Stockhausen, Karlheinz. (1928 - 2007). Ein Schlüssel für MOMENTE (A Key to MOMENTE ): SIGNED. Kassel, Germany: Edition Boczkowski. June, 1971. First edition. The first 14 sketches and 13 second sketches of MOMENTE, together with a foreword, published as a four-color limited edition of 250 copies, this copy being signed "Stockhausen" and numbered in red ink 18/250 by the composer. 32 pp. As issued, following the forward and signed limitation page, each semi-rigid facsimile page in a plastic sheet-protector, all bound together with four black plastic screws. A few small stains, overall fine and quite scarce.
Scored for soprano, four choral groups, brass octet, two electronic organs, and three percussion players, MOMENTE "is impressive not as a haphazard succession of isolated events but as a spectacle and a grand synthesis. It follows on from 'Gesang der Junglinge' in ignoring any boundary between speech and music, the solo soprano and the choirs enjoying a vast Kagelian repertory of modes of vocal and non-vocal behaviour. With 'Kontakte' it shares a refusal to acknowledge any division between the pitched and the unpitched, ant it also ranks with that work as a crowning achievement in timbre composition, using its superficially limited but in effect very versatile ensemble...to created a wealth of complex sonorities." (Paul Griffiths, "Modern Music and After," p. 145-146)
Scored for soprano, four choral groups, brass octet, two electronic organs, and three percussion players, MOMENTE "is impressive not as a haphazard succession of isolated events but as a spectacle and a grand synthesis. It follows on from 'Gesang der Junglinge' in ignoring any boundary between speech and music, the solo soprano and the choirs enjoying a vast Kagelian repertory of modes of vocal and non-vocal behaviour. With 'Kontakte' it shares a refusal to acknowledge any division between the pitched and the unpitched, ant it also ranks with that work as a crowning achievement in timbre composition, using its superficially limited but in effect very versatile ensemble...to created a wealth of complex sonorities." (Paul Griffiths, "Modern Music and After," p. 145-146)
Stockhausen, Karlheinz. (1928 - 2007). Ein Schlüssel für MOMENTE (A Key to MOMENTE ): SIGNED. Kassel, Germany: Edition Boczkowski. June, 1971. First edition. The first 14 sketches and 13 second sketches of MOMENTE, together with a foreword, published as a four-color limited edition of 250 copies, this copy being signed "Stockhausen" and numbered in red ink 18/250 by the composer. 32 pp. As issued, following the forward and signed limitation page, each semi-rigid facsimile page in a plastic sheet-protector, all bound together with four black plastic screws. A few small stains, overall fine and quite scarce.
Scored for soprano, four choral groups, brass octet, two electronic organs, and three percussion players, MOMENTE "is impressive not as a haphazard succession of isolated events but as a spectacle and a grand synthesis. It follows on from 'Gesang der Junglinge' in ignoring any boundary between speech and music, the solo soprano and the choirs enjoying a vast Kagelian repertory of modes of vocal and non-vocal behaviour. With 'Kontakte' it shares a refusal to acknowledge any division between the pitched and the unpitched, ant it also ranks with that work as a crowning achievement in timbre composition, using its superficially limited but in effect very versatile ensemble...to created a wealth of complex sonorities." (Paul Griffiths, "Modern Music and After," p. 145-146)
Scored for soprano, four choral groups, brass octet, two electronic organs, and three percussion players, MOMENTE "is impressive not as a haphazard succession of isolated events but as a spectacle and a grand synthesis. It follows on from 'Gesang der Junglinge' in ignoring any boundary between speech and music, the solo soprano and the choirs enjoying a vast Kagelian repertory of modes of vocal and non-vocal behaviour. With 'Kontakte' it shares a refusal to acknowledge any division between the pitched and the unpitched, ant it also ranks with that work as a crowning achievement in timbre composition, using its superficially limited but in effect very versatile ensemble...to created a wealth of complex sonorities." (Paul Griffiths, "Modern Music and After," p. 145-146)