[Wien]: Universal [PN 13678LW], ©1968.
Extra-large oblong folio (332 x 470 mm). Original publisher's ivory printed wrappers with file clip to inner margin. 1f. (recto title, verso copyright), 1f. (recto dedication to Dr. Otto Tomek, verso performance notes), 68 pp. Includes illustrations of electrical equipment, charts, diagrams, graphic notation, etc.
Nr. 12 Kontakte für elektronische Klänge, Klavier und Schlagzeug Aufführungspartitur [PN 14246LW, ©1966]. 1f. (recto title, verso blank), 38ff. printed on rectos only.
Reproduced from the composer's autograph manuscript.
Wrappers worn; upper stained.
"Whilst Stockhausen was working on Carré he was also making experiments in the electronic studio with a rotating loudspeaker which was surrounded by four microphones ... These experiments materialized into Nr. 12 Kontakte (1960) which can be played as just a tape, or with piano and percussion added. (There is even another version with yet more added to the original tape) ... In the tape of Kontakte, Stockhausen uses various totally new forms of spatial movement - rotation at varied speeds and in both directions; 'Flutklang' (flood sound) sounds coming from one loudspeaker, then successively from others ...; alternation continuously between two loudspeakers; looping ...; and pointillistic patterns of all sorts ... Kontakte was Stockhausen's first live and electronic piece, and must therefore be regarded as something of a turning point; for most of the works composed since have employed the two media in one form of combination of another." Harvey: The Music of Stockhausen, pp. 88, 90.
"From 1959, a new spaciousness enters, marking a clear break with any kind of ‘post-Webern’ aesthetic. This is clear on a small scale in Refrain, and on a larger one in Carré for four choirs and four orchestras and Kontakte for piano, percussion and electronic music; both of these are unbroken spans lasting over half an hour, but they are notable also for their expressive range and their radical ‘extension of the time-scale’ in terms of the difference between the quickest and slowest rates of change."
"The leading German composer of his generation, [Stockhausen] was a seminal figure of the post-1945 avant garde. A tireless innovator and influential teacher, he largely redefined notions of serial composition, and was a pioneer in electronic music ..." Richard Toop in Grove Music Online.
Price: $250.00 other currencies