Zyklus für einen Schlagzeuger (English: Cycle for a Percussionist) is a composition by Karlheinz Stockhausen, assigned Number 9 in the composer's catalog of works. It was composed in 1959 at the request of Wolfgang Steinecke as a test piece for a percussion competition at the Darmstadt Summer Courses, where it was premièred on 25 August 1959 by Christoph Caskel. It quickly became the most frequently played solo percussion work, and "inspired a wave of writing for percussion".
The work is written for one percussionist playing a marimba, vibraphone (motor off), 4 tom-toms, snare drum, güiro (one or several, if necessary), 2 African log drums (each producing 2 pitches), 2 suspended cymbals of differing sizes, hi-hat, 4 almglocken (suspended, clappers removed), a suspended "bunch of bells" (preferably Indian bells or tambourine mounted on a stand), at least 2 high pitched triangles, gong (with raised boss in center) and tam-tam.
The title of Zyklus is reflected in its form, which is circular and without a set starting point. The score is spiral-bound, and there is no "right-side up"—it may be read with either edge at the top. The performer is free to start at any point, and plays through the work either left to right, or right to left, stopping when the first stroke is reached again. (In this way, it is an example of what Stockhausen calls "polyvalent" form.) The instruments are arranged in a circle around the performer, in the order they are used in the score. The notation is only conventional in some details, and an early review of this first graphic score by Stockhausen remarked that "The initial impression is that one is looking not at a score, but at a drawing by Paul Klee".Zyklus contains a range of notational specificity, from exactly fixed at one extreme, to open, "variable" passages at the other. Stockhausen composed these elements using a nine-degree scale of statistical distribution, but states that the listener is not "supposed to identify these nine degrees when you hear the music, nevertheless the music that results from such a method has very particular characteristics...".
In principle, the percussionist decides on the starting point and direction through the score only at the moment of commencing a performance, but in practice this is almost universally worked out well in advance. Only the percussionist/composer Max Neuhaus claims to have consistently given "spontaneous" versions.( Neuhaus 2004 )
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.
Intuitive music is a form of musical improvisation based on instant creation in which fixed principles or rules may or may not have been given. It is a type of process music where instead of a traditional music score, verbal or graphic instructions and ideas are provided to the performers. The concept was introduced in 1968 by the German composer Karlheinz Stockhausen, with specific reference to the collections of text-notated compositions Aus den sieben Tagen (1968) and Für kommende Zeiten (1968–70). The first public performance of intuitive-music text compositions, however, was in the collective work Musik für ein Haus, developed in Stockhausen's 1968 Darmstadt lectures and performed on 1 September 1968, several months before the first realisations of any of the pieces from Aus den sieben Tagen.
Mikrophonie is the title given by Karlheinz Stockhausen to two of his compositions, written in 1964 and 1965, in which "normally inaudible vibrations. .. are made audible by an active process of sound detection ; the microphone is used actively as a musical instrument, in contrast to its former passive function of reproducing sounds as faithfully as possible".
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.
Samstag aus Licht is an opera by Karlheinz Stockhausen in a greeting and four scenes, and was the second of seven to be composed for the opera cycle Licht: die sieben Tage der Woche. It was written between 1981 and 1983, to a libretto written by the composer and incorporating a text by Saint Francis of Assisi, and was first staged in Milan in 1984.
Dienstag aus Licht is an opera by Karlheinz Stockhausen in a greeting and two acts, with a farewell, and was the fourth of seven to be completed for the opera cycle Licht: Die sieben Tage der Woche. It was begun in 1977 and completed from 1988 to 1991, to a libretto by the composer.
Musik im Bauch is a piece of scenic music for six percussionists and music boxes composed by Karlheinz Stockhausen in 1975, and is Number 41 in his catalog of works. The world premiere was presented on 28 March 1975 as part of the Royan Festival. The performance was given by Les Percussions de Strasbourg in the haras in the town of Saintes, near to Royan. Its duration is roughly 38 minutes.
Michael Vetter was a German composer, novelist, poet, performer, calligrapher, artist, and teacher.
Spiral, for a soloist with a shortwave receiver, is a composition by Karlheinz Stockhausen, written in 1968. It is Number 27 in the catalogue of the composer's works.
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.
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.
Expo, for three performers with shortwave radio receivers and a sound projectionist, is a composition by Karlheinz Stockhausen, written in 1969–70. It is Number 31 in the catalogue of the composer's works.
Sternklang, is "park music for five groups" composed in 1971 by Karlheinz Stockhausen, and bears the work number 34 in his catalogue of compositions. The score is dedicated to Mary Bauermeister, and a performance of the work lasts from two-and-a-half to three hours.
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.
Plus-Minus, 2 × 7 pages for realisation, is a composition for one or several performers by Karlheinz Stockhausen, first written in 1963 and redrafted in 1974. It is Nr. 14 in the composer's catalogue of works, and has a variable performing length that depends on the version worked out from the given materials. The score is dedicated to Mary Bauermeister.
Spiel is a two-movement orchestral composition by Karlheinz Stockhausen, written in 1952. Withdrawn by the composer after its first performance, it was later revised and restored to his catalogue of works, where it bears the work-number ¼. The score is dedicated to the composer's first wife, Doris.
Für kommende Zeiten is a collection of seventeen text compositions by Karlheinz Stockhausen, composed between August 1968 and July 1970. It is a successor to the similar collection titled Aus den sieben Tagen, written in 1968. These compositions are characterized as "Intuitive music"—music produced primarily from the intuition rather than the intellect of the performer(s). It is work number 33 in Stockhausen's catalog of works, and the collection is dedicated to the composer's son Markus.
Musik für ein Haus is a group-composition project devised by Karlheinz Stockhausen for the 1968 Darmstädter Ferienkurse. Fourteen composers and twelve instrumentalists participated, with the resulting performance lasting four hours. It was not regarded by Stockhausen as a composition belonging solely to himself, and therefore was not assigned a number in his catalog of works.
Christoph Caskel is a German percussionist and teacher.