In Freundschaft
Encyclopedia
In Freundschaft is a composition by Karlheinz Stockhausen
, number 46 in his catalogue of works, which is playable on a wide variety of solo instruments.
as a birthday gift for Suzanne Stephens
. This version was written for the clarinet, but Stockhausen immediately made a fair-copy transposition for flute, and it was this version that was first performed, one time each by two American flautists, Lucille Goeres and Marjorie Shansky, for Stephens’s birthday party in Aix on 28 July, 1977. The first public performance, also of the flute version, was given by Lucille Goeres on 6 August 1977, in a concert by course participants of the Centre Sirius at the Aix Conservatory. Stockhausen reworked the composition on 27 April 1978, at which time he also made versions for oboe, trumpet, violin, and viola (Stockhausen 1978). The premiere of the version for clarinet was given by Suzanne Stephens on 30 November 1978 as part of a concert Hommage à Olivier Messiaen, in the Salle Wagram, Paris, and the version for oboe was premiered by Heinz Holliger
on 6 July 1979 in a Musik des 20. Jahrhunderts concert in the large hall of Funkhaus Halberg at the Saarländische Rundfunk in Saarbrücken
. At around this time, Stockhausen adapted the clarinet version for the basset horn, with extended range to low C, and this version was first performed by Suzanne Stephens at a private gathering at the composer’s house on the occasion of his fifty-first birthday on 22 August 1979. Both the clarinet and basset-horn versions are authorised for performance on bass clarinet, and the first public performance of the extended-range version was given by the Dutch bass clarinetist Harry Sparnaay
on 10 January 1981 in Haarlem (Stockhausen 1989a, 136–37).
In the following years, Stockhausen adapted the work for most of the other orchestral instruments. Between 7 and 10 January 1981, in collaboration with Warren Stewart, Stockhausen made a version for cello, which Stewart premiered at the Eastman School of Music on 23 April 1981. Even before this premiere, Stockhausen had adapted it, from 16 to 19 April 1981, as a new version for violin. A version for bassoon followed the next year, composed on 19 and 20 April 1982 for Kim Walker. During rehearsals, Stockhausen came to imagine the piece being played by a teddy bear, like the one he had had as a small child, only much larger. Walker had a costume made, and gave the premiere in the Wigmore Hall
in London on 10 May 1982 under the title "In Freundschaft, for a teddy bear with bassoon". A version for trombone was requested by Mark Tezak, who finalized the details with Stockhausen during rehearsals in August and September 1982. Around the same time, John Sampen requested and performed a version for soprano saxophone, though Stockhausen made further adjustments the next year with the saxophonist Hugo Read. At the request of the hornist Alejandro Govea Zappino, a version for his instrument was prepared during rehearsals on 17 November 1983, but further changes were carried out up to 11 September 1984 and the premiere was only finally given by Jens McManama, hornist with the Ensemble InterContemporain, at a concert in Baden-Baden
celebrating Pierre Boulez’s 60th birthday on 31 March 1985 (Stockhausen 1989a, 137). Even a version for alto recorder came into existence, at the instigation of Geesche Geddert, first in an exchange of letters, then in rehearsal with Stockhausen on 6 April 1984 (Geddert 1985, 416; Stockhausen 1989a, 137). The published score of the cello version can also be played on double bass, and a version for tuba also exists (Stockhausen-Verlag 2010, 25). In response to a suggestion by his trumpet-player son, Markus (who had put off attempting the work for 20 years), he replaced the original trumpet version with a new one for trumpet in E with a special fourth valve. Markus gave the world premiere of this new version in Kürten on 31 August 1997 (M. Stockhausen 1998, 8, 14, 20).
, the basic form of which is presented at the outset of the work (Zelinsky and Smeyers 1985, 412). This basic form consists of five segments, containing 1, 3, 2, 5, and 8 notes—therefore 19 notes in all—occupying durational units of approximately 1, 2, 3, 5, and 8 quarter-notes' duration, though the ending is altered in the introductory statement—a "reduced formula" ending with a slow oscillation between two notes a semitone apart (Zelinsky and Smeyers 1985, 413; Stockhausen 1989b, 672 and 674–75). This formula is then presented in two registrally separated and permuted alternating statements, similar to the arrangement in Stockhausen’s Mantra
, so that the work may be said to be monothematic (Conen 1991, 54). Initially, the separation of the two layers is emphasized through the dynamics: the higher level is consistently pp, the lower one ff (Conen 1991, 243).
Each layer consists of five segments, and the rests separating the segments in the upper layer correspond to the lengths of the sounding segments in the lower one. Measured in sixteenth-notes (and therefore on average a quarter the lengths of the upper-layer segments), these are: 4, 7, 2, 11, and 0 (= grace note) (Conen 1991, 242; Stockhausen 1989b, 672). The segment statements are separated by a middle-register semitone trill (A to B in the clarinet version), which first emerges out of a gradual acceleration of the last interval of the fifth segment in the introduction (Stockhausen 1989a, 137; Zelinsky and Smeyers 1985, 413).
