updated 4 February 2019
© Hyou Vielz

Karlheinz Stockhausen

German composer born 22 August 1928 in Mödrath (near Cologne); died 5 December 2007 in Kürten.

Born on 22 August 1928 in Mödrath, near Cologne, Karlheinz Stockhausen was the eldest of three children of Simon, a school teacher and musician who died on the Eastern Front in 1945, and Gertrud, also a musician who was “interned” in 1932 and killed in 1941. In 1951, Karlheinz Stockhausen married Doris Andreae; the couple had four children, including Markus (b. 1957) and Majella (b. 1961), who would go on to play active roles in the performance of their father’s works (playing trumpet and piano, respectively). In 1967, Stockhausen married his second wife, Mary Bauermeister, with whom he had two more children, including Simon, who would also join his father’s circle of musicians as a synthesiser player.

After an extremely difficult early life during which he studied largely in isolation, Stockhausen was admitted to the University of Cologne, where his dissertation on Bartók‘s Sonata for Two Flutes and Percussion earned him a degree with highest distinction.

Starting in 1950, Stockhausen began attending the Darmstadt Summer Courses, a veritable melting pot of musical modernity which would have a profound effect on his work. The influence of Hindemith, all-pervasive in the Germany of the late 1940s and tangible in Stockhausen’s early works (such as Chœurs and drei Lieder), was purged from the composer’s creative identity in 1951, firstly through his discovery of Schoenberg (in courses led by Leibowitz) and, more importantly, Webern (through Hermann Scherchen), and later through his contact with Messiaen, with whom he studied in Paris in 1952-53.

These revelations gave rise to a period of reflection which would fundamentally reorient his musical perspectives. The composer’s work after this period, until the end of his life, is characterised by its rigorous application of Webernian principles of deduction and organic unity (cf. Klavierstücke 1 – 4 and Kontrapunkte) and a radically new conception of musical time, as proposed by Messiaen (cf. Kreuzspiel), as well as by a sense of composition as a collective act (his first influential theoretical writings appeared in 1952), and the moral obligation, in the wake of WWII and the Holocaust, to work in a strictly rationalist manner.

The discovery of musique concrète and the work of Pierre Schaeffer in Paris (1953) inevitably oriented Stockhausen toward electronic music. He emphatically reaffirmed his creative power in Gesang der Jünglinge (1956), a major landmark in the history of electronic music; the work achieves formal unity through the gradual erosion of the heterogeneity of the starting material, and explores sonic space (cf. Kontakte, 1960) and time (cf. Hymnen, 1967).

While Stockhausen’s music ranges from scores with rigid, uncompromisingly precise notation to intuitive works in which theoretical processes are largely absent, melody, as a unifying force, is (with the exception of the intergral serialist works of the 1950s) ubiquitous. Stockhausen’s mastery of melody is especially tangible in his works after 1970, such as Mantra, and culminates in the immense seven-day opera, Licht (1977–2002). His melodic principle, the result of transcending all dialectical conflict in his work, reflects the composer’s relationship with the world, i.e., he saw himself as the most direct vector of a faith which nourished his creativity and which relentlessly sought to embody universality and peace. His final works, elements of the incomplete cycle Klang (the twenty-four hours of the day), emanate a profound peace in the face of death, with the “Veni creator” in Freude [“Joy”] (Part II), which links Stockhausen to Mahler, and the title of Part IV, Himmels-Tür (“Heaven’s Door”), being the most obvious examples.

On 5 December 2007, following some five decades dedicated to composing and promoting his work and theories (notably, starting in 1958, with teaching and lectures throughout the world), Stockhausen died in Kürten, near Cologne, in the house that he himself designed in 1965.


© Ircam-Centre Pompidou, 2019

Sources

  • Karlheinz STOCKHAUSEN, Texte vol.1, 2, 3, Cologne, DuMont Schauberg, 1963, 1964, 1971; Texte vol.4, 5, 6, Cologne, DuMont, 1978, 1989, 1989; (tous ces textes sont réédités à Kürten, aux éditions Stockhausen) ; Texte vol. 7, 8, 9, 10, Kürten, éd. Stockhausen, 1998.
  • Jonathan COTT, Conversations avec Stockhausen, Paris, J.Cl. Lattès, 1979.
  • « Karlheinz Stockhausen », dans Contrechamps n° 9, Lausanne, L’Age d’Homme, 1988.
  • Programme du Festival d’Automne 1988, Éd. Contrechamps/Festival d’Automne.

