ZEITMASZE

(© www.karlheinzstockhausen.org)
Nr. 5: ZEITMASZE (Time-Measures)
for wind quintet (flute, oboe, English horn (cor anglais), clarinet, bassoon)
(1955-56)  [approx. 15 min.]

Development
     The title ZEITMASZE (ZEITMAßE) can be translated from German as "Time Measures", or even just simply as "Tempos".  The conception of its opening section came to Stockhausen whilst in the middle of composing GRUPPEN and GESANG DER JÜNGLINGE in Switzerland.  Like GRUPPEN, this work also explores simultaneous layers of contrasting tempos, and like GESANG DER JUNGLINGE, there are also 5 "tracks".  After its first performance for a radio broadcast, Stockhausen added 5 additional passages ("inserts"), and this new version was premiered at the end of 1956 at Pierre Boulez's "Domaine Musical" concert series (conducted by Boulez).

Tempo Concepts
      ZEITMASZE uses contrasting ("polyphonic") tempo layers as a way to create new and interesting rhythmic textures, much like how serial 12-tone technique was used to create unpredictable melodic and harmonic textures.  Serial technique is still used in the beginning and ending sections, but the main body highlights alternating waves of rhythmic unison and disintegration.  In order to create variety in these contrasting layers, Stockhausen used the idea of "indeterminacy", in which some factors are left to the performer.  In this case, the performer's actual playing skill becomes a deciding factor in the compositional end result (this idea was also explored just previously in the second set of KLAVIERSTÜCKE (V–X)).  So, when "tempo polyphony" is desired, Stockhausen notates the score using 5 basic "time measures":
  • "so schnell wie möglich": tempo as FAST as possible, based on the performer's skill level.  Since the rhythm within the tempo are still observed, if the phrase has lots of sustained notes, it could still seem slow, but with some very fast moments.
  • "so langsam wie möglich": as SLOW as possible, based in how slowly a number of bars can be played on a single breath.  Just as in the above instruction, if the group has lots of notes, the tempo could still seem fairly busy
  • "schnell-verlangsamen": Fast and then SLOWING down to 1/4 of the initial speed (ritardando)
  • "langsam-beschleunigen": Slow and then SPEEDING up to the fastest possible speed (accelerando, initial speed is pre-calculated to be 1/4 of the final "fastest" speed)
  • Metronome tempo: just as pitches are organized as a 12-note scale structure ("row") in dodecaphonic serial music, here Stockhausen created a "chromatic scale" of 12 tempo values from 60 to 120 (representing a tempo "octave").  The starting tempo is 84.
     Tempo polyphony occurs when different tempo instructions are used on different instruments playing at the same time, but often the above instructions can also used on an ensemble level (and combinations in between).  For example, the group tempo could be set by a lead instrument, who is playing "as slow as possible". Obviously, this presents some interesting challenges for the interpreters.

...present-day man, with his cars, planes and machines of all kinds, perceives time quite differently, 
since he often experiences - especially simultaneously - 
several speeds, time layers multi-dimensionally.
 - Stockhausen concert introduction, 1992


Tempo Structures
(Copyright Universal Edition)
     On the page above (starting at m.29), the players all start at tempo 112, but soon go off into their own tempo structures, starting with the 3rd staff English horn ("as fast as possible").  The 1st staff oboe follows with "as slow as possible", and then the clarinet (4th staff) begins to slow down to a quarter speed.  Later on the flute (2nd staff) will also start playing "as fast as possible", while the bassoon stays at 112 (bottom staff).  Each of these layers is demonstrated individually in Stockhausen's concert introduction of a 1992 performance (available on DVD, see link at bottom).  In this introduction Stockhausen goes on to highlight a few other interesting devices used in this work:
  • the ensemble begins in a slow tempo and rises to "as fast as possible", based on the ability of a lead player (ex. flute, m.74-76).
  • "window": layers of tempo polyphony suddenly thin out (pause) so that a solo layer can be featured.
  • "time body": accents from the other players occur on top of an English horn playing "as slowly as possible" (creating changing levels of density) (m.87-90?).
  • Ex. 11: each of the 5 layers modulates between "points" (isolated accents) and "groups" (legato phrases).  It ends in a rhythmic ensemble structure.
  • Ex. 12: demonstrates "time junctures", where different layers go from unison to independent time measures.
  • Ex. 13: shows where note clusters can occur as ensemble attacks with individual fade outs, or the reverse (individual voices enter and sustain, building to a vertical harmony, and then stop in unison).  Variations of both of these 2 extremes occur as well.

