Klang (Stockhausen)

Klang—Die 24 Stunden des Tages (Sound—The 24 Hours of the Day) is a cycle of compositions by Karlheinz Stockhausen, on which he worked from 2004 until his death in 2007. The cycle was not yet finished when the composer died, so that the last three "hours" are lacking. The twenty-one completed pieces bear the work numbers 81–101. The last six component works to be premiered were given in Cologne as part of the collective premiere of the cycle, at the Festival MusikTriennale Köln on 8–9 May 2010, by members of musikFabrik and others, in more than 200 individual concerts (Nonnenmann 2010).

General character of the cycle

After having spent 27 years composing the opera-cycle Licht (1977–2004), Stockhausen felt he was shifting his focus from the visible world of the eyes—Licht is the German word meaning "light", as of the stars, the sun—to the invisible world of the ears. Klang means "sound", acoustic vibrations, but for Stockhausen, above all "the INNER EAR, for the divine Klang, the mystic sound of the beyond with the voice of the conscience, in German: die Stimme des Gewissens" (Stockhausen 2006a, 10).

Although the solo percussion work Himmels-Tür has a decidedly theatrical character, the cycle otherwise consists of essentially concert works (Günther 2008). Three are for unaccompanied solo performer, one is a duo, seven are trios, one a septet, one is a purely electronic composition, and the remaining eight compositions are for soloist accompanied by electronic music.

With Klang Stockhausen moved away from the formula technique he had used from Mantra (1970) through completion of the opera-cycle Licht in 2004. The pieces are based on a 24-note series (each note of the chromatic scale in two octaves) that has essentially the same all-interval sequence as the series for Gruppen, and from which other formal and parametric properties are derived on a work-by-work basis (Toop [2008]). Starting from the Fifth Hour, this row is used in inversion, until returning to its original form from the Thirteenth Hour onward (Pasveer and Wesley 2008, 3–4).

A new device of proliferating "rhythm families" was developed for the first "hour" (Himmelfahrt) and is employed in many of the subsequent pieces. In addition, the exploration of multiple simultaneous tempi, pioneered in Zeitmaße (1955–56) and Gruppen (1955–57), is pursued in Himmelfahrt and the trios of hours 6–12; in the 13th hour, Cosmic Pulses, this is taken to the verge of sonic saturation (Toop [2008]).

Initially, Stockhausen had no overall plan for the cycle, but these subcycles, introduced in the summer of 2006 as he was finishing what was to have been the Sixth Hour, Cosmic Pulses, altered this method of work and displaced Cosmic Pulses to the Thirteenth Hour (Kohl 2009a, 13). One theory has been advanced that the Fibonacci series (1, 2, 3, 5, 8, 13, 21, etc.) may be the reason these two subcycles start on the fifth and thirteenth hours, and the second ends on the twenty-first (Pasveer and Wesley 2008, 1). Another hypothesis is that Stockhausen meant to close the circle with a third, seven-member, "overnight" subcycle covering hours 22, 23, 24, and the already-completed 1–4, which would drive home the fact that midnight is not a natural "beginning" of the daily cycle, but only an arbitrary, human convention. Combined with the "morning" (hours 5–12) and "afternoon-evening" (hours 13–21) subcycles, this would divide the 24 hours of Klang into a serial proportion pattern of 7:8:9 (Kohl 2009a, 14).

On 30 November 2007, Stockhausen wrote to Udo Zimmermann, director of the Ars Viva Festival in Munich, politely declining an invitation to attend a performance on 25 January 2008, because "I have reserved the days—and nights—when your rehearsals and performance take place to work on a new composition." Doubtless the new work was to have been one of the remaining hours from Klang but, five days later, Stockhausen suddenly died, leaving the cycle incomplete (Kohl 2009a, 14).

The individual pieces are:

First Hour

Interior of the Milan Cathedral, where the First and Second Hours of Klang were premiered.

Himmelfahrt (Ascension), for organ or synthesizer, soprano, and tenor. 2004–05 (36’).

Premiered at the Milan Cathedral on 5 May 2005 (version with organ), by Alessandro La Ciacera, organ, Barbara Zanichelli, soprano, Paolo Borgonovo, tenor, and Karlheinz Stockhausen, sound projection (Stockhausen 2006a, 3); version with synthesizer premiered in the Sülztalhalle, Kürten on 9 July 2006, Antonio Pérez Abellán, synthesizer, Barbara Zanichelli, soprano, Hubert Mayer, tenor, and Karlheinz Stockhausen, sound projection (Stockhausen 2006b, 14 & 34).