By François Decarsin

The innumerable ideas encountered throughout Karlheinz Stockhausen’s work demonstrate his personal ideal of enforced novelty — to never repeat, even partially, material from earlier pieces — and the systematic integration of data gathered from other cultures in a irrefutably individualistic style. This link between the personal and the universal is articulated on two main axes: the omnipresent principle of unity and the definitive break from dialectic of confrontation.

The first of these two constraints is discernible in certain systematically recurring formal patterns such as the cycle, from 1959 (Zyklus, a circular chain through different percussion timbres) through his final works (Klang, 2005). Stockhausen’s predilection for sequential rather than cumulative behavior priotitizes the relation — perceptible at any moment — between the whole and its parts, while the reduction of confrontation sits solidly within the framework of unequivocal serial thought, like the elaboration of an infinity of intermediate grays to unite black and white. From the insertion of conjoint segments into disjointed statements brought about by the syntax of the 1950s (Klavierstück VI for example) to semi-systematic chromaticisms between the main notes of a motif — such as the glissando — (Licht), he concentrates ever more intently on the pertinence of the relationship between global organization and the identity of constituent elements. It is precisely this priority whcih demonstrates his attachment to serialism, electronic thought, and his later orientation towards melody and motif.

Serialism

Soon after the rupture with Schoenbergian heritage, considered inadequate for the new era, a definite alignment with Webern threatened to predetermine the material for all compositions in the immediate future. Faced with multiple voices, a by-product of the polyphonic complexity drawn from the final consequences of tradition (Schönberg), a new and different conception had to be imposed, an articulation of molecular arrangements controlled by a virtual theme. No longer voices, but rather individual sounds considered as bursts of a cryptic pattern (the tone row) or regrouped according to timbre or other sonic characteristics. This slow progression from “punctual music” towards “composition by groups,” the binary nature of this thought — which Stockhausen shares with Boulez‘s Third Sonata (“Points — Blocs”) — is evident in the the earliest works which come to legitimize his written theories (1952).

Kontrapunkte, Kreuzspiel, and the Klavierstücke 2 and 3 take Webernian discontinuity to new extremes: the eradication of direct relationships between sounds forces the listener’s attention on each individual sound, an extension of Webern’s earlier pulverization of a simple double canon (Symphonie Op. 21, first movement). Here first appear hints of future revisions, such as the recurrence of a fixed pitch as a signaling (or thematic) device in the midst of the “mute indifference” (Adorno) that threatens to overtake the music (Klavierstück 2), or the quasi-melodic regrouping that suspends an outburst (middle of Kreuzspiel). Composition by groups quickly emerges as a promise of revitalization for a style extended to “the boundaries of the fertile land”…

Webern’s influence is again evident when the tone-row that opens the Concerto op. 24 is analyzed not as a global proposition, but as an articulation of four separate groups, each with its own shape (in terms of instrumentation, speed, intensity, phrasing, and attacks). The question is not so much whether Stockhausen sought to legitimize his personal theories through this sort of analysis, but rather how he would make use of the tools of extension garnered through this research. By considering groups of three sounds as unique objects, he radically displaces the principle of composing with prefixed structures such as themes or motifs, towards a system of “internal proportions” assigned to variable groups.

These first appeared as purely static elements (ascending/descending, monophonic/polyphonic, etc.), as in the first Klavierstück in 1951, and were quickly centered on principal sounds around which secondary sounds gravitate; this satellite-style organization — fundamental to the sense of his entire output — appears as early as Klavierstück 7 (1954) or the end of Klavierstück 9 (1961), and the revision (1962) of the first version of Punkte (1952) confirms the extent of this change.