     Another effect (not highlighted in the concert introduction, but worth mentioning anyways) is that sometimes a tempo may be started by one instrument, and then continued in another.  This creates another level of indeterminate tempo (and timbre) polyphony.
(Copyright Universal Edition)
     On the above page, several tempo layers are occurring, but are also being exchanged between partner instruments (independently).  The top line oboe plays "as fast as possible", passing on its tempo to the clarinet at m. 164.  Prior to this, the clarinet speeds up to its fastest speed and hands off its tempo to the bassoon at m.162, which begins to slow down.  On the second staff, after the flute slows down to a quarter speed, the English horn picks up its tempo (m.163) and begins to accelerate to 4 times faster (original tempo).  A sudden stop interrupts all 3 active voices at stable tempo 112.

     Performance-wise, the conductor often beats out a notated underlying tempo (derived from the chromatic tempo scale), and then instruments marked with indeterminate tempo instructions "split off" from the ensemble and play independently.  Later they return, etc...  Much of the drama of the work comes from this element of "renegade players" leaving and then returning to the ensemble, just as harmony and disharmony creates drama in traditional classical music. 
 
     One of the most important ideas not mentioned so far is that the "homophonic" tempo sections (all instruments in shared tempo) should be listened to as single melodic "tracks", but with varying "widths" (harmonies).  In other words, when the ensemble is "tempo-together", there is often a constantly changing density of voices, from single pitches to 5-part chords, but these should not be thought of as a polyphonic "dialogue".  In actuality the melody is "monophonic", but has a constantly changing homophonic harmonization. By listening this way, the transitions to the "free tempo" sections become much more meaningful.

(Treated score excerpt from LP cover.)

Form Structure
     ZEITMASZE is basically in 3 sections.  The 1st and 3rd sections are short and somewhat similar (both composed using "total serialism" on several musical parameters), with the 3rd section being more rhythmically complex.  The long middle section (m. 30-271), on the other hand, is based on 7 "character types" organized into 4 cycles of different sequences.  The character types are:
    • groups, phrases
    • polyphonic layers
    • sustained notes & points
    • points
    • rapid chords or sounds, polyphonically, with long general pauses
    • chords
    • chords and a few independent notes, legato
           This main body is also where the contrasting "time measures" (polyphonic tempo layers) occur.  The 1st and 3rd sections also have changing tempi, but they are applied to the entire ensemble.

           Each of the 3 sections are also characterized by a "core instrumentation".  For example, the 1st section is written for a quartet made of flute, English horn, clarinet, and bassoon, the 2nd section is for a flute, oboe, and clarinet trio, and the last section uses the full quintet.  The players outside of the "core group" usually chime in on chord accents or add more subtle background layers.

           After the initial performance of ZEITMASZE, the piece was revised almost immediately to include 5 "inserts", or cadenza-like additions (actually "cadenza" may not be exactly appropriate, since the whole work from beginning to end is fairly virtuosic in character!).  The 2nd section has four of these insert additions, and the 3rd section has one. 
      Stockhausen and Pierre Boulez. 
      Boulez premiered ZEITMASZE with the additional "inserts" at his Domaine Musical concert series.

      Narrative
           In the spirit of "polyphonic time measures", the below table charts the formal structure of ZEITMASZE in 3 different ways.  The main text ("General Highlights") is my impressions based on the divisions indicated by the CD tracks chosen by Stockhausen.  The column "Tempo Layer Harmony" is derived from Chris Kelsall's division of the piece into "Vertically Constant" and "Vertically Irregular" sections (in his excellent thesis "Compositional techniques in the music of Stockhausen (1951-1970)").  In the chart below, "U" ("Unison") indicates homophony with shared tempo, and "I" ("Individual") means polyphonic textures, often with independent/indeterminate tempos.  Finally, in the last column, is "Structure", based on the 3 main sections and on the 5 "inserts" added in the revised version.  These measure numbers are from Richard Toop's superb "Six Lectures from the Stockhausen Courses Kürten 2002".  The track numbers and timings are from the recording of ZEITMASZE on Stockhausen Edition CD 4, featuring a recording by the London Sinfonietta (Janet Craxton: oboe, Sebastian Bell: flute, Robin Miller: English horn, Antony Pay: clarinet, and William Waterhouse: bassoon).
      CD
      Track
      (Dur.)        		General Highlights Measure Time Tempo
      Layer
      Harmony      		 Structure
      2

