Zyklus (1959) for solo percussion 10′
Klavierstücke IX (1955) for solo piano 11′
Mikrophonie I (1964) for Tamtam, 2 microphones, 2 filters and potentiometers 27′
FRAMES Percussion + Lluïsa Espigole
Lluïsa Espigolé, piano
Feliu Ribera, Ruben Orio, Miquel Vich and Daniel Munarriz, percussion
Ángel Faraldo, Gerard Valverde, live electronics
Karlheinz Stockhausen, an unquestionable leader and key figure in the history of post-1945 music, has been a pioneer in the expansion of musical boundaries to unknown limits. Working tirelessly in the development of electronic music, “intuitive music”, sound spatialisation and serial control of all sound parameters, his almost theological approach to composition has left its mark.
DOWNLOAD THE PROGRAM HEREStockhausen’s work, written in a completely individual and unmistakable style, is universal in scope, with two guiding principles in the treatment of sound material: the ever-present unity and the neutralisation of confrontations. Sampler Series presents a retrospective with three essential works of his catalogue written between the 1950s and the 1960s, true classics of 20th-century music and forerunners of an unattainable legacy.