Himmelfahrt was commissioned, with the support of a Milanese bank, by the priest and organist Don Luigi Garbini, director of the Laboratory of Contemporary Music in the Service of the Liturgy (LmcsL), for performance in the Milan Cathedral on Ascension Thursday 2005, as part of the Pause Festival that year (Gervasoni 2005a). LmcsL, founded by Don Luigi in 1999 with the support of the then-Archbishop of Milan, Monsignor Carlo Maria Martini, had launched the multidisciplinary Pause Festival in 2004. It included Stockhausen's famous 1956 electronic composition, Gesang der Jünglinge and when, at that time, Stockhausen mentoned his plan for a new cycle of compositions, Don Luigi seized the opportunity to commission the First Hour, because Stockhausen's approach to music "seems truly sacred" (Gervasoni 2005b).

The work uses 24 different tempos, and the organ/synthesizer part requires 24 corresponding registrations/timbres—the more complex and heavier timbres for slower tempos, the more transparent and lighter timbres for the faster tempos. The keyboardist's two hands are required to play in different tempos simultaneously, which the composer felt "is like compelling a man to the physical rupture that allows him to go in the form of a spirit to another world" (Gervasoni 2005a).

The text proclaimed by the two singers was written by Stockhausen himself, and refers freely to the Ascension of Christ. The vocal parts, however, only occur intermittently, and it is the keyboard that accounts for the largest share of the music. The score describes an ascent, like climbing a stairway to the Most High, and is divided into 24 moments. The ascent, however, is not a constant progression—the climber sometimes seems to stop to look behind him or around him (Gervasoni 2008c, 67).

http://home.earthlink.net/~almoritz/himmelfahrt.htm

Second Hour

Freude (Joy), for two harps. 2005 (41’).

Premiered in the Milan Cathedral on 7 June 2006 by Marianne Smit and Esther Kooi, harps (Stockhausen 2006b, 19 & 39).

When Stockhausen received a commission from Don Luigi Garbini of the Milan Cathedral for the Second Hour of Klang, to be premiered for Pentecost 2006, he provisionally titled the work Pentecost, and chose as text the Pentecost hymn "Veni Creator Spiritus", to be sung in Latin by the two harpists as they played. Following the 24 verses of the Latin hymn, the work is composed, like the First Hour, in 24 moments, and the title was changed to Freude, because this was the fundamental feeling Stockhausen had about the composition (Stockhausen 2007a, 3).

The text setting is sometimes syllabic, sibilant, employs speech-song, and in places evokes plainchant and early polyphony. The music probes the meaning of joy through a deep and detailed text-setting reminiscent of the "frighteningly beautiful" Mikrophonie II of 1965 (Medwin 2007).

At the French premiere in Lyon on Friday, 8 March 2008, the "formidable interpretation" by its dedicatees, the harpists Marianne Smit and Esther Kooi, Freude produced "the effect of a fountain of youth" (Gervasoni 2008a).

Third Hour

Natürliche Dauern 1–24 (Natural Durations 1–24), for piano 2005–06 (ca. 140’)

No. 1 premiered in New York 23 February 2006, at the Holy Trinity Church, 65th Street and Central Park West by Philip Fisher (Anon. 2006); nos. 2–15 premiered in Kürten 2007 by the pianists Benjamin Kobler and Frank Gutschmidt; nos. 16–24 premiered in Lisbon on 17 July 2007 by the Spanish pianist Antonio Pérez Abellán, to whom these are dedicated (Stockhausen-Stiftung für Musik 2008, 37 & 78).

There are various ways to determine the intervals of entry using the durations of tones or sounds, whereby each time the entire rhythmic development of a piano piece is governed by natural durations. In some of the pieces, the durations are regulated by prescribed in- and exhaling, or by the resonances of RIN (Japanese temple instruments) which are struck. In this cycle, also various degrees of difficulty of the piano playing result in natural durations—for example, intervallic leaps of various sizes, or the way fingers mesh, or the bunching together of simultaneously played keys, or combinations of attacks, clusters, glissandi and the more or less complicated notation of the attack durations. (Stockhausen-Stiftung für Musik 2008, 77)

Fourth Hour

Himmels-Tür (Heaven’s Door), for a percussionist and a little girl 2005 (ca. 28’)

Premiered 13 June 2006 in the Rossini Theater in Lugo, Italy, by Stuart Gerber and Arianna Garotti (Stockhausen 2006b, 21 & 41).

The only overtly theatrical piece from Klang, the idea for Himmels-Tür came to Stockhausen in a dream, in which he found himself at the gates of heaven, which are locked against him. Because of the indefinite pitches of the instruments (a large double-panelled door and an assortment of cymbals and gongs), Himmels-Tür is the only work in the Klang cycle that does not use the 24-note series extrapolated from the all-interval "Gruppen" row (Kohl 2008, 17).