As an extension of this decision, Stockhausen’s organization by groups has ramifications beyond questions of style and writing; when in 1961 he concentrated on the problem of form, this attitude nurtured the concept of the “moment” which Stockhausen defines through certain essentially qualitative criteria: global sonority, density, internal repetition, etc. Even when dealing with electroacoustic music (Kontakte), his preoccupation is unwavering: “partial moments” with specific properties are pointed out, as well as “groups” of moments sharing one or many properties. Again the overall control stems from an articulation of principal/secondary elements, more firmly rooted in the global architecture than the perpetual difference between details, revealing a crucial component of Stockhausen’s thought: the utopia of an eternity reduced to a single moment (theoretically stripped of all directionality) which is furthermore the sum of all moments, defining an uncontrollable tendency to “overtake time that drives toward a single end, death.”

In terms of formal organization, this principle demonstrates its pertinence in the period 1963-1968, where strictly musical notation is momentarily abandoned in favor of a more general signal-oriented relative style of writing, favoring transformation over fixed notation. The performer actively decides how a sound metamorphoses into another (rhythmically) by changing sinusoidal frequencies (Mixtur, 1964), by  dding a vibration to a sonic continuum (Mikrophonie I, 1964), introducing intelligible speech on short waves into an ordered and rigorous form (Hymnen, 1967), etc. In each case the organization of principal sounds (or events) is infallibly coordinated with secondary sounds (or events), derivations… or, in a word. deductions. After a brief experimentation with total abstraction (“intutive music” with no notation whatsoever), the score of Stimmung (1968) explicitly synthesizes all of these experiments: a single chord — a singe vibration — generates fifty-one passages systematically centered on one of the constituent sounds, shedding a unique light on multiple sound objects (the exact opposite of a standard classical development).

This conjunction between the whole and its parts defines serialism not exclusively as a technique but as a thought process leading towards numerous changes in style, organization of material, and in the principle of unity, from electroacoustic works to melodic writing.

Thoughts on electronics

The goal of dissolving contrasts between different types of sonic classes, already hinted at in his earlier transformation-oriented music, is fully realized with the use of electronics that allow the “continuous passage from one perspective to another” that Stockhausen regards as the ultimate goal of composing. After Deux Etudes (1953) based on very simplified material and the groundbreaking Gesang der Jünglinge (1955), electronics are practially never used alone. Kontakte (1961) uses prerecorded sounds alongisde a piano and percussion, Hymnen exists in a version for electronics alone but also in a version with instruments, and in all other works involving electronics, from Mantra (1972) to Licht (2002), instrumental writing always forms a basic template. The various setups required all serve essentially the same purposes: the transformation of often limited material “integrated with the entire universe,” or to clarify complex polyphony beyond the reach of traditional instrumental ensembles. In this case the spatialization surpasses purely theatrical dimensions to render more tangible the directionality and speed of sonic motion (the sphere-shaped auditorium of the exposition of Osaka created for Kontakte remains the only concrete realization of this ideal).

But one of the most decisive influences of electronics on Stockhausen’s style is the unleashing of unlimited possibilities for the manipulation of time. The theoretical reflection dating back to the earliest works under the spell of Messiaen (the use of rhythmic modes in Kreuzspiel) expanded with the integration of qualitative criteria (groups as well as moments), culminating with the principle of The Unity of Musical Time (the title of his treatise of 1960). The chromatic idea of individual durations here becomes a continuous spectrum of sonic categories where differences of type are lost in favor of differences of degree. The fastest impulses produce pitches, countable impulses define the rhythmic domain, and the slowest impulses (lasting sometimes as long as a quarter of an hour) outline the form—a concept reinforced by the electronics through a progressive and continuous decomposition of a single taped sound (around an E flat) given a slower and slower rhythm, then enveloped in a sort of sonic halo until meeting its resolution, an E flat on the piano (Kontakte). Movement has described a sense of time. The passage from the first to the second part of Hymnen builds on this demonstration by revealing how, through an infinitely long slowing of the Marseillaise, ostensibly incongruous fields of sound (crowd noises, wild ducks, etc.) remain organically linked to a single phenomenon.

Stockhausen’s reference to Lewis Carroll developed in his interviews perfectly demonstrates his relation to time. Like Alice, a musical structure can become infinitely slow or infinitely fast (Mantra, 1970), and this profoundly idiomatic vision would influence a large part of the inventiveness of his works to come, particularly in the melodic domain.

