Kl avi ersol o
1979/83
Werk Nr.: ex 49~
~arlheinz Stockhausen
VIERSTOCK XII
vom DONNERSTAG aus LICHT
als Klaviersolo
1979/83
Werk Nr.: ex 49~
-----
PIANO PIECE xn
EXAMINATION from THURSDAY fromLIGHT
isthe 3rd sceneof Act I, MICHAEL'S YOUTH of the opera THURSDAY from LIG
The original version ispublished asaseparate scoreentitled
EXAMEN
(EXAMINATION)
for
Tenor, Trumpet, Dancer/
Basset-hom, Piano/
Jury: Soprano, Bass, 2 Dancer-Mimes asspeakers/
2Tapes,
which may beperformed by itself, with or without Jury and tal
This scene, with the aboveparticipants, isalso included inthe scoreof the entire fIrst act, MICHAl
In 1983, I rewrote this EXAMINATION as a piano solo "Pour Ie Printemps Musical de Vernier". It fIts ir
for solo piano asPIANO PIECE XII. It isdedicated to my daughter Majellawho, aspianist, has worked w.
Performance Instructions
PIANO PIECE XII should beperformed from memory (the music rack isthen rel
VI
In larger auditoriums, the piano should be amplifIed with 2 or more
microphones positioned above the strings ( if possible, mounted on
small stands inside the piano case, or affIxed to the insideof the lid),
and 1 microphone for knocking, whispering, etc., should reach from
the right infront of the keyboard lid, aimed at the pianist's mouth.
The dynamics are unnoticeably controlled by a sound projectionist
( with a small mixing table) from the middle of the hall. The ampli-
fIed sound should come mainly from the direction of the piano.
For shaping the spatial sound and for increased intelligibility, loud-
speakers should also be placed at the rear of the auditorium. They
should be switched parallel with the front loudspeakers, but at a
lower level.
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PIANO PIECE XU
EXAMINATION from THURSDAY from LIGHT
~IICHAEL'S YOUTH of the opera THURSDAY from LIGHT arranged for piano solo.
Theoriginal versionispublished asaseparate scoreentitled
EXAMEN
(EXAMINATION)
for
Tenor, Trumpet, Dancer/
Basset-horn, Piano/
Jury: Soprano, Bass, 2 Dancer-Mimes asspeakers/
2Tapes,
'hich may beperformed by itself, with or without Jury and tapes.
Its, isalsoincluded inthe score of the entire fIrst act, MICHAELs J UGEND (MICHAEL'S YOUTH).
a piano solo "Pour Ie Printemps Musical de Vernier". It fits into the cycleof my previously composed works
:dicatedto my daughter Majellawho, aspianist, has worked with mesinceshewas 16(1977).
Performance Instructions
should beperformed frommemory (the music rack isthen removed fromthe piano).
amplified with 2 or more
if possible, mounted on
:d to the insideof the lid),
g, etc., should reach from
at the pianist's mouth.
by a sound projectionist
Heof the hall. The ampli-
e direction of the piano.
reased intelligibility, loud-
of the auditorium. They
1t loudspeakers, but at a
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The loudspeaker towers
must be at least 3.50 m
high.
y =microphone
-It =
sliding fader
o =panorama
potentiometer
\7= amplifier
....M-Ped....J = Releasemiddle pedal.
~ = Depress right pedal; in addition to the places specified with ~
the right pedal may be freely used as usual for the slurring and
colouring of pitches.
T =Play on the strings (according to the respective instructions).
pizzo
T = Pluck string with plectrum or fmgernail.
1 1 9
trem. trem.
1=lor 1=1
[] =phonerr
national
versity I
)f = clicks ..
)l = click w
)[
=both cl
H =hand-cl
fltistern =always'
(whisper) rolled '
notatiOl
stimmlos mfen ...~= likewhi
(voiceless calling)
Stimm-Gerausch ...p'= voiceles
(vocal noise) ing, but
sharp [
with g1 i
the vow
stimmhaft fltistern =voiced'i
Make s
often w
pfeifen =whistle
(whistle) It is ea!
check tl
notated
Densetremoli without fixed speed.
Numbers in boxes are metronome indications and always apply
to a J .
Gracenotes very fast, quasi arpeggio.