"A percussionist beats with wooden beaters on a heaven’s door made of wood. It is divided from bottom to top into six fields. Sometimes he (she) stomps on the floor with his (her) nailed shoes." There are fourteen main sections defined by moods, such as "cautious", "entreating", "agitated", and "angry", until finally, the door opens. "After a moment of silence, the percussionist cautiously steps through the doorway and disappears. A terrifying noise of tam-tams, hi-hats, and cymbals bursts out”, not to mention sirens. "A little girl comes out of the audience onto the stage, and disappears through the doorway. The metallic sounds become increasingly rare and gradually cease. Finally, the siren stops" (Stockhausen 2006b, 41).

It is probably no coincidence that many years earlier, in Kontakte, Stockhausen had associated metallic sounds with the "heavenly", in contrast to the "earthly" sounds of skin percussion (entirely absent in Himmels-Tür), with wooden sounds functioning as a transition between them, like the door to heaven here (Kohl 2008, 17).

Türin

In just two days in October 2006, Stockhausen composed a 13-minute electronic work to accompany Himmels-Tür on its first CD recording. The title Türin combines the names of the two sound sources used, the door (German: Tür) from the percussion piece, and a chromatic set of rin—Japanese bowl-gongs that Stockhausen had previously used in several compositions, such as Telemusik, Inori, Lucifer's Dance from Samstag aus Licht, and Hoch-Zeiten from Sonntag aus Licht, as well as in Himmelfahrt (Hour 1) and the twenty-second piece of Natural Durations (Hour 3) from Klang. The recorded sounds of strokes on the door are electronically processed to focus their pitch and extend their resonance, and a rin stroke of the corresponding pitch is added to each attack (Kohl 2008, 17).

The composition consists of a single, stately presentation of the 24-tone Klang row, in rhythms derived from the pitches. Within each of these long tones, Stockhausen's voice intones a different "noble word" (such as "hope", "fidelity", "balance", "generosity", etc.). The utter simplicity of this piece puts it at the opposite extreme from the hyper-complex Cosmic Pulses, work on which was already in progress at the time Türin was created (Kohl 2008, 17).

There are two versions of Türin, one with the words spoken in German, the other in English. According to the composer, these "noble words" are meant to keep the Himmels-Tür open (booklet accompanying Stockhausen Complete Edition CD 86, pp. 12 & 24). This composition was not assigned a work-number by Stockhausen, and it is not included in the official catalog of his works.

Fifth Hour

Harmonien (Harmonies), for bass clarinet, or flute, or trumpet, 2006 (ca. 15’).

The bass clarinet version was premiered in Kürten on 11 July 2007 by Suzanne Stephens; the flute version was premiered in Kürten 13 July 2007 by Kathinka Pasveer (Stockhausen 2007b and Stockhausen 2007c); the trumpet version was premiered on 2 August 2008 by Marco Blaauw in London at a BBC Proms concert (Stockhausen-Stiftung 2008, 7).

The bass clarinet version, originally titled Akkorde (Chords), was the first to be composed, as a birthday gift for Suzanne Stephens (Stockhausen 2007c). The flute and trumpet versions were made by transposing the entire work up by a whole tone, with numerous adjustments to fit the range and character of the instruments, as well as a few small additions.

"Harmonies come into being from successions of melodic groups.… At the end of a group, its pitches are repeated as very fast periods without rhythm and in different registral distribution, so that the melody has a harmonic effect, like a vibrating chord" (Stockhausen 2007c, 33 & 36).

Stockhausen’s original idea for the Fifth Hour of Klang was to have an unaccompanied instrumental piece in three different versions (for bass clarinet, flute, and trumpet), followed by a longer trio for the same instruments, built from the same material. In this conception, it was to have been called Akkorde (Chords). The title was later changed to Harmonien. Late in 2006 or early in 2007, when Stockhausen decided to group some of the hours into subcycles, the original trio became Hour 6, and the first of a set of seven trios extending to Hour 12, all based on the material of the three versions of Harmonien (Kohl 2009c, 22).

Sixth Hour

Schönheit (Beauty), for flute, bass clarinet, and trumpet, 2006 (ca. 30’).

Premiered in Lisbon on 5 October 2009, at the Grande Auditório of the Gulbenkian Foundation by Suzanne Stephens (bass clarinet), Marco Blaauw (trumpet) and Kathinka Pasveer (flute). Schönheit was commissioned by the music department of the Fundaçaõ Calouste Gulbenkian, Lisbon.