After the initial presentation, the opposing characters of the two layers is gradually evened out, in a process of development over seven cyclical statements of the formula, until the two layers are merged into a single melody (Frisius 2008, 328). This is accomplished by progressively transposing the upper level downward by one semitone per cycle, and the lower level upward by the same degree. In this way, the entirely separate ranges in the first cycle (F5–F6 and F4–F5 are brought into the single octave C5–B5 in the seventh (Zelinsky and Smeyers 1985, 418).
The overall form is interrupted by two cadenzas, the first between the third and fourth cycles, the second at the point of union between the two layers, beginning near the end of the sixth cycle and leading to the seventh (Conen 1991, 251–52; Zelinsky and Smeyers 1985, 415).
Karlheinz Stockhausen
Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. Another critic calls him "one of the great visionaries of 20th-century music"...
, number 46 in his catalogue of works, which is playable on a wide variety of solo instruments.
History
A first version of In Freundschaft was composed on Sunday, 24 July 1977 in Aix-en-ProvenceAix-en-Provence
Aix , or Aix-en-Provence to distinguish it from other cities built over hot springs, is a city-commune in southern France, some north of Marseille. It is in the region of Provence-Alpes-Côte d'Azur, in the département of Bouches-du-Rhône, of which it is a subprefecture. The population of Aix is...
as a birthday gift for Suzanne Stephens
Suzanne Stephens
Suzanne Stephens is an American clarinetist, resident in Germany, described as "an outstanding performer and tireless promoter of the clarinet and basset horn" .-Biography:...
. This version was written for the clarinet, but Stockhausen immediately made a fair-copy transposition for flute, and it was this version that was first performed, one time each by two American flautists, Lucille Goeres and Marjorie Shansky, for Stephens’s birthday party in Aix on 28 July, 1977. The first public performance, also of the flute version, was given by Lucille Goeres on 6 August 1977, in a concert by course participants of the Centre Sirius at the Aix Conservatory. Stockhausen reworked the composition on 27 April 1978, at which time he also made versions for oboe, trumpet, violin, and viola (Stockhausen 1978). The premiere of the version for clarinet was given by Suzanne Stephens on 30 November 1978 as part of a concert Hommage à Olivier Messiaen, in the Salle Wagram, Paris, and the version for oboe was premiered by Heinz Holliger
Heinz Holliger
Heinz Holliger Heinz Holliger Heinz Holliger (born 21 May 1939 is a Swiss oboist, composer and conductor.-Biography:He was born in Langenthal, Switzerland, and began his musical education at the conservatories of Bern and Basel. He studied composition with Sándor Veress and Pierre Boulez...
on 6 July 1979 in a Musik des 20. Jahrhunderts concert in the large hall of Funkhaus Halberg at the Saarländische Rundfunk in Saarbrücken
Saarbrücken
Saarbrücken is the capital of the state of Saarland in Germany. The city is situated at the heart of a metropolitan area that borders on the west on Dillingen and to the north-east on Neunkirchen, where most of the people of the Saarland live....
. At around this time, Stockhausen adapted the clarinet version for the basset horn, with extended range to low C, and this version was first performed by Suzanne Stephens at a private gathering at the composer’s house on the occasion of his fifty-first birthday on 22 August 1979. Both the clarinet and basset-horn versions are authorised for performance on bass clarinet, and the first public performance of the extended-range version was given by the Dutch bass clarinetist Harry Sparnaay
Harry Sparnaay
Harry Sparnaay is a noted Dutch bass clarinetist, composer, and teacher. He is the most well-known player of new music for the bass clarinet and has won the following: First Prize Gaudeamus Contest , Swedish Record Prize , Bulgarian Composers Union Award , Inaugural Sounds Australian Award ,...
on 10 January 1981 in Haarlem (Stockhausen 1989a, 136–37).
In the following years, Stockhausen adapted the work for most of the other orchestral instruments. Between 7 and 10 January 1981, in collaboration with Warren Stewart, Stockhausen made a version for cello, which Stewart premiered at the Eastman School of Music on 23 April 1981. Even before this premiere, Stockhausen had adapted it, from 16 to 19 April 1981, as a new version for violin. A version for bassoon followed the next year, composed on 19 and 20 April 1982 for Kim Walker. During rehearsals, Stockhausen came to imagine the piece being played by a teddy bear, like the one he had had as a small child, only much larger. Walker had a costume made, and gave the premiere in the Wigmore Hall
Wigmore Hall
Wigmore Hall is a leading international recital venue that specialises in hosting performances of chamber music and is best known for classical recitals of piano, song and instrumental music. It is located at 36 Wigmore Street, London, UK and was built to provide London with a venue that was both...