Grace notes should beplayed somewhat broadly, rather than too
fast.
-
slowdown to astill slower tempo.
= Slowdown to quasi half tempo,
= Silently press down key.
= staccato always very short, regardlessof the note value.
= cluster (always chromatic).
= Release middle pedal, and after the new chord, immediately de-
press completely again.
=Depress middle pedal and keep it completely down, otherwise the
dampers loosen themselves and shift.
f
[1]
rit.
~ ~
i i
i
~
~
molto rit.
The glissandi on the strings were tried out on a Steinway B model grand
piano. With differently constructed pianos one may have to interrupt some
glissandi at ametal brace and quickly continue on the other side.
An accidental # or ~ applies only to the note which it directly precedes;
q serve only as reading aids. If a note with r or r is repeated and these
repeated notes are joined with a beam, then the accidental is not notated
again, but applies to all of the repeated notes.
Vocal sounds and syllables must be held out for the full duration of the note
value.
s and always apply [ ]
= phonemes inbrackets according to The Principles of the Inter-
national Phonetic Association (Department of Phonetics, Uni-
versity College, London W.e. I).
jly, rather than too
)f
=
clicks with the fmgers.
)\...
= click with the tongue against the gums.
)[
= both clicks simultaneously and mixed.
H =
hand-clapping.
fliistern = always voiceless; stretch the consonants [s ] , [f] , voiceless
(whisper) rolled [r] , etc. Vary pitch of whisper according to the space
notation, or, when notated on one line, vary freely.
stimmlos rufen .I p=likewhispering, but especially loud and sharp.
(voiceless calling)
stimmhaft fliistern =voiced whisper.
Make sure to whisper not only with descending glissandi, but
often with ascending glissandi as well.
ote value.
lown, otherwise the
'ct, immediately de-
;>ecifiedwith f..-
or the slurring and
~instructions).
zy B model grand
to interrupt some
.side.
directly precedes;
repeated and these
Ital is not notated
llfationof the note
Stimm-Gerausch.l p=
(vocal noise)
pfeifen =
(whistle)
voiceless, yet no language as in whispering and voiceless call-
ing, but only a noise. For example [tJ ---J has only one
sharp [t] at the beginning, and then a continuous [J J (sh)
with glissando, which results from the continual changing of
the vowel position of the lips.
whistle with lips.
It is easy to mistake the octave when whistling. One should
check to make sure that one whistles the pitches which are
notated.
VII
Dbersetzung der Partituranweisungen
KLAVIERSTOCK XII
EXAM EN vom DONNERST AG aus LICHT
alsKlaviersolo
Seite/Page - 1-
1. EXAMEN
dieseVorschHigeimmer breit
Seite/Page - 2-
kontin. loslassen
Seite/Page - 3-
AIle Gerausche, Worte, Gesten sollen immer sehr sparsam
sein.
mit leichten Hand- und Koptbewegungen
manchmal stimmlos rufen: "weiler, weiler ... /"
unregelm. Schnalzer und Finger-clicks mit verschiedenen
TonhOhen
Seite/Page - 4-
einigeHandktisse
Ku1)gerausche
FORTSETZUNG
breiter - breit
Seite/ Page - 5-
Lippenstellung
Finger - clicks mit versch. Tonhohen und schnelles Klat-
schen der Handspitzen (mit Pausen)
stumm niederdrticken
x
Translation of the performance instructions from the score
PIANO PIECE XII
EXAMINATION from THURSDAY from LIGHT
aspiano solo
1st EXAMINATION
thesegracenotes should always bebroad
gradually releasepedal
All noises, words, gestures should always beused very spa-
ringly.
with slight hand and head movements
call occasionally, without voice: "continue, continue ... /"
irreg. tongue clicks and fmger clicks with various pitches
afewhand kisses
kissingsounds
CONTINUATION
broader - broad
position of lips
fmger clicks of various pitches and rapid clapping of the
fingers (with rests)
press down silently
Translation of the performance instructions from the score
PIANO PIECE XlI
EXAMINATION from THURSDAY from LIGHT
aspiano solo
1st EXAMINAnON
thesegracenotes should always bebroad
gradually releasepedal
All noises, words, gestures should alwaysbeused very spa-
ringly.