Schönheit is the original trio of the subcycle comprising hours six through eleven, and as such is also the simplest. The other six trios permute its five main sections and add new material as insertions between them, as introductions, codas, interludes, or cadenzas. This permutability is an example of what Stockhausen called "polyvalent form" (Kohl 2009c). According to Marco Blaauw, "Like Bach’s Art of the Fugue, it is therefore a work of synthesis which requires a great intellectual effort on the part of the listener" (quoted in Martin 2009).

Seventh Hour

Balance, for flute, English horn, and bass clarinet. 2007 (ca. 30’)

Premiered in Cologne on the composer’s eightieth birthday, 22 August 2008, by members of Ensemble Recherche.

Eighth Hour

Glück (Bliss), for oboe, English horn, and bassoon. 2007 (ca. 30’)

Premiered on 8 May 2010 at the Studio der musikFabrik in Cologne, by members of musikFabrik, as part of the MusikTriennale Köln.

Ninth Hour

Hoffnung (Hope) for violin, viola, and cello. 2007 (ca. 35’).

Premiered in Cologne on 31 August 2008 by members of MusikFabrik: Juditha Haeberlin (violin), Axel Porath (viola), and Dirk Wietheger (cello).

Hoffnung is the sole example in Stockhausen's output of a piece scored for the standard string trio of violin, viola, and cello. Only in the Helicopter String Quartet did he similarly write for a standard small ensemble of strings, but there only with considerable additional technology. The performers in Hoffnung are asked to rotate their positions on the stage, and to describe certain musical figures with gestures in the air. Near the end, they speak in unison the words, "Dank sei Gott … Danke Gott für das Werk … Hoffnung" (Praise be to God … Thank God for the work … Hope" (Günther 2008). The uniform string timbre of Hoffnung is reflected by the scoring of two of the other trios: the Eighth Hour, Glück, is for three double reeds, and the Eleventh Hour, Treue, is for three sizes of clarinet (the Tenth Hour, Glanz, also includes a homogeneous trio—of brass instruments—though these occur in separate solo and duo inserts, as supplemental timbres to the original mixed instrumental trio) (Kohl 2009b).

Tenth Hour

Glanz (Brilliance), for oboe, clarinet, bassoon, trumpet, trombone, tuba, and viola. 2007 (ca. 40’).

Premiered in the Musikgebouw aan ’t IJ, Amsterdam, on 19 June by members of the ASKO Ensemble, with Kathinka Pasveer as sound-projectionist (Beer 2008; Voermans 2008).

Originally intended as a trio for clarinet, bassoon, and viola, Stockhausen was persuaded by the Holland Festival management to add four more instruments to the ensemble (Beer 2008; Swed 2008). The original trio remains as the main structure, but four inserts interrupt as "magic moments", in which other instruments engage in dialogue with the trio: the first is an imperious solo oboe, the second a stentorous trumpet-trombone duo, and the last a somnolent tuba. The third insert, on the other hand, is self-reflective, performed by the core trio and including spoken Latin words of the first line of the Greater Doxology: "Gloria in excelsis Deo et in terra pax in hominibus bonae voluntatis" (Glory to God in the highest and on earth peace, goodwill to all people) (Kohl 2008, 16).

Eleventh Hour

Treue (Fidelity), for E♭ clarinet, bassett horn, and bass clarinet. 2007 (ca. 30’)

Premiered on 8 May 2010 at the KOMED-Saal in Cologne, by Roberta Gottardi (E♭ clarinet), Rumi Sota-Klemm (bassett horn), and Petra Stump (bass clarinet), as part of the MusikTriennale Köln.

Twelfth Hour

Erwachen (Awakening), for soprano saxophone, trumpet, and cello. 2007 (ca. 30’).

Premiered in Brussels on 13 October 2009 by members of musikFabrik: Marcus Weiss (saxophone), Marco Blaauw (trumpet), and Dirk Wietheger (cello).

Thirteenth Hour

Cosmic Pulses, electronic music (8-track-tape, loudspeaker pairs, mixing desk / sound director) 2006 (32’ 05").

Premièred in Rome on 7 May 2007 at Auditorium Parco della Musica, Sala Sinopoli (Stockhausen 2007a).

The following eight pieces in the cycle each use three of the twenty-four melodic layers from Cosmic Pulses as the accompaniment for a slower-moving solo part.

In the programme notes for the world premiere, Stockhausen says:

[…] 24 melodic loops, each of which has a different number of pitches between 1 and 24, rotate in 24 tempi and in 24 registers within a range of circa 7 octaves. The tempi 240–1.17 apply to sequences of 8 pulses. Thus tempo 24 [inside a square] means: 240 x 8 = 1920 pulses. Thus tempo 1 [inside a square]: 1.17 x 8 = 9.36 pulses per minute.