      (2:05)       		Unison tempo layers, but homophonic/polyphonic melodic layers.  Oboe is basically silent (aside from a few harmony accents) until 1:48.
      A clear harmony phrase occurs at 0:50, followed by a brief flute solo at 1:09.  
      Ends at 2:01 on a clear harmony cadence.      		 1 0:07 U

      		Section 1
      (4-part texture:
      fl, E. hn, clr, bss)
      21 1:34 I
      3

      (0:42)       		Tempo Disintegration: each layer enters using one of the 5 time measure tempo types, resulting in contrasting (polyphonic) tempo and melodic layers
      The 5 layers reintegrate at the end (0:34, tempo 112)      		 29 0:00

      		INSERT 1
      41 0:34 Section 2
      (3-part texture:
      fl, ob, clr)
      4

      (0:50)       		Unison tempo layers, a harmony phrase occurs at 0:17, followed by contrasting held notes and isolated accents (ensemble tempo is set by the flute playing "as slow as possible") 44 0:00 U
      67 0:39

      		I
      5

      (1:29)       		Ensemble tempo increases, led by the flute (towards playing "as fast as possible").  
      At 0:23 a staggered climax occurs, followed by a harmony cadence.  After this, various "windows" open up in the loosely homophonic texture, featuring solo voices/layers.       		73 0:00
      74 0:01 INSERT 2
      83 0:33 U

      6

      (1:36)       		Mostly features oboe, flute and clarinet, modulating between homophony and polyphony.  The bassoon sometimes surfaces briefly.  

      At 1:04 a lively group cadenza occurs.      		 103 0:00
      104 0:04 (Section 2 cont'd)
      106 0:08 I
      107 0:10

      133 0:58 U
      152 1:33

      7

      (2:16)       		Tempo Disintegration: Each player enters one by one, starting from tempo 112, but each tempo quickly becomes independent (again, 5 time measure tempo types).  
      A tutti rest occurs at 0:33, followed by a harmony phrase.  After another rest, the tempo layers diverge once again.
      After yet another tutti rest at 0:53, the ensemble "regroups" at tempo 80.  Shortly afterwards (0:59) a held harmony disintegrates, layer by layer.
      From 1:17, blocks of harmony are threaded through by short solos from the flute, clarinet and bassoon (starting from 1:26)      		 153 0:00

      		I INSERT 3
      174 1:17 U

      188 2:09 I
      190 2:13
      8

      (0:53)       		After an oboe solo, ensemble is led by clarinet playing "as slow as possible".  The ensemble plays blocks of harmony around a clarinet/bassoon duet.
      After a rest at 0:35, another layered climax occurs      		 191 0:00

      207 0:51 (Section 2 cont'd)
      9

      (0:38)       		Mostly features oboe, flute and clarinet, loosely in rhythmic harmony (homophonic).  208 0:00 U

      10

      (1:01)       		Ensemble is led by bassoon playing "as slow as possible".  Held textures are contrasted with isolated accents and fast ornamental phrases. 230 0:00 I INSERT 4
      11

      (2:56)       		Serial construction, the ensemble basically shares a common tempo scheme, but there are many tempo variations and changes in layer density.  

      This section probably has the most "organic" modulation between homophony and polyphony.      		 265 0:00
      266 0:03 Section 3
      (5-part texture)
      271 0:14 U
      272 0:16
      275 0:20 INSERT 5
      290 0:55 (Section 3 cont'd,
      ensemble
      meter/tempi
      but varied
      articulation) 
      295 1:04

      		I
      337 2:21 U
      352 2:52


      Live Performance
           The instruments are arranged left to right: 
      Oboe -  Flute - English Horn - Clarinet - Bassoon.
      On Stockhausen Edition CD 4 they are heard in this spatial arrangement in stereo.

      Sound Impressions
           The use of independently-changing tempo layers is a brilliant technique for creating "non-harmonic" rhythms (ie - they are not multiples or subdivisions of each other).  This creates a kind of "noise" effect in terms of polyrhythms, just as upper harmonic tones and chord clusters are used to create dissonant harmonies.  As mentioned previously, the somewhat indeterminate "as fast as possible" concept was first introduced in Stockhausen's second set of Piano Pieces, but here in ZEITMASZE they are explored in many new and different ways and put into more complex structures.  It's interesting to note that the idea of using "performer ability" as an aleatoric factor would be revisited in the "New Complexity" movement (for example in Brian Ferneyhough's earliest works).