with slight hand and head movements
call occasionally, without voice: "continue, continue ...!"
irreg. tongue clicks and fmger clicks with various pitches
afewhand kisses
kissingsounds
CONTINUAnON
broader - broad
position of lips
fmger clicks of various pitches and rapid clapping of the
fingers(with rests)
press down silently
Traduction des indications dejeu delapartition
PIECE POUR PIANO XlI
EXAMEN du J EUDI de LUMIERE
version pour piano solo
ler EXAMEN
cesappoggiatures toujours larges
reh1chercontinument lapedale
Tous les bruits, paroles et gestes doivent toujours etre tres
parcimonieux.
avecdelegersmouvements delamain et delatete
lancer parfois sansvoix: continue, continue ... !
claquements delangue et dedoigts sur deshauteurs deson
diverses
envoyer quelques baisers
bruits debaisers
SUITE
plus large - large
position deslevres
faire claquer ses doigts sur des hauteurs de son diverses
et frapper rapidement l' extremite des mains l' une contre
l' autre (en faisant des silences)
enfoncer sansproduire deson
Seite/ Page - 5- (Forts. / cont. / suite)
C D = tiefstes
@ = hOchstes
stimmlos zischen
Seite/ Page - 6 -
H weniger laut
cluster stumm
Anschlagverdeckt
plotzlich zumHimmel schauen
allmahlich wieder auf dieTasten schauen
Seite/Page - 7-
mit viel Wind
kurz
mit Zapfchen-r oder anderemvogelahnlichemTriller
"Wind"
Fingernagel-Gliss. tiber dieSaiten streichen
unregelma~ig
beschworend stimmlos rufen
FORTSETZUNG GLISS.
Ku~ger.
Schnaizer
stimmlos zischen
stimmlos laut atmen (aus - ein)
deutsch
Seite/Page - 8-
Fingernagel -Gliss.
zogern
Zahiennamen rufen
Seite/Page - 9-
singen
Altstimme singt I Oktavetiefer undsempre f ,
Miinnerstimmesingt I Oktaveoder 2Oktaven tiefer.
C D = lowest
@ = highest
hisswithout voice
Blessloud
silent cluster
attack covered
suddenly look upwards
gradually look at the keys again
with much wind
short
with uvular r or other bird-like trill
"wind"
gliss. with fingernails across the strings
irregular
call imploringly without voice
GLISS C ONTINUATION
kissingsounds
tongue clicks
hisswithout voice
breathe loudly without voice(out - in)
German pronunciation
fmgernail glissando
hesitate
call numbers
sing
Alto voicesings I octave lower andsempre f ,
malevoicesings I octave or 2octaves lower.
C D =lowest
@ =highest
hiss without voice
B less loud
silent cluster
attack covered
suddenly look upwards
gradually look at the keys again
with much wind
short
with uvular r or other bird-like trill
"wind"
gliss. with fingernails across the strings
irregular
call imploringly without voice
GUSS C ONTINUATION
kissing sounds
tongue clicks
hiss without voice
breathe loudly without voice (out - in)
German pronunciation
fmgernail glissando
hesitate
call numbers
sing
Alto voice sings I octave lower and sempre f ,
male voice sings I octave or 2 octaves lower.
C D = Ieplus grave
@= Ieplus aigu
siffler (comme un serpent) sans voix
Si moins fort
cluster muet
attaque couverte
regarder brusquement en l'air
peu a peu regarder a nouveau les touches
avec beaucoup de vent
bref
avec r uvulaire au autre trille analogue acelui d'un oiseau
vent
glissando en faisant passer les angles sur les cordes
irregulier
lancer sans voix sur Ieton d'une invocation
SUITE du GLISS.
bruits de baisers
claquements de langue
siffler (comme un serpent) sans voix
respirer fortement sans voix (expirer - inspirer)
allemand
glissando avec les angles
hesiter
lancer les nombres
chanter
Vne voix d' alto chantera I octave plus bas et senzpre f ,
une voix d'homme chantera I au 2 octaves plus bas.
XI
Seite/Page .9- (Forts./conL/suite)
deutsch
ital.
breit
Seite/Page - 10.
