a r t i s t : Karlheinz Stockhausen
t i t l e : Tierkreis (Les Signes du Zodiaque)
d a t e : 2001
l a b e l : Solstice
g e n r e : Avantgarde
r l s. d a t e : Jul/2006
t r a c k s : 26
b i t r a t e : VBRkbps
s i z e : 98,4 MB
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The players:
Jean-Philippe Vivier - clarinette
Tamayo Ikeda - piano
The works:
Paul HINDEMITH : Sonata for clarinet and piano (1939)
Witold LUTOSLAWSKI : Dance Preludes (1953)
Karlheinz STOCKHAUSEN : Tierkreis (1981)
Francis POULENC : Sonata for clarinet and piano (1962)
Leonard BERNSTEIN : Sonata for clarinet and piano (1941)
The label:
www.solstice-music.com
SOCD 197
The discussion:
"In 1975, I wrote TIERKREIS (ZODIAC), 12 melodies of the star
signs for 12 music boxes, as part of the composition MUSIK IM
BAUCH (MUSIC IN THE BELLY) for 6 percussionists and music
boxes. TIERKREIS for melody and/or chordal instrument has been
published separately, as have a version for chamber orchestra
(1977) and a version for clarinet and piano (1981). All are
published by the Stockhausen-Verlag.
"It is evident that TIERKREIS is a cycle of musical formulae
for the 12 months of the year and the 12 human types, and that
these formulae lend themselves to innumerable versions. The
largest "version" of TIERKREIS to date is my composition
SIRIUS, electronic music and trumpet, soprano, bass clarinet,
bass (1975û77). Its duration is 96 minutes."
-K. Stockhausen
TIERKREIS has become a popular composition by Stockhausen, yet
it has been dismissed by some modernist listeners: "How could
the hardcore avantgarde composer who wrote GRUPPEN create such
a simple collection of innocuous melodies?"
Well, the answer is: First, TIERKREIS, even though in itself
maybe "unobtrusive sounding" (characterized as such by the
composer himself on occasion of receiving the Siemens prize in
1986 where the work was played), is a high-quality composition
and thus significant... Second and most importantly, the
melodies of TIERKREIS are the model for the large-scale
SIRIUS. This composition is every bit as sophisticated and
hardcore avantgarde as GRUPPEN, and it too is revolutionary.
Prove me wrong if you can! (I am not talking about its
"influence on the avantgarde", but about what is intrinsic to
the composition.)
Unprejudiced listening to TIERKREIS reveals how immensely
beautiful and full of character this music actually is, and
diving into its subtleties proves highly rewarding. The strong
characterizations given by the melodies possibly unleash their
fullest potential in the highly colorful Trio Version and in
the versions with voice.
Here follows a more detailed description of the textures of
the Trio Version of TIERKREIS, a description that seeks to
point the listener to the fine subtleties and powerful
colorations found in this music. Quite a few elements of
presentation in the Trio Version were already found in the
version for clarinet and piano (1981), yet are here further
elaborated upon.
Pisces.
A. An elegant duet of flute and clarinet opens the work, with
the flute presenting the Pisces melody. The polyphonic
wriggling of the melodic lines of the two instruments around
each other beautifully corresponds to the character of the
Pisces melody itself, wriggling like small fish in the water.
B. Clarinet û piano. The piano plays arpeggi in higher
registers, accompanying the clarinet that plays the melody in
full-blooded lower middle registers. The resulting combination
of warmth (clarinet) and glassiness (piano) is beguiling.
C. Trumpet û flute -clarinet. The glassy freshness from the
previous texture is prolonged in the sound of the muted
trumpet. The instrument presents the Pisces melody, and
intense polyphony is created as the flute provides a companion
voice. The clarinet adds to the texture with notes that are
more sustained.
Aries. Spring begins.
A. Again trumpet, flute and clarinet play together. A
different mute on the trumpet gives its sound a saucy
character, in accord with the pronounced vividness of the
pugnacious Aries melody. The presentation of the melody is
created by collaboration of all three instruments, and all
instruments participate in the polyphonic excursions as well.
Those are tightly wrapped around the main melody, and this
tightness emphasizes the energy emanating from the melody.
B. The trumpet plays solo and with no mutes. A vivid variation
of the melody, sounding like improvisation, cuts through the
air.
C. Piccolo û trumpet û clarinet. The excitement of the melodic
texture is further highlighted when it acquires a piercing
quality in its presentation by the piccolo. Trumpet and
clarinet provide polyphonic enrichment.