Finally, from an entirely different perspective, electronics can be used to underscore quasi-incantatory processes as in the extension of Katinka’s Gesang (1984), an extract from Samstag aus Licht — each intervention on a single note played by a flutist is signaled by an explosion whose shrapnel envelops the sequence that follows — or in the indefinite timing of Choeurs invisibles (Donnerstag aus Licht). The tool here reveals its core signification, anchored in its origins: to participate as fully as possible in the creation of a spiritual, religious music; the only intelligible words that escape the electronic furnace in Gesang der Jünglinge are songs of praise to the Lord…

From melody to formula

Even the titles of the earliest works reveal: invention is at heart inescapably melodic, and the academic processes of inversion / retrograde are already integrated (Sonatine pour violon et piano, 1951) through habits formed through childhood musical games… But if the outburst of modernity forces these inclinations into retreat, they are nevertheless not systematically abandoned: the moment in Kreuzspiel where the dispersed sounds are concentrated within an octave to produce a truly singable outline before being again propelled into a complex disarray— this moment underscores what would become a constant of Stockhausen’s style: creating memorizable structures alongside complex operations in order to guarantee tangible relationships between a work’s fundamental elements and their more cryptic unfoldings.

1970 was a decisive turning point between athematic writing and the arrival of “formula composition” with Mantra and the emblematic work Formel (“formula”), premiered in 1971 … but first conceived in 1951, whose form outlines twelve successive stages of the gestation of a twelve-note melody. The concept of a formula controls the relationship between the tone row (12 notes), the group (each tone is the center of a specific complex, immediately identifiable) , and melody (with all notes appearing in a restrained space in order to create a true melodic structure).

Every piece written between Mantra and Licht relies on a generating formula which should not be confused with a tone row (which can serve as the base of more than one work at a time). The principle of generation ruptures literally any relation to the idea of development by its position within the cycle which serves, as a whole, as a sort of negation; the idea — the initial formula — does not become unrecognizable through its transformations but rather changes shape as a part of a totality which it has helped itself to describe. Thus the properties of each group (“member”) in the formula help to determine the envelope of the cycle in whose trajectory it plays a role (Mantra); less complex in principle, the formula behind Inori (1974) condenses four phases of musical history — rhythm - melody - harmony - polyphony — which become, respectively, and with the addtion of dynamics, the five key moments of the form. The predictability of this treatment becomes nearly didactic in In Freundschaft (1977): the formula is played seven times with sufficiently light variations so that their idenities outlast their differences, an approach quite similar to that of Licht (1977-2002). The excessive scale and duration of the work necessitated, to guarantee a perceptive continuity, an expanded cyclic perspective: a triple fundamental formula for the seven operas, a particular formula for each of the three key characters (Michael, the archangel, Eve, the archetypal mother, and Lucifer, the fallen angel); each opera is entirely constructed on a branch of the triple formula, and the one hundred and fifteen or so pieces that constitute the cycle are each based on different segments of individual formulas. The form thus represents a systematic expansion of the original idea, at once hidden and omnipresent: though each individual piece, exploring only material derived from a small segment (without extrapolation from the sounds thereby omitted), could point towards a loss of a sense of the whole, the connections to global form are never broken precisely because the reservoirs of available sounds remain limited, each element conserving its own una mbiguous semantic value — an interval, a grupetto, etc.

On the level of syntax, the unification of the whole results from a single prevailing force: deduction. But the larger dimension, the interpretation and actual writing out of what had been imagined, conjure up a utopia of eternity born out of the infinite duration of an idea. What the theory envisioned in 1960 (in the text on “Momentform”) is accomplished in this decantation of material alongside the return to melodic writing. Thus the aforementioned passage in Kontakte acquires a profoundly poetic dimension when, in Sirius (1976) a melody played in instrumental sounds (Aries) is progressively extinguished, and just on the verge of disappearing a new melody is born (Libra) fashioned out of the harmonics of absent pitches.

“Phoenix music” for Stockhausen. And probably the key to his entire output.

Translation: Christopher Trapani.