Phrasen mit Pedal artikulieren, wie zuvor
Seite/Page - 12-
lang gezogene [f] , [ sJ , [ < ; J , dazwischen )l und andere
Mundgerausche
FORTSETZUNG
alles verlangsamen
Seite /Page - 13 -
2. EXAM EN
niemals staccato, wenn es nicht notiert ist
erstaunt
zischend -fauchend
v0kalgliss.
Konson.
allmahlich immer mehr Pedal
Triller mit oberer kl. Sek. (bis Takt 95)
Seite/Page - 14-
Kuf.)gerausche
ausspielen
breit
stimmlos Zahlen rufen
HandschHige auf Deckelrand
stimmlos zischen
Seite/Page - 15 -
tonlos durch die Lippen rauschen wie Wind
ausatmend
tremolo unregelm.
XlI
German pronunciation
Italian pronunciation
broad
articulate phrases with pedal, as before
long drawn - out [f], [ sJ , [ < ; J , with )l and other mouth
noises in between
CONTINUATION
slow everything down
2nd EXAMINATION
never play staccato, unless it is notated
surprised
hissing with < ; and s
vowel gliss.
consonant
gradually more and more pedal
trill with upper minor second
kissing sounds
play out
broad
call numbers without voice
hand strikes against edge of lid
hiss without voice
blow through the lips without tone, like wind
exhaling
irregular tremolo
German pronunciation
Italian pronunciation
broad
articulate phrases with pedal, asbefore
long drawn-out [f], [s] ,[ ~], with )l and other mouth
noisesinbetween
CONTINUATION
sloweverything down
2nd EXAMINATION
never play staccato, unless it isnotated
surprised
hissingwith ~ and s
vowel gliss.
consonant
gradually moreand more pedal
trill with upper minor second
kissingsounds
play out
broad
call numbers without voice
hand strikes against edgeof lid
hisswithout voice
blowthrough the lipswithout tone, likewind
exhaling
irregular tremolo
allemand
italien
large
articuler lesphrases avec lapedale, comme auparavant
[ f] , [ s ] , [If]tires en longueur et entrecoupes de )l et
autres bruits debouche
SUITE
tout ralentir
2e EXAM EN
nejamaisjouer staccato, si cen'est pasindique
etonne
en sifflant comme un serpent et crachant comme un chat
glissando vocalique
consonne
peu a peu deplus en plus depedale
triBeavec seconde mineure superieure (jusqu' a la mesure
95)
bruits debaisers
jouer distinctement toutes lesnotes
large
lancer lesnombres sansvoix
coups delamain frappes sur Iebord du couvercle
siffler (comme un serpent) sansvoix
faire entendre comme un mugissement de vent a travers
lesh~vres,maissans son
enexpirant
tremolo irregulier
Seite/Page - 15 - (Forts./cont./suite)
unregelm. wieWind
Pizzo(Plektrum), dann Fingemagel-Gliss. tiber dieSaiten
linke Schuhsohle tiber den Bodenreiben
einatmend
Wind
wiezuvor
Tasten
Seite/Page - 16-
breite arpeggi
singen
BREIT
lang
Seite/Page - 17 .
3. EXAMEN
trem. leicht unregelm.
stacc. regelmaflig .
