Adieufür Wolfgang Sebastian Meyer is a composition for wind quintet by Karlheinz Stockhausen composed in 1966. It is Number 21 in the composer's catalog of works, and the second of Stockhausen's three wind quintets.
In June 1966 the oboist Wilhelm Meyer, who had frequently performed Stockhausen's earlier quintet Zeitmaße under the composer's direction, asked Stockhausen to compose a new wind quintet for an upcoming tour of Asia. Stockhausen initially demurred because a new quintet would probably take months to compose, and the current production of Hymnen in the Cologne electronic studio was taking up all of his time. A visit made a few days later to a comprehensive exhibition in The Hague of Piet Mondrian's paintings made Stockhausen ask himself, when confronted with Mondrian's well-known series of paintings titled simply "compositions"—with their strict organization by vertical and horizontal lines dividing the canvasses into rectangles—why it should be necessary to take months of concentrated work to produce a piece. Recalling also that Meyer's son Wolfgang Sebastian, an organist who not long before had asked Stockhausen to compose an organ piece, had been killed in a car crash on 10 January 1966, he immediately set to work on the new quintet in memory of the oboist's son, and completed it two days later. There were two unofficial performances, in Calcutta on 30 January and in Hong Kong on 6 February, before the "official premiere" on 10 February 1967 in Tokyo by the WDR Wind Quintet ( Stockhausen 1971 ).
Adieu provokes reflection on the transience of experience by expressing feelings of separation and bereavement. This is accomplished through the use of long-held chords with microtonal fluctuations and gestures of interrupted movement—unfinished cadences, abrupt changes in the sound, and so on ( Maconie 2005 , 267–68). "The musicians must be able to experience deeply, and form into notes, the sense of closeness to death that vibrates in this music" ( Stockhausen 1971 , 93).
The work is divided into sections proportioned according to the Fibonacci numbers from 1 to 144. The main material consists of long-drawn out, static or slowly changing sound expanses, interrupted at intervals by general pauses and five short, unfinished traditional tonal cadences, reminiscent of Mozart ( Frisius 2008 , 181). These broken-off cadence fragments open and close Adieu, and divide the whole into four large sections of 144 time units each. The second and fourth of these main sections are subdivided by the pauses, resulting in a total of eight subsections, with durations of 144, 55 + 89, 144, and 34 + 21 + 34, + 55 units ( Kramer 1988 , 315). These are then subdivided further into smaller measures. Each Fibonacci duration is associated throughout the composition with a particular articulation type. The value 13, for example, is associated with trills. However, when such a value is also a part of a larger one, e.g., when a section of 34 units is divided 13 + 21, the shorter section takes on in addition the character associated with 34, which is repetition of notes. On the other hand, where 13 combines with 8 to form a larger section of 21 units, the 13 bar will take on in addition to trills the character associated with 21, which is crescendo ( Toop 2005 , 189–90).
A wind quintet, also known as a woodwind quintet, is a group of five wind players.
Kontra-Punkte is a composition for ten instruments by Karlheinz Stockhausen which resolves contrasts among six instrumental timbres, as well as extremes of note values and dynamic levels, into a homogeneous ending texture. Stockhausen described it: "Counter-Points: a series of the most concealed and also the most conspicuous transformations and renewals—with no predictable end. The same thing is never heard twice. Yet there is a distinct feeling of never falling out of an unmistakable construction of the utmost homogeneity. An underlying force that holds things together—related proportions: a structure. Not the same Gestalten in a changing light. But rather this: various Gestalten in the same light, that permeates everything".
Kreuzspiel is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in 1951. It is assigned the number 1/7 in the composer's catalogue of works.
Klang —Die 24 Stunden des Tages is a cycle of compositions by Karlheinz Stockhausen, on which he worked from 2004 until his death in 2007. It was intended to consist of 24 chamber-music compositions, each representing one hour of the day, with a different colour systematically assigned to every hour. The cycle was unfinished when the composer died, so that the last three "hours" are lacking. The 21 completed pieces include solos, duos, trios, a septet, and Stockhausen's last entirely electronic composition, Cosmic Pulses. The fourth composition is a theatre piece for a solo percussionist, and there are also two auxiliary compositions which are not part of the main cycle. The completed works bear the work (opus) numbers 81–101.
Trans is a composition for orchestra and tape by the German composer Karlheinz Stockhausen, written in 1971. It is Number 35 in the composer's catalog of works.
In Freundschaft is a composition by Karlheinz Stockhausen, number 46 in his catalogue of works, which is playable on a wide variety of solo instruments. It was first performed on a clarinet on 28 July 1977.
Carré (Square) for four orchestras and four choirs (1959–60) is a composition by the German composer Karlheinz Stockhausen, and is Work Number 10 in the composer's catalog of works.
Zeitmaße is a chamber-music work for five woodwinds composed in 1955–1956 by German composer Karlheinz Stockhausen; it is Number 5 in the composer's catalog. It is the first of three wind quintets written by Stockhausen, followed by Adieu für Wolfgang Sebastian Meyer (1966) and the Rotary Wind Quintet (1997), but is scored with cor anglais instead of the usual French horn of the standard quintet. Its title refers to the different ways that musical time is treated in the composition.
Refrain for three players is a chamber music composition by Karlheinz Stockhausen, and is number 11 in his catalog of works.
Fresco is an orchestral composition written in 1969 by the German composer Karlheinz Stockhausen as foyer music for an evening-long retrospective programme of his music presented simultaneously in three auditoriums of the Beethovenhalle in Bonn. It is Nr. 29 in his catalogue of works, and a performance takes about five hours.
Atmen gibt das Leben, is a choral opera with orchestra by Karlheinz Stockhausen, written in 1974 and expanded in 1976–77. It is Number 39 in the catalogue of the composer's works, and lasts about 50 minutes in performance.
The Konkrete Etüde is the earliest work of electroacoustic tape music by Karlheinz Stockhausen, composed in 1952 and lasting just three-and-a-quarter minutes. The composer retrospectively gave it the number "1⁄5" in his catalogue of works.
Punkte (Points) is an orchestral composition by Karlheinz Stockhausen, given the work number ½ in his catalogue of works.
Formel (Formula) is a composition for chamber orchestra by Karlheinz Stockhausen, written while he was still a student in 1951. It is given the number 1⁄6 in his catalog of works, indicating that it is amongst the pieces preceding the composition he recognised as his first mature work, Nr. 1 Kontra-Punkte.
Stop is a composition for orchestra by Karlheinz Stockhausen, work-number 18 in the composer’s catalogue of works, where two performing realisations are also found as Nr. 18½ and Nr. 18⅔.
Ylem is a composition by Karlheinz Stockhausen for a variable ensemble of 19 or more players, and is given the work number 37 in his catalogue of compositions.
Schlagtrio is a chamber-music work for piano and two timpanists composed by Karlheinz Stockhausen in 1952. It is Nr. ⅓ in his catalogue of works.
Solo for a melody instrument with feedback is a work for a soloist with live electronics composed in 1965–66 by Karlheinz Stockhausen. It is Nr. 19 in his catalogue of works. Performance duration can vary from 10½ to 19 minutes.
The Rotary Wind Quintet is a chamber-music composition by Karlheinz Stockhausen, the last of his three wind quintets and is Nr. 70½ in his catalogue of works. A performance lasts about 8½ minutes.
Choral (Chorale) is a short a cappella choral composition by Karlheinz Stockhausen, who wrote both the words and music in 1950. It was later given the number 1/9 in the composer's catalogue of works and lasts about four minutes in performance. The score is dedicated to the composer's first wife, Doris Stockhausen, née Andreae.