The loops are successively layered on top of each other from low to high and from the slowest to the fastest tempo, and end one after another in the same order.

They were enlivened by manual regulation of the accelerandi and ritardandi around the respective tempo, and by quite narrow glissandi upwards and downwards around the original melodies. This was carried out by Kathinka Pasveer according to the score […].

What is completely new for me is the new kind of spatialization: each section of each of the 24 layers has its own spatial motion between 8 loudspeakers, which means that I had to compose 241 different trajectories in space. That sounds very technical—and it is.

For the first time, I have tried out superimposing 24 layers of sound, as if I had to compose the orbits of 24 moons or 24 planets (for example, the planet Saturn has 48 moons).

For making this possible, I am grateful to Joachim Haas and Gregorio Karman, collaborators in the Experimental Studio for Acoustic Art in Freiburg.

The loops and the synchronization were realized by my collaborator Antonio Pérez Abellán.

If it is possible to hear everything I do not yet know – it depends on how often one can experience an 8-channel performance. In any case, the experiment is extremely fascinating. […]. (Quoted in Nordin 2007)

The music therefore begins and ends with relatively clear polyphony of the loops, but in the central part this dissolves into a statistical mass of sound in which only general shifts of texture and colour can be perceived (Grant 2008, 19).

Fourteenth Hour

Havona, for bass and electronic music (layers 24, 23, 22 from Cosmic Pulses) 2007 (25’10”).

Premiered in Paris on 10 January 2009, by Nicholas Isherwood (bass) and Gérard Pape (sound projection).

The titles of Hours 14–21 are all place names in the Urantia Book. Havona is "the central universe, … an existential, perfect, and replete universe surrounding the home of the eternal Deities, the center of all things" (Urantia Foundation 1955, 360).

This central planetary family … is far-distant from the local universe of Nebadon. It is of enormous dimensions and almost unbelievable mass and consists of one billion spheres of unimagined beauty and superb grandeur … arranged in seven concentric circuits immediately surrounding the three circuits of Paradise satellites. There are upwards of thirty-five million worlds in the innermost Havona circuit and over two hundred and forty-five million in the outermost, with proportionate numbers intervening. (Urantia Foundation 1955, 152)

Fifteenth Hour

Orvonton, for baritone and electronic music (layers 21, 20, 19 from Cosmic Pulses) 2007 (24’).

Premiered on 8 May 2010 in Cologne by Jonathan de la Paz Zaens, as part of the MusikTriennale Köln.

According to the Urantia Book, "outside Havona there are just seven inhabited universes, the seven superuniverses", and the Earth's (Urantia) "local universe of Nebadon belongs to Orvonton, the seventh superuniverse" (Urantia Foundation 1955, 164–65).

The text sung by the baritone humorously analyses the piece itself: "Orvonton: I am a baritone, and layer 19 has 23 sounds as a sound loop. At the basic tempo of 3.75, each note lasts 2 seconds, the loop therefore is 23 x 2 = 46 seconds", and so on (Nonnenmann 2010).

Sixteenth Hour

Uversa, for bassett horn and electronic music (layers 18, 17, 16 from Cosmic Pulses) 2007 (22’40”).

Premiered on 8 May 2010 by Michele Marelli at the Domforum in Cologne, as part of the MusikTriennale Köln.

Uversa is the headquarters of the superuniverse of Orvonton (Urantia Foundation 1955, 74).

Seventeenth Hour

Nebadon, for horn and electronic music (layers 15, 14, 13 from Cosmic Pulses) 2007 (21’40”).

Premiered on 8 May 2010 by Christine Chapman at the Christuskirche in Cologne, as part of the MusikTriennale Köln.

Nebadon is the local universe to which the earth (Urantia) belongs (Urantia Foundation 1955, 165).

Eighteenth Hour

Jerusem, for tenor and electronic music (layers 12, 11, 10 from Cosmic Pulses) 2007 (20’40”)

Premiered on 8 May 2010 at the Christuskirche in Cologne by Hubert Mayer, as part of the MusikTriennale Köln.

Jerusem is a planet, the headquarters of the cluster of 57 major and minor satellites constituting the administrative center of the local system called Satania, which forms part of the local universe Nebadon (Urantia Foundation 1955, 509, 519, 1250).

Nineteenth Hour

Urantia, for soprano (live or prerecorded) and electronic music (layers 9, 8, 7 from Cosmic Pulses) 2007 (19’40”).

Premiered in the Queen Elizabeth Hall at the Southbank Centre, London, on 8 November 2008, Kathinka Pasveer, soprano (prerecorded) and sound projection.

