Dr K–Sextett

The Dr K–Sextett is a short, occasional composition for six instrumentalists, written in 1969 by Karlheinz Stockhausen and given the number 28 in his catalogue of works.

History

The Sextet was composed as the result of a request made to eleven composers in January 1969 by the London office of Universal Edition for short pieces of music to celebrate the 80th birthday of Dr. Alfred Kalmus, who had been Universal's London director since 1936. All of the pieces were scored for performance by members of the Pierrot Players (Maconie 2005, 319). Collectively titled A Garland for Dr. K., the eleven works were premiered by the Pierrot Players on 22 April 1969 at the Queen Elizabeth Hall in the Southbank Centre, London, on a programme that also included the world premieres of Eight Songs for a Mad King by Peter Maxwell Davies, and Linoi II by Harrison Birtwistle (Mann 1969a). Seven years later (by which time Boulez's contribution had been expanded to a quintet), a recording of the entire Garland was made by a Spanish ensemble directed by Cristóbal Halffter for an LP produced by Universal Edition.

Analysis

The Sextet is scored for flute, bass clarinet, percussion (tubular bells and vibraphone), viola, violoncello, and piano, and may be described as a synthesis of closed and open formal development (Frisius 2008, 232). The work consists of 26 periodic phases, each lasting eight seconds, for a total duration of 3 minutes and 36 seconds (Stockhausen 1998, 173–74). Its formal process sets out from an eight-note cluster chord in the middle register, from A3 up to E4, first struck very loudly, then repeated eight seconds later at a very soft dynamic. At subsequent eight-second intervals, the instruments gradually gain independence of attack points while at the same time add more notes, both higher and lower, until a maximum dispersal of attack points is reached in the middle of the piece. From there to the end, the attack points reverse the process until chordal unity is reached again at the end, but the pitches continue to expand until reaching their widest at six octaves in the last three phases, then suddenly collapsing to a seven-note chord at the very end (Frisius 2008, 232; Maconie 2005, 319–20).

Discography

References

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