Taurus.
A. The piano plays the melody solo in low registers, thus
emphasizing the calm power of the bullish melody. Occasional
accents in high registers underscore the pulse of the melody.
B. Clarinet û piano. The clarinet plays the melody, again in
relatively low registers, above the dark and subtle background
of a chord on the piano from the previous presentation, fading
away on continually depressed pedal. A short figure in the
piano towards the end refuels the energy of the fading piano
sound, resulting in another chord held on depressed pedal
until the end. An elegant texture with quiet power from
underneath.
C. Clarinet û flute û piano. The woodwinds, with strangely and
beguilingly vibrating tones in the clarinet, created by
flutter-tonguing, awaken the melody into higher registers than
before, and the register range in the piano û playing in
unison with the clarinet û shifts accordingly.
D. Again clarinet û flute û piano. The added vividness of the
melody, as unleashed by its shifting into brighter colors just
before, is now further enhanced by rhythmic accentuation. This
accentuation is, in an impressive manner, intensified by a
strongly sharpened timbral color û the clarinet tone fuses in
staccato with the piano tone and both play the melody in high
registers in unison. The flute takes over the flutter-tonguing
from the clarinet in the previous presentation, circling
around the melody.
Gemini.
A. The saucy presentation of the capricious melody by the solo
clarinet even incorporates a little zigzag glissando. The
melody accelerates its rhythm towards the end in a beautiful,
fluid way.
B. Clarinet û piano. The clarinet sound fades out while the
piano already has begun playing and presents the melody solo;
the first half of the melody is played in a hesitant manner,
keeping the tension in pauses alive through fading of notes on
depressed pedal. The contrasting lack of pauses in the second
half of the presentation further accentuates the fluidity
through the accelerating passage (see above) û a splendid
device. Towards the end the clarinet plays a phrase which
foreshadows the presentation of Cancer.
C. Flute û clarinet û piano. This presentation elaborates on
the capricious character of the melody. It starts out in dense
polyphony, but towards the middle again hesitation is heard
and the melody refuses to play further. Moody, jumping figures
in all instruments fill the vacuum, and finally a resumption
of energy carried by the beautifully fluid acceleration,
inherent to the second half of the melody, sets in. This
drives the presentation to a most satisfying conclusion.
Cancer. Summer begins.
A. Clarinet û flute. The clarinet presents the Cancer melody.
To my ears, this and the Libra melody are the two melodies of
TIERKREIS that are balanced in such a way that they are
resting in harmonious equilibrium throughout. The harmonious
impression here is intensified by the beautiful playing of the
flute around the melody (the flute actually plays the Cancer
melody in retrograde), resulting in riveting polyphony.
B. Flute û trumpet û clarinet. The melody is presented in slow
motion, and a wonderful dreamy atmosphere û reminiscent of
lazy summer days outdoors, enjoying nature û is introduced,
building on the calm harmoniousness of the melody. The muted
trumpet produces a pithy, golden tone, and the woodwinds
radiate warmth as well.
C. Clarinet û trumpet. Fresh sounding liveliness is
introduced, yet on the same kind of tone as before, thus
beautifully keeping the connection to the dreamy atmosphere
previously associated with this tone.
D. Flute û clarinet û trumpet. The dreamy atmosphere that
never was quite lost now makes an even stronger return.
Clarinet and trumpet lay out in long notes a harmonic carpet
of golden radiance, above which the flute in warm tone very
slowly plays the melody with relaxed, mellowing pauses in
between. This is pure magic.
At the end of the melody, the long drawn tone of the flute
melts into the golden harmonic carpet already laid out by the
other instruments, and a suddenly rising melodic line in the
clarinet above the sustained long-stretched tones of flute and
trumpet brings this presentation to a most exquisite end.
Leo.
A. The solo piano plays the melody, a melody which to me
pictures the pride of the lion patrolling his territory. The
melody is played in high registers; chords in middle registers
provide rhythmic accentuation. It sounds like a fresh summer
breeze. The use of high registers in the piano for the
presentation of melodies in the Trio Version, but also in the
version for piano and clarinet, seems to me a reminiscence of
the timbre of music boxes (which TIERKREIS originally was
written for).
B. Piano û clarinet û flute. The way the clarinet tone blends
with the piano tone is astonishing û it seems to resonantly
extend the piano timbre. The warmth of the clarinet tone
magically nestles in between the melody in high registers of
the piano and the voice in the lower registers of that
instrument. The glowing yet fresh tone of the flute towards
the end splendidly opens up the timbral spectrum.