Seite/Page - 18 -
Pedal allmahlich senken
voll
ausspielen
Seite/Page - 19-
Kuflgerauscheunregelmaflig(auch langere)
Seite/Page - 20
FORTSETZUNG
voll
stimmlos durch dieZahne (scharf)
farbiges Rauschen mit diesen Tonh6hen
einatmen
aus
irregular likewind
pizzo (plectrum), then fingemailgliss. over the strings
rub soleof left shoeover the floor
inhaling
wind
asbefore
keys
broad arpeggi
sing
BROAD
long
3rd EXAMINATION
slightly irregular tremolo
regular staccato
gradually depress pedal
(pedal depressed) completely
play out
irregular kissingsounds (also longer ones)
CONTINUATION
(pedal depressed) completely
through the teeth (sharp) without voice
coloured noisewith these pitches
inhale
exhale
irregular like wind
pizzo (plectrum), then fingernail gliss. over the strings
rub sole of left shoe over the floor
inhaling
wind
as before
keys
broad arpeggi
sing
BROAD
long
3rd EXAMINATION
slightly irregular tremolo
regular staccato
gradually depress pedal
(pedal depressed) completely
play out
irregular kissing sounds (also longer ones)
CONTINUATION
(pedal depressed) completely
through the teeth (sharp) without voice
coloured noise with these pitches
inhale
exhale
irnSgulier, comme du vent
pizzicato avec plectre, puis glissando en faisant passer les
ongles sur les cordes
frotter lasemelle du pied gauche sur Iesol
en inspirant
vent
comme auparavant
touches
arpegeslarges
chanter
LARGE
long
3eEXAMEN
tremolo llSgerement irregulier
staccato regulier
enfoncer peu a peu la pedale
enfoncer a fond la pedale
jouer distinctement toutes les notes
bruits de baisers irreguliers (meme longs)
SUITE
enfoncer a fond lapedale
sans voix entre les dents (cinglant)
bruit colore sur ces hauteurs de son
inspirer
expirer
XIII
Seite / Page - 20 - (Forts. / cont. / suite)
HandschHige
auf die Deekelkante
unter den Tastenkasten
Seite /Page - 21 -
stimmlos zisehen
Seite / Page - 22 -
singen
Zapfchen-r rollend
Lippen
wenn notig hier atmen
Atemst6Be
etc. wie pfeifen, aber nur Windst6Be (aus- und einatmend)
(gleiche Lippenstellung, wie vorher; klingt aber 2 Oktaven
hOher)
Pizzo(Plektrum)
Glissandi mit Fingernagein
alles klingenlassen
Seite / Page - 23 -
ein-atmend
hand strokes
on the edge of lid
under the keyboard
hiss without voice
sing
rolling r with uvula
lips
breathe here if necessary
breath accents (with diaphragm)
etc. like whistling, but only wind thrusts (exhaling and in-
haling)
(same lip position as before, but sounds 2 octaves higher)
pizzo (plectrum)
glissandi with fmgernails
let everything sound
inhaling
= knock on several strings simultaneously with finger
tips and fingernails (2-5) held parallel.
t = mit Fingernagein auf Saiten hin und her reiben,
~ =mit parallelen Fingerkuppen und Fingernagein
(2.-5.) auf mehrere Saiten gleichzeitig klopfen.
t =
~
rub fmgernails back and forth across the strings,
1.H. Pizzo
aus-atmend
r. H.
Gliss. mit Fingemageln
arpeggi breit
durchh6rbar pedalisieren
Tone werden von selbst dynamisch verschieden, einzelne
sprechen manchmal nicht an.
XIV
left hand pizzo
exhaling
right hand
gliss. with fingernails
broad arpeggi
transparent pedalling
The pitches automatically vary in dynamic. Individual ones
do not speak sometimes.
hand strokes
on the edgeof lid
under the keyboard
hisswithout voice
sing
rolling r with uvula
lips
breathe hereif necessary
breath accents (with diaphragm)
etc. like whistling, but only windthrusts (exhaling and in-
haling)
(same lipposition asbefore, but sounds 2octaves higher)
pizzo (plectrum)
glissandi with fmgernails
let everything sound
coups frappes delamain
sur Ierebord du couvercle
sousIecoffre supportant Ieclavier
siffler (comme un serpent) sansvoix
chanter
r uvulaireroule
levres
respirer ici, si necessaire
coups derespiration
etc. comme pour siffler, mais ne produire que des rafales
devent (en expirant et en inspirant)
(meme position des levres qu' avant; sonne cependant 2
octaves plus haut)
pizzicato (plectre)
glissandos aveclesongles
tout laisser sonner
inhaling
= knock on several strings simultaneously with finger
tips and fingernails (2-5) held parallel.
eninspirant
t =
L
rub fmgernailsback and forth acrossthe strings, t=
.
L =
frotter lescordes avec lesongles dans un mouvement
deva-et-vient
frapper simultanement plusieurs cordes avecIebout
et lesongles des doigts 2 a 5, places enparallele.
left handpizzo
exhaling
right hand
gliss. with fingernails
broad arpeggi
transparent pedalling
Thepitches automatically vary indynamic. Individual ones
do not speak sometimes.
m. g. pizzicato
en expirant
m.d.
glissando aveclesongles
arpeggi larges
jeu depedale transparent
Les sons voient leur dynamique varier automatiquement
de l' un a l' autre, certains d' entre eux ne parlent parfois
pas.