           Aside from the "theoretical" elements, this piece has alot of wit.  It may take a few listens to be able to easily discern the "homophonic tempo" sections from the "polyphonic tempo" sections (the table above should help), but once one gets used to it, it's alot of fun to follow the "social trends" exhibited by the 5 voices. 

           It's also worth reiterating that the first section is very useful in that it helps the listener get used to the idea of a "basic" melodic texture with a constantly changing density.  Even though in other musical contexts this section might be considered polyphonic, in this work, due to its "tempo agreement", this section acts as a more single-minded starting point.  As can be seen in the narrative, the players generally go back and forth between unity and seeming anarchy, but somehow they always (hopefully) land on their feet. 

      Links
      Stockhausen's Essay "...How Time Passes...", discussing concepts in ZEITMASZE (PDF)
      Sound samples, tracks listings and CD ordering
      Buy the Score 
      Wiki entry
      DVD Dress rehearsal, introduction and concert of ZEITMASZE conducted by Stockhausen (1992 with Ensemble Modern)
      English transcript of DVD Concert Introduction and analysis by Stockhausen (PDF) 
      10 DVD set of 1992 Rehearsals 
      Six Lectures from the Stockhausen Courses Kürten 2002 (Richard Toop)
      Compositional techniques in the music of Stockhausen (1951-1970) (Kelsall, 1975)
      The Music of Stockhausen (Jonathan Harvey)
      Works of Karlheinz Stockhausen (Robin Maconie)

      FÜR KOMMENDE ZEITEN

      Stockhausen playing the Kandy-drum in CEYLON (from LP)
      (© www.karlheinzstockhausen.org)
      No. 33: FÜR KOMMENDE ZEITEN (For Times to Come) (1968-1970)
      17 "intuitive music" text compositions
      for electroacoustic ensemble or small ensemble
        Introduction
             During a period of personal upheaval and crisis, Stockhausen wrote a set of texts, AUS DEN SIEBEN TAGEN, which are essentially verbal instructions which an ensemble (usually small) could use to embark on a kind of "textural" improvisation.  These works would tend to establish a kind of "vibratory environment" and then gradually develop into new ensemble landscapes.  Stockhausen called these improvisatory journeys "intuitive music", and sometimes inferred that instead of playing from a score, the performers would receive musical vibrations from each other and possibly from some kind of external (spiritual?) force.   FÜR KOMMENDE ZEITEN is basically a second collection of texts for use in creating intuitive music improvisations (it's recommended to read the text on AUS DEN SIEBEN TAGEN for more background information).

             AUS DEN SIEBEN TAGEN was written in a very short period under physically and mentally taxing conditions, but FÜR KOMMENDE ZEITEN was written over the span of a few years, usually while teaching, traveling or touring.  For this reason they seem a bit more playful and less "intense".  The first 5 were written as "examples" while teaching intuitive music at the Darmstadt Summer Vacation Course in August 1968, the 6th (INTERVALL) a year later in Corsica (as a gift), the next 3 in Bali on the way to the Tokyo EXPO '70 concerts, and the last 8 in Sri Lanka (Ceylon) on the way back from the Tokyo concerts.  The 17 texts are named:

        Recordings
             In contrast to the pieces in AUS DEN SIEBEN TAGEN (in which 12 out of 15 texts are officially recorded), only a little over half of these works have been recorded with Stockhausen's participation (though at least most of the missing ones have been premiered by the group "Gentle Fire", presumably with Stockhausen's involvement). 

             CEYLON, ZUGVOGEL, JAPAN, and WACH were recorded in the 1970's and are now available on Stockhausen Edition CD 11, Special Edition Text CD 22 and on a Stockhausen EMI Classics release, respectively.  These feature a version of Stockhausen's "live electronics" group which was first established to play MIKROPHONIE I (for more on the unusual instrumentation of these performances (electronium, electrochord, tam tam, etc...), see PROZESSION and SPIRAL).  The recordings of JAPAN and WACH were actually engineered by Alan Parsons and not Stockhausen himself, so I'm not sure how involved the composer actually was with these 2 versions, but since the players are basically core members of the Stockhausen Group (playing Stockhausen's texts), it seems appropriate to include them here.

             VERKÜRZUNG, WACH (2nd recording), ANHALT, VORAHNUNG, INNERHALB and WELLEN were recorded and released on Stockhausen Edition CD 17.1 in 2005, and were performed by the "Ensemble for Intuitive Music, Weimar", a trumpet, cello, piano and electronics group which originally began playing intuitive music without Stockhausen's involvement, but in these recordings were guided by the composer's presence. 