C. Clarinet û flute û trumpet. The switch to presentation by
winds alone has a beguiling effect, since the pronounced
rhythmic character of the melody, while still intact, now
nonetheless is rounded in its edges. The melody is played by
the clarinet while the muted trumpet slowly alternates between
high and low notes, as if it wants to guard the pitch plane of
the melody on either side. The contribution of the flute to
the polyphony, even though not directly going hand in hand
with the one of the trumpet, somewhat shadows its character.
Virgo.
A. Clarinet û piano. The clarinet plays the tender and
delicate melody while the piano accompanies with mostly
arpeggi in high registers. This is reminiscent of the second
presentation of the Pisces melody (see above), yet since now
the clarinet plays in a higher register range than there, the
timbres of the two instruments blend to a higher degree. A
texture of warmth and crystalline luminosity is created.
B. Flute û piano. In a marvelous way, warmth and luminosity
now completely blend as flute and piano play the melody in
unison. A sublime union between character of sound and
character of melody is achieved.
C. Trumpet û clarinet û flute. The dreamy summer atmosphere,
as heard in some of the presentations of Cancer, now makes a
last return before the season ends. The instruments play the
melody very slowly, relishing every melodic turn in a texture
of warmth and light, with an unbelievably rich, saturated
blend of harmony and instrumental color. û In all three
presentations of Virgo again magic abounds.
Libra. Fall begins.
A. Flute û clarinet û trumpet. The first, very fresh sounding
presentation of the swaying melody divides its phrases in an
alternating way between the pair of trumpet and flute on one
hand, and clarinet on the other hand. Thus, the swaying of the
melody is reflected in a swaying back and forth between
instruments û a colorful feature. Such a swaying of phrases
back and forth between musical forces during the presentation
of the melody is already heard in the section LIBRA in SIRIUS,
written a few years earlier. As in SIRIUS, it is beautifully
executed here. Muted trumpet and flute are closely joined yet
not in unison, pausing every time when passing a phrase on to
the clarinet. This instrument on the other hand plays more
continuously. It holds on to sustained notes while the other
instruments are playing, and swells to the foreground whenever
it takes over a phrase of the Libra melody, playing alone.
B. The trumpet plays the melody while the clarinet provides a
lively countervoice. Towards the end, the flute adds phrases
of the melody played with rushing noises.
C. Flute and trumpet play the melody together exclusively on
rushing noises, blowing over or to the side of the
instruments. On these rushing noises the melody blows along
like the wind; in SIRIUS, air (wind) is the element
represented by Libra. The gradual transition at the end from
rushing noise to tone in the flute is especially enchanting.
D. Piano û clarinet û flute. The piano plays the melody in
relatively high registers, while clarinet and flute work
together in weaving a dense web of more slowly moving
polyphonic countervoices. The presentation ends with the last
phrase again "blowing like the wind".
Scorpio.
A. The clarinet presents the stinging melody with an icy,
strident tone while the piano intensifies the atmosphere with
forceful chords of bright sound, mainly on strong beats.
B. The melody acquires a warmer, softer tone in its
presentation in lower registers of the piccolo. The attacks of
sound now come from the muted trumpet which lures in the
background with soft sustained tones that from time to time
lead into dynamic outbreaks, with a few of them almost
assault-like in character.
C. The piccolo switches to stinging high registers, playing
the melody, while the clarinet adds to the timbral
intensification with sporadic tone pulses and the trumpet
again lures in the background on sustained sounds. Towards the
middle, suddenly the trumpet forcefully breaks out with loud
improvisation-like phrases, while the piccolo simultaneously
plays repeats of a very high note û the character of stinging
is driven to its maximum at this point. After this short
episode, the music returns to its previous texture, with the
last two notes of the melody blasted out by the trumpet.
Saggitarius.
A. A laid-back presentation by the warm-sounding clarinet,
accompanied by arpeggi in the piano, concentrates on the
rhythmic elegance and fluidity of the bouncy, leaping melody.
B. Trumpet û clarinet û flute. The leaping character of the
melody is emphasized when all instruments jump together
through its phrases with accentuated rhythm, while leaving
enough room for the development of polyphony.
C. The melody leaps about happy as a sandboy when the solo
flute plays while simultaneously the female player sings
through the instrument. The blending of the flute tone and the
singing into one timbre is quite unbelievable.
