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''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. 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 not yet finished 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. ==History and character== 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. When planning his new cycle of pieces based on the hours of the day, he initially considered several possibilities for the title: ''Day'', ''Nacht und Tag'' (Night and Day), ''Liebe'' (Love), ''Chi'' (the life energy), or ''Spiegel'' (Mirror). The name he finally settled on, ''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) until the completion of the opera-cycle ''Licht'' in 2004. The pieces are based on a 24-note series (each note of a two-octave chromatic scale) 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 () ). 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). Stockhausen also felt that he was returning to the moment form approach he had used in the late 1950s and 1960s, in works such as ''Kontakte'', ''Momente'', ''Telemusik'', and ''Hymnen''. It seems that I am listening again more for moments, atmospheres, rather than formulas with their limbs, transpositions, transformations. Certainly both methods conjoint() lead to good music. A special concentration and freedom must be trained for listening to the soul() vibrations. (Stockhausen 2006a, 10) 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 () ). Initially, Stockhausen had no overall plan for the cycle but in the summer of 2006, as he was finishing ''Cosmic Pulses'', he altered his method of work and grouped the component pieces into three subcycles. In doing so, he displaced ''Cosmic Pulses'' from its originally intended position as the Sixth to the Thirteenth Hour (Kohl 2009a, 13; Kohl2012b, 478, 489). 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, 3–4). 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 distributive serial proportion pattern of 7:8:9 (Kohl 2009a, 14; Kohl 2012b, 520). 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 (Frisius 2008, 165; Kohl 2009a, 14). After his death, a search in his sketchbooks failed to discover any plans for the remaining three hours (Pasveer and Bos 2010). The last six component works to be premiered were given in Cologne as part of the collective premiere of the cycle, at the MusikTriennale Köln festival on 8–9 May 2010, by members of musikFabrik and others, in 176 individual concerts (Gimpel 2010). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Klang (Stockhausen)」の詳細全文を読む スポンサード リンク
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