        JAPAN (11:41) Composed 70.07.06
        Recorded 71.12.08-10
        Abbey Road Studios with Alan Parsons
              This recording has a very "ritualistic" feeling, in that the woodblock rhythms seem to act as "signposts" against a backdrop of winding electronic ornamentation on drones or pedal tones.  The drums are very minimal, mainly playing some light trills in the beginning and ending sections.  This is the only intuitive text with a notated part. It's difficult to tell if the melody is actually played verbatim, but it seems fragments may be used as the basis for ornamentation.
        Upwards-rain
        in drops and threads
        and a melody.

        (includes a slow 5-bar melody in 3 or 4 phrases, basically spiraling up and then falling back down to the starting note)
        		Harald Bojé Electronium, woodblock
        Peter Eötvös Electrochord, Japanese bamboo flute, woodblock
        Cristoph Caskel Percussion
        • 0:01 - held electronic tones with light drum rolls and isolated woodblock in the foreground
        • 0:51 - woodblock begins periodic rhythm, joined intermittently by 2nd woodblock, electronium plays ornamentation on a pedal tone
        • 2:10 - woodblock isolated again, quiet background electronics
        • 3:31 - electrochord adds some ornamentation figures
        • 5:15 - sparse accent groups gradually fade in and out
        • 6:34 - slow woodblock rhythm followed by electronic drones and a periodic blip
        • 7:50 - drums slightly more present, electronic drones replaced by wind sounds
        • 9:53 - electronium returns with high figures, drums fade in and out with thin attacks
        • 11:27 - final woodblock "cadenza"

             
        WACH
        ("Awake")        		 (19:57) Composed 70.07.07
        Recorded 71.12.08-10
        Abbey Road Studios with Alan Parsons
        Isolated points with falling glissandi, perhaps quiet trills/accents...  Due to the instrumentation, similar to JAPAN, but much looser with more dialogue-like interaction.
        Star constellations
        with common points
        and falling stars
        with secret wishes

         and nocturnal forest
        with dialogues

         Abrupt end.        		 Harald Bojé Electronium 
        Peter Eötvös Electrochord 
        Cristoph Caskel Percussion
        • 0:01 - isolated notes with metal textures
        • 0:34 - 3rd electronic voice enters (oscillating tone begins) starts a crescendo to a busier texture
        • 2:31 - syncopated accents with background drone
        • 3:58 - electronic figures become more "vocal" and/or farther away, cymbal bowing begins
        • 7:43 - percussion fades out, electronic points and long tones, eventually becoming a 3-layer dialogue
        • 9:42 - percussion "knocks" enter, electronics become deeper (wider frequencies)
        • 10:54 - gong-like textures enter, knocks fade out
        • 12:07 - low and high modulating tones begin, glissandi (no perc.)
        • 13:37 - intermittent electronic fragments dialogue over "bouncing" bass drones
        • 14:56 - bouncing bass replaced by bubbling high tones, triangle leads to rhythms on thin metallic accents 
        • 17:01 - high modulating drone enters, then isolated triangle 
        • 18:35 - low scraping texture enters, high drone fades out


        CEYLON (22:05) Composed 70.07.07
        Recorded 75.04.04
             Based on an unpublished form structure used for this particular recording (but included in the CD booklet!), the text seems to imply the sub-division of the group into 2 sections, or duos with commentary ("minorities") from the remaining players).  This text also includes a notated rhythm for use with the Kandy drum, a 2-headed hand drum (this rhythm is also picked up and used by the other instruments).  This performance is obviously driven by the Kandy drum rhythm, but the ring-modulated piano also gives it a kind of Balinese gamelan flavor.
        Everything divided into two
        and a few minorities

         For festive times a rhythm:
        (2 pages of rhythmic notation included)        		 Harald Bojé Electronium 
        Peter Eötvös Persian Camel Bells, 
        Triangles, Synthesizer
        Aloys Kontarsky Ring-modulated Piano
        Joachim Krist Amplified Tam-tam
        Karlheinz Stockhausen Kandy Drum
        Tim Souster Sound Projection
        • 0:07: Kandy drum & camel bells duo play Ceylon rhythm, with background commentary from ensemble
        • 3:46: "Blocks & Rests" - mostly piano, electronium, & tam tam, with drum and bells commentary
        • 4:47: "Duo", piano & electronium play Ceylon rhythm, with some percussion ornamentation
        • 6:39: Quiet free section (Blocks & Rests, no bells)
        • 9:43: Transition to "Trio" - bells, tam-tam & electronium
        • 11:14: "Duo", piano & drum (trio continues underneath)
        • 13:38: Soft fragments, delicate textures
        • 18:08: Ensemble (forte)
        • 19:31: Ensemble (piano)
        • 21:00: Ensemble (pianissimo)