Seite/Page - 24 -
wie Wind
Seite/Page - 2S -
voll
Seite / Page - 26 -
lang
BREIT
l.H. etwas lauter spielen bis Schlu1.\
like wind
(pedal depressed) completely
long
BROAD
play slightly louder with left hand, until the end
Translation: Suzee Stephens
likewind
(pedal depressed) completely
long
BROAD
play slightly louder with left hand, until the end
Translation: Suzee Stephens
comme duvent
enfoncer afond lapedale
long
LARGE
jouer lam. g. un peu plus fort jusqu'a lafin
Traduction: Ralph Alexandre Fassey
xv
KLAVIERSTOCK X
EX A M EN yom DONNERSTA G aus L
als Klaviersolo
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LAVIERSTOCK XII
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C D
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u ." uw.- 'I " " " " " " Wn. ~
mi.tlW: hten HQnd.- unci Kopfbe.wegungcn
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@ copyright K. Stockhausen 1 983
KLA VI ERS TUC K XI I
unT'egelm. Sc.hnalz.er und Finger-clicks
mit veT"sc.hie4U\en Tonhohen
J .
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3
3
KLAVIERsrOCK XII
3 >
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@
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t p s
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@
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3
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C D
(
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@) copyright K. Stockhausen 1983
KLA VIERSTUC K XII
-3--
(
Ansthlag)
v e r d e , k t
m p

------: ---- . p -----. f -----rf----- ..f - - - - - - - - - - - _ m p ------- j!- - - - - - - -Bf-------

r
r
~:
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p lohL ith
zum HimmeL
sc. ha. uen
o. Um Cihlich wieder cwf die T Q. Sten schcwen
6[ill
H wenigeT ' L aut
--3-- --3-----.
F I F
- t . - - - - - - - - - : . . - ~ - - - - - f- ~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
: ~:
"- - - - ' ----- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- .1'1- Ped. ---J
KL AVI ERST UCK XI I
c v
[@
~
3 3 3 3 3
3 r - 3 - , r-~---'
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
@
F ~ #~ ~ ~ ';" 1 T : E l f
80 - _ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
6
r ~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
mit l Cipf c hen -.,.. oder andere"" v ogel .iihnl ic .hern T riUu
pf eif en ~
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etc ..
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tiu titiu ] [tui tiu
Pi2.'l ..
y------------------------
@ c opyright K. Stoc khausen 1 983
KL A VIE RST UCK XII
[ti.uJ J u-pi-t.e.rr J u-pi-ter,.
>
Q : eif
0
'.~
00
3
mit vie.L Wind i
( kurz.)
I
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_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ J
iito j
, l",mtOJ
xi.chen
<e~f0 4
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- - - - - - - ]MI- CH A- EL
( d=tsc.h)
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KLA VIERSTOCK XII
P edo.L a.d. l '
r.
( 7)
1"lt.---/3 @
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1 5 6 , 5 1
Thors- pi.terM I .01A -E L
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6
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@ copyright K. Stockhausen 1 983
KL A VI ERSTOCK XI I
t'tt.---
f
3 @
3,3-,r-3~
1 5 6 ,5 1
(7)5
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P ed.o.l C L tl l i b.
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- - - - - - - - - - - - - - - - - - - - - - - - - - - ~
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poco ri t. _
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zwei.
5
drei vier f unf ei .ns 2.wei . drei vi .er f v n f
> # > #-& -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
KL A VIERSTUC K XII
@
1:
8-.? J ~ J rrf... r
3
f P m p ( 1 1 ' )
li.J I . . L . ] C . r ; u . r
333
P mf F f p f (li" m2 F
L 3-.bI
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mE
>
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f
r 3- ,
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a. tempo (15.5)
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F.
~r
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f
r rLUrf.... ~f..---.;u.r-
m
L.- 3-.:.J 3 L.- 3---l 3
- E .....
" " 1 > E r'!f F- =:::.i (!, mf f I Peclo.l ad lib.
@
tF ; f >
>
( ~)
P I
p - -
@ copyright K. Stockhausen 1983
KL A V I ERSTUCK XI I
~ktavetLefu uod .s~""pTe f ,
st 1 Ok.ta.ve oc1er lOkkvet'l tie-fer.