in London on 10 May 1982 under the title "In Freundschaft, for a teddy bear with bassoon". A version for trombone was requested by Mark Tezak, who finalized the details with Stockhausen during rehearsals in August and September 1982. Around the same time, John Sampen requested and performed a version for soprano saxophone, though Stockhausen made further adjustments the next year with the saxophonist Hugo Read. At the request of the hornist Alejandro Govea Zappino, a version for his instrument was prepared during rehearsals on 17 November 1983, but further changes were carried out up to 11 September 1984 and the premiere was only finally given by Jens McManama, hornist with the Ensemble InterContemporain, at a concert in Baden-Baden
Baden-Baden
Baden-Baden is a spa town in Baden-Württemberg, Germany. It is located on the western foothills of the Black Forest, on the banks of the Oos River, in the region of Karlsruhe...
celebrating Pierre Boulez’s 60th birthday on 31 March 1985 (Stockhausen 1989a, 137). Even a version for alto recorder came into existence, at the instigation of Geesche Geddert, first in an exchange of letters, then in rehearsal with Stockhausen on 6 April 1984 (Geddert 1985, 416; Stockhausen 1989a, 137). The published score of the cello version can also be played on double bass, and a version for tuba also exists (Stockhausen-Verlag 2010, 25). In response to a suggestion by his trumpet-player son, Markus (who had put off attempting the work for 20 years), he replaced the original trumpet version with a new one for trumpet in E with a special fourth valve. Markus gave the world premiere of this new version in Kürten on 31 August 1997 (M. Stockhausen 1998, 8, 14, 20).
Analysis
The four parameters of pitch, duration, dynamics, and timbre in In Freundschaft are all determined from the construction of a musical formulaFormula composition
Formula composition is a serially-derived technique encountered principally in the music of Karlheinz Stockhausen, involving the projection, expansion, and Ausmultiplikation of either a single melody-formula, or a two- or three-voice contrapuntal construction .In contrast to serial music, where the...
, the basic form of which is presented at the outset of the work (Zelinsky and Smeyers 1985, 412). This basic form consists of five segments, containing 1, 3, 2, 5, and 8 notes—therefore 19 notes in all—occupying durational units of approximately 1, 2, 3, 5, and 8 quarter-notes' duration, though the ending is altered in the introductory statement—a "reduced formula" ending with a slow oscillation between two notes a semitone apart (Zelinsky and Smeyers 1985, 413; Stockhausen 1989b, 672 and 674–75). This formula is then presented in two registrally separated and permuted alternating statements, similar to the arrangement in Stockhausen’s Mantra
Mantra (Stockhausen)
Mantra is a composition by the German composer Karlheinz Stockhausen. It was composed in 1970 and premiered in autumn of the same year in Donaueschingen...
, so that the work may be said to be monothematic (Conen 1991, 54). Initially, the separation of the two layers is emphasized through the dynamics: the higher level is consistently pp, the lower one ff (Conen 1991, 243).
Each layer consists of five segments, and the rests separating the segments in the upper layer correspond to the lengths of the sounding segments in the lower one. Measured in sixteenth-notes (and therefore on average a quarter the lengths of the upper-layer segments), these are: 4, 7, 2, 11, and 0 (= grace note) (Conen 1991, 242; Stockhausen 1989b, 672). The segment statements are separated by a middle-register semitone trill (A to B in the clarinet version), which first emerges out of a gradual acceleration of the last interval of the fifth segment in the introduction (Stockhausen 1989a, 137; Zelinsky and Smeyers 1985, 413).
After the initial presentation, the opposing characters of the two layers is gradually evened out, in a process of development over seven cyclical statements of the formula, until the two layers are merged into a single melody (Frisius 2008, 328). This is accomplished by progressively transposing the upper level downward by one semitone per cycle, and the lower level upward by the same degree. In this way, the entirely separate ranges in the first cycle (F5–F6 and F4–F5 are brought into the single octave C5–B5 in the seventh (Zelinsky and Smeyers 1985, 418).
The overall form is interrupted by two cadenzas, the first between the third and fourth cycles, the second at the point of union between the two layers, beginning near the end of the sixth cycle and leading to the seventh (Conen 1991, 251–52; Zelinsky and Smeyers 1985, 415).
Flute
- Karlheinz Stockhausen: Musik für Flöte. Kathinka Pasveer, flute. 2-CD set. Stockhausen Complete Edition CD 28A-B. Kürten: Stockhausen-Verlag, 1992.
Oboe
- Cristian Hommel: Bach, Mozart, Huber, Stockhausen. Christian Hommel, oboe; Kay Johannsen, cembalo. Preisträger Deutscher Musikwettbewerb. CD recording. Ars Musici Primavera AMP 5005-2. Primavera HM 2067-2. Freiburg: Ars Musici, 1993.