        Markus Stockhausen
        (© www.karlheinzstockhausen.org)

        ZUGVOGEL
        ("Bird of Passage")         		 (24:45) Composed 70.07.06
        Recorded 1975
             The first part of the text is pretty straight-forward, but the final phrase is obviously open to interpretation...  The recording here features Stockhausen's son Markus in his first prominent role in one of his father's works.  The recording has a definite free-jazz feel to it, but Stockhausen's "magic names" and other more ethnic instrumental textures add a somewhat more mystical feeling.  In general, the music seems always wanting to "take off", but then hesitates, only to re-gather strength for another try.
        Play/Sing as parallel as possible with the others
        Make exceptions and long pauses
        Bring the whole to a stand-still
        Fly away        		 Markus Stockhausen Trumpet, effects, Flugelhorn
        John Miller Trumpet
        Harald Bojé Electronium 
        Aloys Kontarsky Piano
        Karlheinz Stockhausen Rin Bowls, Indian Bells, 
         slide and bird whistles, voice
        • 0:00 - competing tremolo textures, various crashing waves and intermittent low sound masses
        • 5:06 - electronium begins to fade out (energy subsides), trumpets play long tones, piano high tremolo figures, high metals eventually enter
        • 7:27 - some relaxation in piano, electronium resurfaces with low drone/oscillating textures
        • 9:09 - low electronium pulses, Stockhausen begins calling out names ("Hinari", "Garuda"...), slow piano accents
        • 10:33 - bass pulses and high electronic fragments, piano becomes more soloistic, trumpet and metals eventually join in, trumpets tremolo over bass pulses
        • 12:58 - sparse trumpet figures (pre-echo?) over quiet grunting electronic and percussive textures, piano drops out
        • 14:58 - piano returns beginning with a few pedal bass accents, trumpets fade out (becomes percussive tonguing), replaced by high electronics
        • 17:16 - muted brass accents returns, then overtaken by jagged piano figures, slide whistle 
        • 19:05 - long brass tones, modulating over frenetic high piano, electronium drones sometimes morse code accents, brass eventually become soloistic
        • 22:12 - bursts of piano tremoli with high electronium points and trumpet long tones 
        • 23:27 - sparse with growling electronium textures and howling brass, ends with high metal percussion

          

        Ensemble for Intuitive Music Weimar, 2005 
        (Michael von Hintzenstern, Matthias von Hintzenstern, Hans Tutschku, Daniel Hoffmann, Stockhausen)
        VERKÜRZUNG
        ("Shortening")        		 (9:16) Composed 68.08
        Recorded 05.05.28
        Drones...until?
        Play or Sing
        Extremely long
        sounds
        until each one
        seems
        like
        an instant        		 Ensemble for Intuitive Music Weimar:
        Daniel Hoffmann Trumpet
        Matthias von Hintzenstern Cello
        Michael von Hintzenstern Piano, Harmonium
        Hans Tutschku Synthesizer
        • Sustained tones or sound patterns (tremoli) (sometimes modulating), coming and going (sometimes abrupt endings, sometimes with rising tails), different kinds of homophonic layers result
           
        WACH
        ("Awake")         		 (10:00) Composed 68.07.07
        Recorded 05.05.28
        Isolated points with falling glissandi, perhaps trills/accents...
        Star constellations
        with common points
        and falling stars
        with secret wishes

         and nocturnal forest
        with dialogues

         Abrupt end        		 Ensemble for Intuitive Music Weimar:
        Daniel Hoffmann Trumpet
        Matthias von Hintzenstern Cello
        Michael von Hintzenstern Piano, Harmonium
        Hans Tutschku Synthesizer
        • 0:03 - separated collections of accents (like drops), sometimes in unison groups and sometimes closely staggered, washed in reverb
        • 1:41 - the accents gradually become more evenly spread out, longer and more complex figures begin surfacing
        • 4:00 - intermittent drone elements appear as well as low gong-like sounds, short figures still in the foreground
        • 7:17 - some more frenetic figures enter, but texture is still very thick and resonant
        • 8:22 - "clacker" noises join in, the foreground figures become more like dialogues