© Ircam-Centre Pompidou, 2008

  • Solo (excluding voice)
    • Klavierstücke I-IV for piano (1952-1953), 8 mn, Universal Edition [program note]
    • Klavierstück V for piano (1954), 5 mn, Universal Edition
    • Klavierstück VI for piano (1954-1955), 26 mn, Universal Edition [program note]
    • Klavierstück VII for piano (1954-1955), 7 mn, Universal Edition [program note]
    • Klavierstück VIII for piano (1955), 2 mn, Universal Edition
    • Klavierstück XI for piano (1956), 14 mn, Universal Edition [program note]
    • Zyklus for percussion (1959), 13 mn, Universal Edition [program note]
    • Klavierstück IX for piano (1954-1961), 10 mn, Universal Edition
    • Klavierstück X for piano (1954-1961), 23 mn, Universal Edition [program note]
    • elec Solo for a melodic instrument with feedback (1965-1966), between 10 mn and 20 mn, Universal Edition [program note]
    • elec Spiral for an instrument and short waves (1968), 2 h 15 mn, Universal Edition
    • Der Kleine Harlekin for clarinet (1975), 9 mn, Stockhausen Verlag [program note]
    • Harlekin for clarinet (1975), 45 mn, Stockhausen Verlag
    • Tierkreis twelve melodies of the constellations, for a melodic or harmonic instrument (1974-1975), 26 mn, Stockhausen Verlag
    • Amour five pieces for clarinet (1976), 26 mn, Stockhausen Verlag
    • elec Aries for trumpet and electronics (1977), 15 mn, Stockhausen Verlag [program note]
    • In Freundschaft for clarinet (1977), 15 mn, Stockhausen Verlag [program note]
    • elec Libra for bass clarinet and electronics (1977), 33 mn, Stockhausen Verlag
    • Piccolo for piccolo flute (1977), 3 mn, Stockhausen Verlag
    • elec Eingang und Formel for trumpet (1978), 2 mn, Stockhausen Verlag
    • Amour for flute (1976-1981), 29 mn, Stockhausen Verlag
    • elec Klavierstück XIII Luzifers Traum, for solo piano (1981), 36 mn, Stockhausen Verlag
    • elec Traum-Formel for basset horn (1981), 9 mn, Stockhausen Verlag [program note]
    • elec Klavierstück XII for solo piano (1979-1983), 22 mn, Stockhausen Verlag
    • elec Oberlippentanz for piccolo trumpet (1983), 13 mn, Stockhausen Verlag [program note]
    • elec Evas Spiegel for basset horn (1984), 4 mn, Stockhausen Verlag
    • elec Susani for basset horn (1984), 7 mn, Stockhausen Verlag
    • elec ircam stage Kathinkas Gesang als Luzifers Requiem for flute and tape (1985), 33 mn, Stockhausen Verlag [program note]
    • elec Klavierstück XIV befruchtung mit Klavierstück [Design with piano piece] (1985), 6 mn, Stockhausen Verlag [program note]
    • elec Susani's echo for alto flute (1985), 7 mn, Stockhausen Verlag
    • elec Entführung solo for piccolo flute (1986), 12 mn, Stockhausen Verlag
    • elec Xi for a melodic instrument with microtones (1986), between 6 mn and 9 mn, Stockhausen Verlag
    • elec Xi basset horn version (1986), 9 mn, Stockhausen Verlag
    • elec Xi version for alto flute or flute (1986), 6 mn, Stockhausen Verlag
    • elec stage Montags - Gruss (Eva - Gruss) for several basset horns and electronic instruments (or for magnetic tape) (1986-1988), 34 mn, Stockhausen Verlag
    • Flautina solo for flute with piccolo and alto flute (1989), 6 mn, Stockhausen Verlag
    • elec Ypsilon for a melodic instrument with microtones (1989), 9 mn, Stockhausen Verlag
    • elec Ypsilon basset horn version (1989), 9 mn, Stockhausen Verlag
    • elec Ypsilon flute version (1989), 9 mn, Stockhausen Verlag
    • elec Freia for flute (1991), 7 mn, Stockhausen Verlag
    • elec Freia for basset horn (1991), 7 mn, Stockhausen Verlag
    • elec Pietà for bugle, soprano and electronics (or for bugle and electronics) (1990-1991), 28 mn, Stockhausen Verlag
    • elec Synthi - Fou Klavierstück XV , for electronic and electronic keyboard (1991), 23 mn, Stockhausen Verlag