D. As in the first presentation, the clarinet renders the
melody, accompanied by the piano. The clarinet now plays less
laid-back and with more lively rhythmic accentuation, an
accentuation enriched by the melodic accompaniment in the
piano. In fascinating contrast to the warm vividness of
presentation, the melodic flow sometimes pauses on sustained
notes.
Capricorn. Winter begins.
A. Piano. The piano plays the melody with an ice-cold, wintery
tone in high registers. The accompaniment in middle registers
provides resonance to the texture, due to the pedaling that
affects this register range to a greater extent.
B. Flute û clarinet û piano. In this presentation which sounds
much warmer, the flute plays the melody while the clarinet
extensively plays diverse trills, thus nicely mimicking in
character the diverse zigzag lines in the contours of the
melody. From time to time the piano provides chordal accents.
C. Trumpet û flute û clarinet. The muted trumpet plays the
melody while the polyphonic web woven around it by the
woodwinds moves in a much slower time layer, yet at a volume
comparable to that of the trumpet û a fascinating texture. The
presentation ends with key noises from the woodwinds again
mimicking the zigzag lines in the melody.
Aquarius.
A. Flute û piano. Flute and the upper voice of the piano play
the dancing melody in unison, while the rhythm in the lower
voice of the piano supports the swaying motion generated by
the melody. The warmth of the flute tone gives the
presentation a gentle character.
B. Clarinet û flute û piano. In this rendition in very
leisurely tempo, the warmth of tone heard before is further
intensified to a great extent. The melody is presented in the
lower registers of the clarinet, the lower voice in the piano
now gains more prominence than the less continuously sounding
upper voice, and the flute, providing a slow moving
counterpart, plays in lower registers as well.
C. Again clarinet û flute û piano. The presentation of the
melody, now focused on sparkling clarity in the fresh-sounding
higher middle register of the clarinet, elegantly changes the
balance between outspoken vividness and gentleness of tone as
it proceeds. In fascinating contrast, the accompaniment in the
piano and accents in the flute provide a more settled,
even-paced countersphere.
D. Clarinet û piano. Now the swaying of the melody is elevated
from earth, like friendly, ghost-like elves dancing in the
air. The leading clarinet only plays a few notes of the
melody, like points in musical space, notes enough however to
suggest the complete contours of the melody that still linger
in the listener's memory. The sparse accompaniment of the
piano adds some more shadows of the original melody.
-Albrecht Moritz 2002/5
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01-Paul Hindemith - Sonate (1930) I. Massig bewegt [04:59]
02-Paul Hindemith - II. Lebhaft [02:41]
03-Paul Hindemith - III. Sehr langsam [06:13]
04-Paul Hindemith - IV. Kleines Rondo, gemachlich [02:31]
05-Witold Lutoslawski - Prelude de Danses [00:54]
(1953) I. Allegro molto
06-Witold Lutoslawski - II. Andantino [02:51]
07-Witold Lutoslawski - III. Allegro giocoso [01:12]
08-Witold Lutoslawski - IV. Andante [03:39]
09-Witold Lutoslawski - V. Allegro molto [01:37]
10-Karlheinz Stockhausen - Tierkreis (1981) I. Verseau [01:55]
11-Karlheinz Stockhausen - II. Poissons [01:58]
12-Karlheinz Stockhausen - III. Belier [01:27]
13-Karlheinz Stockhausen - IV. Taureau [01:54]
14-Karlheinz Stockhausen - V. Gemeaux [02:02]
15-Karlheinz Stockhausen - VI. Cancer [02:16]
16-Karlheinz Stockhausen - VII. Lion [01:28]
17-Karlheinz Stockhausen - VIII. Vierge [01:45]
18-Karlheinz Stockhausen - IX. Balance [02:25]
19-Karlheinz Stockhausen - X. Scorpion [01:34]
20-Karlheinz Stockhausen - XI. Saggitaire [02:31]
21-Karlheinz Stockhausen - XII. Capricorne [01:59]
22-Francis Poulenc - Sonate (1962) I. Allegro tristamente [05:45]
23-Francis Poulenc - II. Romanza [05:27]
24-Francis Poulenc - III. Allegro con fuoco [02:55]
25-Leonard Bernstein - Sonate (1941) I. Grazioso [03:25]
26-Leonard Bernstein - II.Andantino - Vivace e leggiero [06:44]
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74:07 min