        ANHALT
        ("Halt")        		 (10:00) Composed 70.02.04
        Recorded 05.05.28
        Layered sound textures, play chordally if possible.
        Seek harmony with a co-player
        Hold still, so that the others can find harmony with you
        Seek harmony with another co-player
        Hold still, so that…
        Seek harmony with each of your co-players
        Seek harmony with a co-player
        AND at the same time hold still        		 Ensemble for Intuitive Music Weimar:
        Daniel Hoffmann Trumpet
        Matthias von Hintzenstern Cello
        Michael von Hintzenstern Piano, Harmonium
        Hans Tutschku Synthesizer
        • 0:00 - disparate layers of sound textures: rattling sounds, soft piano fragments, drone
        • 1:01 - muted trumpet enters, rattling ends
        • 1:31 - cello replaces trumpet, soon also replaced by low synth
        • 2:50 - trumpet returns
        • 3:29 - cello 
        • 4:48 - trumpet briefly returns, piano rises, followed by cello, knocking sounds
        • 6:06 - rhythmic percussive dialogue between trumpet and piano
        • 6:38 - high cello bowing, joined by synth noises
        • 7:35 - piano returns, synth slowly falls, then joined by cello and trumpet
        • 8:33 - cello and synth duo drones, harmonics
        • 9:18 - muted trumpet returns for a final swell
         
        VORAHNUNG
        ("Presentiment")        		 (9:29) Composed 70.07.06
        Recorded 05.05.28
        Staggered layers of sounds, interrupting each other, blending into each other, with clear divisions (attacks) of sound textures
        Place each note
        on the head of another        		 Ensemble for Intuitive Music Weimar:
        Daniel Hoffmann Trumpet
        Matthias von Hintzenstern Cello
        Michael von Hintzenstern Piano, Harmonium
        Hans Tutschku Synthesizer
        • 0:02 - periodic solo and tutti attacks (different layer structures), sustained, sometimes players fade into an attack complex and crescendo until the next attack. Sounds can be drones, tremoli, sound samples etc...
        • 4:30 - some deviations/variations on the preceeding pattern
        • 6:17 - return to clearer structures
           
        INNERHALB
        ("Inside")        		 (8:43) Composed 70.02.04
        Recorded 05.05.28
        Gradually staggered drone layers, eventually rising.  The use of overtone singing adds some nice variety to the layered texture, sometimes on unison pitches.
        Play a long note
        Penetrate into the note of a co-player
        (and then) another co-player
        When someone penetrates into your note
        make everything clear to him.
        (…)
        ...until all are moving within each other
        ...begin to burn
        and together coil into the heights        		 Ensemble for Intuitive Music Weimar:
        Daniel Hoffmann Trumpet
        Matthias von Hintzenstern Cello
        Michael von Hintzenstern Piano, Harmonium
        Hans Tutschku Synthesizer
        • 0:02 - vocal overtone drones, soon joined/replaced by harmonium, trumpet, synth, cello...
        • 1:34 - rattling texture briefly surfaces, harmonium harmony rises and pulsates
        • 2:55 - cello leads a fade and swell using tremolo, leading to another thick ensemble texture, sometimes with synth "rushing noises"
        • 4:30 - trumpet briefly leads, followed by return of overtone singing, all basically on the same note
        • 6:03 - thicker harmonies return, followed by intense cello tremolo, rising muted trumpet
        • 7:10 - harmony spirals upwards
        • 7:57 - entry of percussive textures (cello, synth, etc..), ending with trumpet tremolo
           
        WELLEN
        ("Waves")        		 (10:27) Composed 70.07.05
        Recorded 05.05.28
        Overlapping swells of sound, eventually blending into a static texture.
        Overtake the others
        Hold the lead
        Allow yourself to be overtaken
        Less often        		 Ensemble for Intuitive Music Weimar:
        Daniel Hoffmann Trumpet
        Matthias von Hintzenstern Cello
        Michael von Hintzenstern Piano, Harmonium
        Hans Tutschku Synthesizer
        • 0:02 - ringing bells are soon joined by a subtle cello melody, making an initial "wave"
        • 1:36 - muted trumpet and irregular pulsing synth begin a second wave, which overtakes the first
        • 2:28 - scraped piano strings signal a new wave, soon accompanied by knocking 
        • 3:10 - rising muted trumpet, soon replaced by a piano trill
        • 3:42 - a synthetic whirring sound is soon joined by harmonic cello accents
        • 4:13 - synth drone, soon joined by low piano fragments, rattle, and cello tremolo, builds to a climax, which is replaced by...
        • 5:08 - trumpet tremolo soon replaced by piano, resonant wind noises, knocking, etc...
        • 6:00 - slow low melody on synth, soon joined by cello pizz., accelerating
        • 6:37 - fast rhythmic pulse enters, rattles, etc...
        • 7:29 - slow pulses build in multiple layers and speeds into a frenzy led by piano
        • 8:27 - trumpet drone surfaces, soon accompanied by isolated synth accents, cello, etc...
        • 9:12 - energy begins to build again, led by background synth noise(?)