- >
. \I > - >
T'it. I
. \ 1
MI- NA [U 1 a.] LU- ZI- F A [u e.
ch)
a.] LU- ZE- F A [v e. 0.] LU CE VA
i~.
A"_
[tJ]
, . . . : . ,
F 1 1 ". !~
~
f
------- --- --- ----
I.LT ~.r.-----._"rLT T 7" ri~~-#-r-r-r-f-#rf #
3 3 3 L3~ c-3--' I '--3--'
P rn f F f F f (]f) m e E rn f 2-=f P p m f rTf
TLt.----/OO
>
mp
>
f
r3...,
>
CHE- VA [i Q. e ] HI- CHA'VE: [1 Q. e]
1f
P
---
mf
---
. ~u. . r
m E
3
m E f
I Ped.o.l ad lib.
M

>
ri.t. -I
--------,
>
p
f rn f j
KLA VIE RSTUCK XII
@
m p
f
r--3~ r;:::- 3---"\
m f
J
r n p
5
5
& Q I' '" , .... ," r. - r-"
8----- - - - - - -- --- _.----- ---- --- ----_.---- -- -------- - ------ ----_.._.-------_.--. ------------ -----
p ,, "'- "'- f'...
J 1. Ped....J
@
8_ I. ---.----------------------t -----------p n p - ---3- - -"1- --: - - - - - - . - - - t------- ----------~-; m p
,-- --==' r- ~
@
3
7accel. I 63,sl
> -

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l J - - _ - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - -' - - - . -~ - - - - - - - - - . - - - - - - - - - - - . - - - . - - - - - - - - - - - .
~-- ~ I~ etc. (Phro.sen m it Pedol. a: r1: Lkuuercn , wie. 1
@ cop yright K. Stockhausen 1983 KLA VIERSTOCK XII
f m p
----_._._- - --------------_.>-------------------- .
m f f
. - - - - - - - - - - - - - - - - - - - _ . . - - - - - - - - - - - - - . . - - - - . - - - . - - - - - - - . - - - - - - - - - - - - - - - - - - - _ . _ . - : > - - - - - - - . - - - - - - - - - - - - - - - - -
___"' f' '" I P
aaeL. - 1 6 3 , 5 1 m o Lt o rit . _
p
>
= = = = = = - -
- - - - - - - - t - - - . - - - - - - . - - - - - - - - - - - - - - - - - - - - - - - - - _ . - - - - - - - - - - - - - - - - - - . - - - - - - - - - - - - - - - -
r- J- - , : E r - 3 m p F
>
...
____ I ~ etc. (Phr/Ue., mi.t Ped.al a:rtikuliercn, wie zuvor)
KLA VIERSTOCK XII
@
If
= m
=
i
@
8.. - - - - - - - - - - - - - - - - - - - - - - - - - - - - -1 - - - - - - - - - - - - - - - - - - - - .
- - p - - - - - - - - - - - - - - - - - - - - - - mj
,/
,
,/ \",
~ ' /
~ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ .
,
rit. _
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rit.__/ 0 . . tem p o
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mp ~- : : : = = --
1- 3-. ~3~ 1: P .
[ill
( r n p ,>
@)
1 L _ ;)!. . -------------------------------------------------------------------
@) cop yright K. Stockhausen 1983
KLA VIERSTUCK XII
Ti t . - - -
__________________________________________________________________________ J
mj f ,--6~
~.... -' ... / '-"..... / -
"'--
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - E e - - - -
M...
J J
ri t .__f a . t em p o
3
m eno
Ti t . rno s s o
Cl"eL. _
:
> = , f
,----
3
I':'1':'\'
-------- -- - - - - - - - - - - - -- - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - -
KLAVIERSTDCK XII
@
I J = b O I
Lo.ng guogene. [f] , [ 5 ] , [ ~ ] I do.zwische.n >L und. o.nQere Mund.g~rCi.usc:he.
.-3----.
~
,.-- 3~ ,-- 3------,
3
r ' = " '
r : " \
-mp
, , -. . . . ~
---
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rf'=
-e-..... +-e-.