Urantia is the name given to our earth in the Urantia Book (Urantia Foundation 1955, 1), "commonly referred to as 606 of Satania in Norlatiadek of Nebadon, meaning the six hundred sixth inhabited world in the local system of Satania, situated in the constellation of Norlatiadek, one of the one hundred constellations of the local universe of Nebadon" (Urantia Foundation 1955, 485).

Twentieth Hour

Edentia, for soprano saxophone and electronic music (layers 6, 5, 4 from Cosmic Pulses) 2007 (18’40”).

Premiered at the Rolf-Liebermann-Studio K-75 of the NDR in Hamburg on 6 August 2008 by Marcus Weiss, saxophone (Krause 2008; Stephan 2008; Mischke 2008).

Edentia is described in the Urantia Book as a planet, the centermost and largest of a cluster of 771 "architectural spheres" in the constellation of Norlatiadek, within the local universe of Nebadon (Urantia Foundation 1955, 485).

Twenty-first Hour

Paradies (Paradise), for flute and electronic music (layers 3, 2, 1 from Cosmic Pulses). 2007 (17’).

Premiered by Kathinka Pasveer at the Schleswig-Holstein Musik Festival, at the Laeiszhalle in Hamburg on 24 August 2009. Paradies was commissioned by the North German Radio (NDR), Hamburg.

According to the Urantia Book, "Paradise is the gigantic nuclear Isle of absolute stability which rests motionless at the very heart of the magnificent eternal universe" (Urantia Foundation 1955, 152).

Discography

• Himmelfahrt, für Synthesizer, Sopran und Tenor: 1. Stunde aus Klang. Antonio Pérez Abellán, synthesizer; Barbara Zanichelli, soprano; Hubert Mayer, tenor; Karlheinz Stockhausen, musical direction and sound projection. Additionally includes an explanation read by Stockhausen of the timbres by in German and English, and timbre examples played by Antonio Pérez Abellán. Stockhausen Complete Edition CD 83. Kürten: Stockhausen-Verlag, 2006.
• Freude, für 2 Harfen: 2. Stunde aus Klang. Marianne Smit and Esther Kooi, harps; Karlheinz Stockhausen, musical direction and sound projection. Stockhausen Complete Edition CD 84. Kürten: Stockhausen-Verlag, 2006.
• Natürliche Dauern, für Klavier: 3. Stunde aus Klang. Frank Gutschmidt (nos. 1, 3, 5, 7, 10, 13, 14), Benjamin Kobler (nos. 2, 4, 6, 8, 9, 11, 12, 15), and Antonio Pérez Abellán (nos. 16–24), piano; Karlheinz Stockhausen, musical direction and sound projection. Stockhausen Complete Edition 2-CD set 85A&B. Kürten: Stockhausen-Verlag, 2007.
• Himmels-Tür: 4. Stunde aus Klang and 24 Türin (German and English versions). Stuart Gerber, percussion; Karlheinz Stockhausen, musical direction, voice and realisation of Türin. Stockhausen Complete Edition CD 86. Kürten: Stockhausen-Verlag, 2006.
• Cosmic Pulses: 13. Stunde aus Klang (and the opening of each of the 24 layers, for study purposes). Electronic music. Stockhausen Complete Edition CD 91. Kürten: Stockhausen-Verlag, 2007.
• Havona, für Bass und elektronische Musik: 14. Stunde aus Klang (and electronic music alone, for rehearsals). Nicholas Isherwood, bass. Stockhausen Complete Edition CD 92. Kürten: Stockhausen-Verlag, 2009.
• Urantia, für Sopran und elektronische Musik: 19. Stunde aus Klang (and electronic music alone, for rehearsals). Kathinka Pasveer, soprano. Stockhausen Complete Edition CD 97. Kürten: Stockhausen-Verlag, 2008.
• Edentia, für Sopransaxophon und elektronische Musik: 20. Stunde aus Klang (and electronic music alone, for rehearsals). Marcus Weiss, saxophone. Stockhausen Complete Edition CD 98. Kürten: Stockhausen-Verlag, 2008.
• Paradies, für Flöte und elektronische Musik: 21. Stunde aus Klang (and electronic music alone, for rehearsals). Kathinka Pasveer, flute. Stockhausen Complete Edition CD 99. Kürten: Stockhausen-Verlag, 2009.