    • elec Signale zur Invasion for trombone and electronics ad libitum (1992), between 19 mn and 52 mn, Stockhausen Verlag
    • elec Klavierstück XVI for piano and tape (1995), 7 mn, Stockhausen Verlag
    • elec Fagott from Orchester Finalisten, for bassoon and electronics/sound projection (1995-1996), 4 mn, Stockhausen Verlag
    • elec Flöte from Orchester Finalisten, for flute and electronics / sound projection (1995-1996), 5 mn, Stockhausen Verlag
    • elec Klarinette from Orchester Finalisten, for clarinet and electronics/sound projection (1995-1996), 3 mn, Stockhausen Verlag
    • elec Kontrabass from Orchester Finalisten, for double bass and electronics/sound projection (1995-1996), 8 mn, Stockhausen Verlag
    • elec Oboe from Orchester Finalisten, for oboe and electronics / sound projection (1995-1996), 5 mn, Stockhausen Verlag
    • elec Posaune by Orchester Finalisten, for trombone and electronics / sound projection (1995-1996), 4 mn, Stockhausen Verlag
    • elec Trompete by Orchester Finalisten , for trumpet and electronics / sound projection (1995-1996), 4 mn, Stockhausen Verlag
    • elec Tuba by Orchester Finalisten , for tuba and electronics / sound projection (1995-1996), 4 mn, Stockhausen Verlag
    • elec Viola by Orchester Finalisten , for viola and electronics / sound projection (1996), 4 mn, Stockhausen Verlag
    • elec Violine by Orchester Finalisten , for violin and electronics / sound projection (1995-1996), 3 mn, Stockhausen Verlag
    • elec Violoncello by Orchester Finalisten , for cello and electronics / sound projection (1995-1996), 3 mn, Stockhausen Verlag
    • Bassetsu for basset horn (1997), 6 mn, Stockhausen Verlag
    • Thinki for flute (1997), 4 mn, Stockhausen Verlag
    • Vier Sterne aus Amour for cello (1976-1998), 12 mn, Stockhausen Verlag
    • elec Komet Klavierstück XVII, for electronic keyboard, electronics, concrète music and sound projection (1994-1999), 15 mn, Stockhausen Verlag
    • elec Komet version for percussionist, electronics and concrète music and sound projection (1994-1999), 15 mn, Stockhausen Verlag
    • elec Strahlen for percussionist and ten-track magnetic tape (2002), 35 mn, Stockhausen Verlag
    • Amour for saxophone (1976-2003), 29 mn, Stockhausen Verlag
    • elec Vibra - Elufa for vibraphone (2003), 7 mn, Stockhausen Verlag
    • elec Klavierstück XVIII (Mittwoch - Fomel) for electronic keyboard (2004), 12 mn, Stockhausen Verlag
    • Himmels-Tür for a percussionist and a little girl (2005), 28 mn, Stockhausen Verlag
    • Harmonien for flute (2006), 15 mn, Inédit
    • Harmonien for trumpet (2006), 16 mn, Inédit
    • Natürliche Dauern 1-24 for piano (2005-2006), 2 h 20 mn, Stockhausen Verlag
    • elec Edentia for soprano saxophone and electronics (2007), 19 mn, Inédit
    • elec Nebadon for horn and electronics (2007), 22 mn, Inédit
    • elec Paradis for flute and electronics (2007), 18 mn, Inédit
    • elec Uversa Klang, 16. Stunde , for basset horn and electronics (2007), 23 mn, Inédit
  • Chamber music
    • Sonatine for violin and piano (1951), 11 mn, Universal Edition
    • Schlagtrio for piano and two timpani (1973-1974, 1952), between 12 mn and 24 mn, Universal Edition
    • Zeitmasse for five winds (1955-1956), 15 mn, Universal Edition [program note]
    • Refrain for three instrumentalists (1959), 12 mn, Universal Edition [program note]
    • elec Kontakte for piano, percussion and tape (1958-1960), 35 mn, Stockhausen Verlag [program note]
    • elec Mikrophonie I for tam-tam, two microphones and two filters with potentiometers (1964), 22 mn, Universal Edition
    • Adieu für Wolfgang Sebastian Meyer, for wind quintet (1966), 16 mn, Universal Edition