Clarinet
- Stockhausen: In Freundschaft, Traum-Formel, Amour. Suzanne Stephens, clarinet & basset horn. CD recording. Deutsche Grammophon 419 378-2. Hamburg: Polydor International GmbH, 1988. Reissued on Deutsche Grammophon 423 378-2. Hamburg: Polydor International GmbH, 1988. Reissued on Stockhausen Complete Edition CD 27 (CD). Kürten: Stockhausen-Verlag, 1992.
- Clarinet in the XXth Century. Ivan Stochl, clarinet; Boris Nedeltchev, piano. CD recording. Gega GD 120 1991. Sofia: Gega, Ltd., 1992.
- 20th Century Music for Unaccompanied Clarinet. Paul Meyer, clarinet. CD recording. Denon CO-78917. [Tokyo]: Nippon Columbia Co., Ltd., 1994.
- Dal Niente. Eduard Brunner, clarinet. CD recording. ECM New Series ECM1599 453 257-2. [Germany]: ECM Records GmbH, 1997.
- Alain Damiens Clarinette. Alain Damiens, clarinet. CD recording. ADDA 581066. 1988. Reissued as: Damiens: Clarinet Solos. 06/17/2002. CD recording. Accord 472337.
Basset horn
- Musik für Klarinette, Baßklarinette, Bassetthorn: Suzee Stephens spielt 15 Kompositionen. Stockhausen Complete Edition CD 32 A–C (3 CDs). Kürten: Stockhausen-Verlag, 1994.
Bass clarinet
- Karlheinz Stockhausen: Bass Clarinet & Piano. Volker Hemken, bass clarinet; Steffen Schleiermacher, piano. 09/25/2007. CD recording. MDG 6131451. Detmold: Musikproduktion Dabringhaus und Grimm, 2007.
Saxophone
- Daniel Kientzy: Saxophones. Daniel Kientzy, saxophone. CD recording. ADDA 581047. With works by: Berio, Cacana, Mache, Scelsi, Stroe, and Vaggione.
- Arno Bornkamp: Reed My Mind: Contemporary Music for Saxophone. Arno Bomkamp, alto saxophone. CD recording. BVHaast CD 9304. Amsterdam: BVHaast, 1994.
- Outline. Giovanni Nardi, soprano saxophone. CD recording. Video Radio Classics (Italy) VR CD 000412.
- The Solitary Saxophone. Claude Delangle, saxophone. CD recording. Bis CD-640. Djursholm: Grammofon AB BIS, 1994.
- Scena. Timothy McAllister, saxophone. Mead, Lauba, Steinberg, Carter,07/25/2000 CD recording. Equilibrium EQ 32. Dexter, MI: Equilibrium, 1999.
- In Friendship. James Romain, saxophone; Kevin Class, piano. 05/27/2008 CD recording. Centaur CRC 2916. [Baton Rouge, La.]: Centaur Records, 2008.
- Saxophon. Julien Petit, saxophon. CD recording. Stockhausen Complete Edition CD 78. Kürten: Stockhausen-Verlag, 2005.
Bassoon
- Stockhausen: Music for Bassoon. Knut Sönstevold, bassoon; Kina Sönstevold, piano. CD recording. Nosag CD 42. [Sweden]: Nosag Records, 2000.
- Bassoon XX/Fagott XX. Rino Vernizzi, bassoon; Gianpaolo Ascolese, drum set; Gianluca Renzi, double Bass; New Music Studium, Antonio Plotino, cond. CD recording. Arts Music 47644. [Germany]: Arts Music, 2001.
Trumpet
- Markus Stockhausen Plays Karlheinz Stockhausen. Markus Stockhausen, trumpet; Niek de Groot, contrabass; Annette Meriweather, soprano. CD recording. EMI Classics 7243 5 56645 2 5. Cologne: EMI Electrola GmbH, 1998. Reissued on: Stockhausen: Aries, Halt, Pietà, In Freundschaft. Stockhausen Complete Edition 60. Also reissued on: 20th Century Classics. 2-CD set. EMI Classics 6955982. [London]: EMI Classics, 2009.
Trombone
- The Solitary Trombone. Christian Lindberg, trombone. CD recording. Bis CD-388. Djursholm: Grammofon AB BIS, 1989.
- Musik für Posaune und Euphonium. Michael Svoboda, trombone and euphonium. CD recording. Stockhauen Complete Edition CD 44. Kürten: Stockhausen-Verlag, 1997.
Cello
- Ciaccona. Friedrich Gauwerky, cello. LP recording. Edition Michael F. Bauer MFB 048. [German]: Edition Michael F. Bauer, 1987.