B~- - ~ - - - - - - - - - - - - - - - - - - - - - - - m E - - - - - - - - - - - - - - - - rn.f - - - - - - f --: -: : - - - -- - - - - - - - - - - - - .
y ~etc.
acaL.-- - --lliJ
't'tt. 1 a. tempo
@
FORTSETZUN&
q q >
~
F_
aU es ve.Tl.o.ng,sam en
~ . ~- ~- . .
!!f~f= = = : = : . : = : .
" ---tI s- -e-.
~ - - - - - - - - - - - - - - - - - mE - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - F - - - - - - - - - - - - - - - - - -
@ copyright K. Stockhausen 1983
KLA VI E RSTU CK XI I
dere Muno.ge.ro.usche. I
-
t'it. _
:-
b
o
~
_-e-' "--'
- - - - - - - - - - - - m .f - - - - - - f ... ----.-------------------------------------------------- rnf - -
ri.t. 1 a. tempo
G lU es V e.Tlo.ng.sa.m en
a . t l : a . c C C 1
1.EXAMEN
m olto ri.t. _
,.
3
3 r- 3- - - - - . ,- - 3- - - - .
v"- _
m
-e-
0
- - - - - - - - - - - - - - - - - - - - - - - - F - - - - - - - - - - - - - - - - - - - - - - - - - - - - - J
---M-Pe<i.J
KLA V IERSTUCK XII
@
2. EXAMEN
2 j J =b O )
4
niemClls sto.cca.to, Wenn e.s nic.ht notiert ist
3 3 , > 3 3 >
3 3
>3 3
@< II F
sempre poco Pedal.
3 3
t'.
' "
[f~
. . . .
6 1 5 3..1 f ~
e.rstClUnt f
Voka.lqliss.
~3
A-A. . . . . A-J
3
m E
A
m f
f
e
m~no4 J l'T:l
~c.sso ~d.. ~
f
-
-
5
!
2
,;'
IV
,-- 3""""",>, > 3
,~J Ur
> -- '. r
t~_ .. --. . . . ~,>" A-IV
4~
3 3
j'-J.
.
3 3 3 3
~
3 3
sempre poco PedAL
TriUe.r mit ob uel
@ copyright K. Stockhausen 1 983
KLAVIERSTO CK XII
@
tnotle.rt ist
> 3
3 > 3
J
>3 3
3 3
J
u
iit. I
y
[f
J Koruon.
6 1 s 3 , s l f 2,uchend -fouchend
e.rsbnt
~_::_3__ ==_/
a.U,.,ahlich immer rnehr Ped.o1.
---A...-A-A...J
,--3>, >
\
3
2
J
3
sempre poco Ped.a.l
3 3 3 J 3
TrlUer mit obue.r kl.Sek. (bis To.kt95)
3
3 3
KLAVIERSTDCK XII
4
cwsspi.elen
I I
@
m p ,
3
3
3 3
>
3
- -
3
. . ,
~
3
K u /? l g er o . u s c . h e
@
p8""----.
rit. 5lliJ
S-3 \" ' = "
>
----frr----frr- ]
>
f
1 4 1 . 5 1
5timm-
ueriWsc.n
J
. 3 '
>~
p----------
l2
ei.ns zwei drei vier funf suhs siebeneins
3
5 > ~ > >>>> I , >
@
1~
o C D >
\~/r4 @]
[ill
C D
f ..
( m p,
I)I f ~ F [31!~ T #~t it : r ~-e- (.1)
-L__ --:m2~~IfI '''J m E pI f >
@ copyright K. Stockhausen 1983
KLAVI ERSTUC K XI I
QlJ sspi.ele.n @
I I
g-----
,--3-----,
P
' " E P A A 3_tLJ
[frr--- fn----ftT- ]
1
[
i-u] [u-i] [i-u1
ts- ts- ts-J
f{ - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - --
P I f F m p 1 f
-r i t . 5(}Q]
~3 \ f':'.
>
>
f
F
______________ A ----J
A
1[ill
CP/ 41lrsJ
- u
KLA VI ERSTOCK XI I
@
tuj.---u
f
Piu. (Plektrum) dann Finge.rna.gel- &I.i.u. iibeT d.ie SCliten
...
2[EL 4 --------~
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4 2moL to 1"tt. - - --/
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