Sources

• Anon. 2006. "Stockhausen returns to New York" BBC Music Magazine (18 January).
• Beer, Roland de. 2008. "Magistraal klinkend in memoriam". De Volkskrant (21 June).
• 
Beirens, Maarten. 2009. "Afscheid van de nieuwe muziek". De Standaard (15 October).
• Betsill, Daniel. 2008. "A New Musical Instrument: Creating Stockhausen's Himmels-Tür". The Galpin Society Journal 61 (April): 254–55, 275–84.
• Clements, Andrew. 2008. "Stockhausen Day". The Guardian (3 August).
• Collins, Nick. 2008. "Karlheinz Stockhausen: Cosmic Pulses, German Premiere: 13 July 2007, Stockhausen Courses 2007, Kürten, Germany". Computer Music Journal 32, no. 1 (Spring): 88–91.
• Garbini, Luigi. 2008. "Fides ex auditu". In Gedenkschrift für Stockhausen, edited by Suzanne Stephens and Kathinka Pasveer, 66. Kürten: Stockhausen-Stiftung für Musik. ISBN 978-3-00-023528-3
• Gervasoni, Pierre. 2005a. "L'ascension musicale de Stockhausen à Milan". Le Monde (8 May).
• G[ervason]i, P[ierre]. 2005b. "Trois questions à Don Luigi Garbini". Le Monde (8 May).
• Gervasoni, Pierre. 2005c. "Don Luigi Garbini, virtuose de Dieu". Le Monde (8 June).
• Gervasoni, Pierre. 2008a. "Expérimentation et création sonore à Lyon". Le Monde (11 March): 24.
• Gervasoni, Pierre. 2008b. "Stockhausen, d'heures en heures". Le Monde (25 November): 22.
• Gervasoni, Pierre. 2008c. "Les Très Riches Heures de Karlheinz Stockhausen". In Gedenkschrift für Stockhausen, edited by Suzanne Stephens and Kathinka Pasveer, 67–69. Kürten: Stockhausen-Stiftung für Musik. ISBN 978-3-00-023528-3
• Gollin, Rob. 2008. "Kloteloopjes met zo’n hoge Es erin". De Volkskrant (19 June).
• Grant, M[orag] J[osephine]. 2008. Programme notes in the programme booklet for the Klang Festival, (1–9 November), Southbank Centre, London: 14–15, 18–19, 22–23.
• Günther, Andreas. 2008. "Karlheinz Stockhausen, HOFFNUNG (2007)". Programme book of the world première of Hoffnung, 31 August 2008, Cologne, by members of MusikFabrik.
• Hewett, Ivan. 2008a. "BBC Proms 2008: Giant Works from a Giant Composer". The Telegraph (5 August).
• Hewett, Ivan. 2008b. "Stockhausen Festival: A Thrilling Cosmos of Sound." The Telegraph (5 November).
• Hewett, Ivan. 2008c. "Stockhausen Festival: Absurdity Mixed with Genius." The Telegraph (10 November).
• Kimberley, Nick. 2008. "Stock Exchanges at the Proms". Evening Standard (4 August).
• Kohl, Jerome. 2008. Programme notes in the programme booklet for the Klang Festival, (1–9 November), Southbank Centre, London: 12–13, 16–17, 20–21, 24–25.
• Kohl, Jerome. 2009a. "Klang/Som: Die 24 Stunden des Tages/As 24 horas do dia". Temporada Gulbenkian de Música 2009–2010 (October): 13–14.
• Kohl, Jerome. 2009b. "Hoffnung/Esperança, para violino, viola e violoncelo (2007): 9ª hora de Klang, as 24 horas do dia". Temporada Gulbenkian de Música 2009–2010 (October): 18.
• Kohl, Jerome. 2009c. "Schönheit/Beleza, para clarinete baixo, flauta e trompete (2006): 6ª hora de Klang, as 24 horas do dia". Temporada Gulbenkian de Música 2009–2010 (October): 22.
• Krause, Peter. 2008. " Elektro-Esoterik: Uraufführung von Stockhausen-Klang". 'Die Welt' (8 August).
• Krytska, Iryna. 2008. "Musik als Vertonung und Harmonisierung der Zeit: Zur Morphologie der musikalischen Zeit im Werk Karlheinz Stockhausens". In Gedenkschrift für Stockhausen, edited by Suzanne Stephens and Kathinka Pasveer, 113–22. Kürten: Stockhausen-Stiftung für Musik. ISBN 978-3-00-023528-3
• Mariani, Mauro. 2007. "Stockhausen's Latest: Cosmic Pulse di Karlheinz Stockhausen", translated by Alexander Martin. Il giornale della musica (8 May)
• Martin, Serge. 2009. "Bonjour l'aventure! Musique Stockhausen et Kagel". Le Soir (12 October).
• Medwin, Marc. 2007. "Karlheinz Stockhausen: Freude". Dusted Reviews (20 November). (Accessed 2 April 2010)
• Mischke, Joachim. 2008. "SHMF: Neue Musik, visionär, von heute und wie von gestern". Hamburger Abendblatt (8 August).
• Morrison, Richard. 2008. "Proms 20 & 21: Stockhausen Day at the Albert Hall". The Times (4 August).
• Nonnenmann, Rainer. 2010. "Meisterwerk ohne Serienreife". Kölner Stadt-Anzeiger (10 May).