    • elec Hymnen electronic and concrète music, version with four soloists (1966-1967), 26 mn, partition retirée du catalogue
    • Expo for three instrumentalists-singers, with three shortwave receivers (1969-1970), 1 h 10 mn, Stockhausen Verlag
    • elec Für Kommende Zeiten seventeen texts for intuitive music (1968-1970), Stockhausen Verlag
    • elec Mantra for two pianists (1969-1970), between 1 h 5 mn and 1 h 12 mn, Stockhausen Verlag [program note]
    • elec Pole for two instrumentalists-singers with two shortwave receivers (1969-1970), 1 h 5 mn, Stockhausen Verlag
    • elec Herbstmusik theater music for four instrumentalists (1974), 50 mn, Stockhausen Verlag
    • elec Laub und Regen for clarinet and viola (1974), 11 mn, Stockhausen Verlag
    • elec Musik im Bauch for six percussionists and music boxes (1975), 38 mn, Stockhausen Verlag
    • Saxophone for soprano and bongo saxophone or for solo soprano saxophone (1977), 6 mn, Stockhausen Verlag
    • elec Halt for trumpet and double bass (1978), 15 mn, Stockhausen Verlag
    • Michaels-Ruf for four trumpets (1978), 2 mn, Stockhausen Verlag
    • elec Mission und Himmelfahrt for trumpet and basset horn (1978), 18 mn, Stockhausen Verlag
    • elec Bijou for alto flute, bass clarinet and tape (1980), 15 mn, Stockhausen Verlag
    • stage Donnerstags-Abschied (Michaels-Abschied) for five trumpets (or a trumpet on four-track magnetic tape) (1980), between 11 mn and 30 mn, Stockhausen Verlag
    • elec Drachenkampf for trumpet, trombone, electric organ or synthesizer, two dancers ad libitum and a percussionist ad libitum (1980), 13 mn, Stockhausen Verlag
    • Knabenduett for two soprano saxophones or two other instruments (1980), 4 mn, Stockhausen Verlag
    • elec Tanze Luzefa ! for basset horn and bass clarinet (1980), 6 mn, Stockhausen Verlag
    • Tierkreis for clarinet and piano (1974-1981), 24 mn, Stockhausen Verlag
    • elec stage Kathinkas Gesang als Luzifers Requiem for flute and six percussionists or for solo flute (1982-1983), 33 mn, Stockhausen Verlag [program note]
    • elec Kathinkas Gesang als Luzifers Requiem version for flute and multiple piano (1983), 33 mn, Stockhausen Verlag
    • elec Linker Augenbrauentanz for flute, basset horn, percussion and synthesizer (1983), Stockhausen Verlag
    • elec Tierkreis trio-version, for clarinet, flute and piccolo, trumpet and piano (1974-1983), 29 mn, Stockhausen Verlag
    • elec stage Zungenspitzentanz for piccolo flute, ad libitum dancer, two euphoniums or synthesizer, percussionist ad libitum , or for solo piccolo (1983), 9 mn, Stockhausen Verlag
    • elec stage Ave for basset horn and alto flute (1984-1985), 23 mn, Stockhausen Verlag
    • elec Der Kinderfänger for flute, two synthesizers, percussion and tape (1986), 32 mn, Stockhausen Verlag
    • elec stage Wochenkreis (die sieben Lieder der Tage) duo for basset horn and synthesizer (1986-1988), 25 mn, Stockhausen Verlag
    • elec Kinntanz version for euphonium, percussion and synthesizer (1983-1989), 10 mn, Stockhausen Verlag
    • elec Quitt for alto flute, clarinet and trumpet (1989), 7 mn, Stockhausen Verlag
    • elec Sukat for basset horn and alto flute (1989), 8 mn, Stockhausen Verlag
    • elec Linker Augentanz for saxophones, percussion and synthesizer (1983-1990), 20 mn, Stockhausen Verlag
    • elec Linker Backentanz for trumpets, trombones, percussion and synthesizer (1983-1990), Stockhausen Verlag
    • elec Nasenflügeltanz for percussion and synthesizer or for solo percussion (1983-1990), 7 mn, Stockhausen Verlag
    • Rechter Augentanz for oboe, english horns, bassoons, percussion, synthesizers (1983-1990), Stockhausen Verlag
    • Rechter Backentanz for trumpets, trombones, percussion and synthesizer (1983-1990), Stockhausen Verlag