        Unrecorded Works
             The remaining texts of FÜR KOMMENDE ZEITEN have been recorded by various people, but are not "official", in that Stockhausen was not involved in the sessions or groups.  Below are my "personal" interpretations of what they might mean and a few excerpts of the score texts.  Included are also links to where "unsupervised versions" (not necessarily matching my own interpretation) can be found:
        • ÜBEREINSTIMMUNG ("Unanimity"): quiet, long sounds and short loud sounds, increasingly in unison attacks.  Recorded by composer Richard Barrett's group here and also by the "Intuitive Music Quartet" (Giorgio Dini (bass), Mell Morcone (piano), Walter Prati (Synthesizer, Electronics), Mario Mariotti (Trumpet, Flugelhorn) here.
        • VERLÄNGERUNG ("Elongation"): extremely short events, an "Intuitive Music Quartet" version can be heard on YouTube.
        • ÜBER DIE GRENZE ("Across the Boundary"): play as a "Humorous Master-Interpreter", exploring instrumental technique.  As far as I know no CD recording is available of this one.
        • KOMMUNIKATION ("Communication"): long, quiet sounds vs. loud short sounds vs. agitated sounds, using a kind of unspoken communication.  Recorded by the "Intuitive Music Quartet" here.
        • INTERVALL ("Interval", piano duet for 4 hands): start with isolated single notes, adding intervals when unison attacks between the 2 players occur.  When 10-note chords are reached, begin moving towards each other (pitch-wise) on simultaneous attacks.  When a common harmony is reached, proceed to subtract notes on simultaneous attacks.  When a single notes are reached, the continue unison attacks, but begin cross-fading the other player's note (hummed) over your own note, etc...  This work was recorded by Steffen Schleiermacher and Josef Christof on this CD.  Another recording by Michael Century and Ryan Ross Smith can be seen here.
        • AUSSERHALB ("Outside"): long sounds "break through" other long sounds..."Break through the note of the whole...and keep out of it."  Recorded by the "Intuitive Music Quartet" here.
        • SCHWINGUNG ("Vibration"): vibrate in unison, then independently, repeat this cycle, accelerating until "fused", repeat from beginning.  Recorded by the "Intuitive Music Quartet" here.
        • SPEKTREN ("Spectra"): "Divide the sound of another...  Unite the divided sound of another...  Gradually introduce indivisible sounds".  Written in 1970, this concept and terminology seems to pre-echo the "spectral music" movement (STIMMUNG also somewhat prefigures that style/technique). A version can be found on a CD by "Prima Vista - Ensemble Pro Musica Da Camera".

        Sound Impressions
             These works are deceptively hard to play and even to adequately describe.  One of the fascinating things about Stockhausen's text pieces is that they sometimes start with some very precise indications, but then end on a very vague or ambiguous instruction.  I assume that once an initial "moment" texture/structure is achieved, the players may use the more poetic part of the text to go a bit farther afield and let "intuition" take over.  As previously mentioned, these texts are somewhat more playful and almost mischievous in comparison to the texts of AUS DEN SIEBEN TAGEN (which are more "monastic" in mood, I think).

             The available recordings of these works also have very different sound worlds, with each sounding very reflective of the time and place they were recorded.  The 2005 Weimar group's recordings seem more precisely-controlled and self-conscious ("studio-bound") than the more free-wheeling 1970's explorations ("in the wild").  JAPAN, WACH and CEYLON are also dominated by novel electronic textures, but the folk/ritualistic atmosphere balances things out in an organic way.  It would be very interesting to hear more recordings of these works by different acoustic and electronic ensembles (such as, for example, a string quartet or a Japanese gagaku orchestra...).

        Links
        Score
        Wiki Entry
        Instructions on the Interpretation of Intuitive Music (transcripts of rehearsal extracts w Stockhausen, hosted by Living Scores Learn)
        Ensemble for Intuitive Music, Weimar (site)
        Ensemble for Intuitive Music, Weimar (performing WACH live)
        Richard Barrett and ensemble: WACH
         Stockhausen: Conversations With the Composer (Interviews by Jonathan Cott, 1974)
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