• Nordin, Ingvar Loco. [2007]. "Stockhausen Edition no. 91 (Cosmic Pulses): Karlheinz Stockhausen – COSMIC PULSES (electronic): The 24 Hours of the Day: Thirteenth Hour, plus Beginnings of the 24 layers of COSMIC PULSES". Sonoloco Record Reviews. (Accessed 1 July 2009)
• Obiera, Pedro. 2010. "MusikTriennale: Voll unwiderstehlicher spiritueller Kraft". Aachener Nachrichten (10 May).
• Pasveer, Kathinka, and Alban Wesley. 2008. "HOFFNUNG Einführung zur Uraufführung 31. 8. 2008". Template:De icon and Template:En icon
• Stephan, Ilja. 2008. "Das Anordnungsspiel der Klänge: Positionen der Avantgarde in Werken von Stockhausen, Lachenmann und Andre". Programme book for the Trio Accanto’s concert of 6 August 2008, including the world premiere of Edentia, 5–11. Hamburg: Festival-Beirat.
• Stockhausen, Karlheinz. 2006a. Stockhausen-Courses Kuerten 2006: Composition Course on KLANG/SOUND, the 24 Hours of the Day: First Hour: ASCENSION for Organ or Synthesizer, Soprano and Tenor, 2004/05, Work No. 81. Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2006b. 2006 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 8. Juli bis 16. Juli 2006 in Kürten / from July 8th to 16th 2006 in Kuerten. Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2007a. Stockhausen-Courses Kuerten 2007: Composition Course on KLANG/SOUND, the 24 Hours of the Day: Second Hour: FREUDE for Two Harps, 2005, Work No. 82. Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2007b. "Cosmic Pulses: Electronic Music." (Accessed 5 April 2009) In programme book for the world première. Rome (8 May). Slightly expanded version in 2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from July 7th to 15th 2007 in Kuerten, notes for the German première on July 13, 2007, pp. 22 (German text) and 40 (English text), with illustrations divided between those pages and the programme cover. Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2007c. "Harmonien/Harmonies for Bass Clarinet (2006)". In 2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from July 7th to 15th 2007 in Kuerten, notes for the German première on 11 July 2007, pp. 33–34. Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2007d. "Harmonien/Harmonies for Flute (2006): 5th Hour of Klang / Sound, The 24 Hours of the Day". In 2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from July 7th to 15th 2007 in Kuerten, notes for the German première on 13 July 2007, p. 36. Kürten: Stockhausen-Verlag.
• Stockhausen-Stiftung für Musik 2008. Stockhausen-Konzerte und -Kurse Kürten: Programm zu den Konzerten und Kursen der Musik der Musik von / Programme for the Concerts and Courses of the Music of Karlheinz Stockhausen vom 4. Juli bis 20. Juli 2008 in Kürten / from July 4th to 20th 2008 in Kuerten. Kürten: Stockhausen-Stiftung.
• Stockhausen-Stiftung für Musik. 2009. Stockhausen Aufführungen/Performances 2009. Kürten: Stockhausen-Stiftung. (Accessed 7 April 2009)
• Stockhausen-Verlag. 2008. Stockhausen August 22nd 1928–December 5th 2007, English edition of brochure with official worklist and list of CDs. Kürten: Stockhausen-Verlag.
• Swed, Mark. 2008. "Karlheinz Stockhausen Memorial Concert at Holland Festival: The Late German Visionary Composer Is Given a Rousing Tribute. " Los Angeles Times (21 June).
• Toop, Richard. [2008] "Stockhausen, Karlheinz". Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/26808 (accessed April 7, 2009).
• Urantia Foundation. 1955. The Urantia Book. Chicago: Urantia Foundation. ISBN 9780911560077 (cloth) ISBN 9780911560510 (pbk.) Online version
• Voermans, Erik. 2008. "Besluit van een machtig oeuvre". Het Parool (20 June).
• Weiden, Olaf. 2010. "Kölner Musiktriennale: Wie klingt eigentlich Klang?" Kölnische Rundschau (9 May).

External links

• Hour 2: Joy, for two harps, video excerpt. Esther Kooi and Marianne Smit, harps.
• Hour 3: Natural Durations 10, for piano, video excerpt. Frank Gutschmidt, piano.
• Hour 4: Heaven's Door, for a percussionist and little girl, video excerpt. Stuart Gerber, percussion.