    • Elufa for flute, basset horn and electronics ad libitum (1991), 7 mn, Stockhausen Verlag
    • elec stage Helikopter-Streichquartett for string quartet, four helicopters and four video cameras, TV transmitters, microphones and equipment for transmission of click-track (1992-1993), 31 mn, Stockhausen Verlag
    • Licht - Ruf for trumpet, basset horn and trombones or other instruments (1995), 1 h 50 mn, Stockhausen Verlag
    • elec Trumpetent for four trumpets and sound projection (1995), 16 mn, Stockhausen Verlag
    • elec Bassetsu - Trio for basset horn, trumpet and trombone and sound projection (1997), 26 mn, Stockhausen Verlag
    • Rotary for wind quintet (1997), 8 mn, Stockhausen Verlag
    • elec 3 x Refrain 2000 for piano, celesta, vibraphone and sound projector (2000), 1 h 60 s, Stockhausen Verlag
    • elec Düfte - Zeichen version for alto flute and basset horn with synthesizer (2002), 50 mn, Stockhausen Verlag
    • elec stage Knaben - Duft solo for viola with synthesizer and six vocalists (live or recorded) (2002), 7 mn, Stockhausen Verlag
    • elec Rechter Augenbrauentanz for clarinets, bass clarinet (s), percussionist, synthesizer (1983-2003), 35 mn, Stockhausen Verlag
    • elec stage Sonntags - Abschied electronic music, for five synthesizers (2001-2003), 35 mn, Stockhausen Verlag
    • elec Mittwoch - Formel for three percussionists (metal - wood - skin) (2004), 24 mn, Stockhausen Verlag
    • Freude for two harps (2005), 41 mn, Stockhausen Verlag
    • Schönheit Klang, 6. Stunde , for bass clarinet, flute and trumpet (2006), 30 mn, Inédit [program note]
    • Balance for bass clarinet, English horn and flute (2006-2007), 30 mn, Inédit
    • Erwachen for cello, trumpet and soprano saxophone (2006-2007), 30 mn, Inédit
    • Glanz for seven instrumentalists (2006-2007), 40 mn, Inédit
    • Glück for bassoon, english horn, oboe and synthesizer (2006-2007), 30 mn, Inédit
    • Hoffnung for cello, viola, violin and tam-tam (2006-2007), 35 mn, Inédit
    • Treue Klang, 11. Stunde , for bass clarinet, basset horn and clarinet in e b (2006-2007), 30 mn, Inédit
  • Instrumental ensemble music
    • Formel for orchestra (1951), 13 mn, Universal Edition
    • Kreuzspiel for oboe, bass clarinet, piano and three percussionists (1951), 12 mn, Universal Edition [program note]
    • Spiel for orchestra (1952), 16 mn, Universal Edition
    • Kontra-Punkte for ten instruments (1952-1953), 14 mn, Universal Edition [program note]
    • Gruppen for three orchestras (1955-1957), 24 mn, Universal Edition
    • Punkte for orchestra (1966, 1993, 1952-1962), 27 mn, Universal Edition [program note]
    • Plus-Minus two times seven pages to be produced, for variable size (1963), 35 mn, Universal Edition [program note]
    • elec Mixtur for orchestra, four wave generators and four ring modulators (1964), 27 mn, Universal Edition
    • elec Stop for orchestra (1965), 17 mn, Universal Edition
    • elec Mixtur version for small orchestra, four wave generators and four ring modulators (1964-1967), 28 mn, Universal Edition
    • elec Prozession for tam-tam, viola, electronium, piano, microphone and filter (six performers) (1967), 32 mn, Universal Edition
    • Aus den sieben Tagen fifteen texts composed for intuitive music (1968), Universal Edition
    • Kurzwellen for six instrumentalists and shortwave receiver (1968), between 50 mn and 1 h 5 mn, Universal Edition
    • Dr K-Sextett for flute, cello, tubular bells and vibraphone, bass clarinet, viola and piano (1969), 3 mn, Universal Edition
    • Fresco for four orchestral groups (1969), Universal Edition
    • elec Hymnen (Dritte Region) electronic music with orchestra (1969), 42 mn, Stockhausen Verlag [program note]
    • Stop Paris version, for eighteen instrumentalists in six groups (1969), 20 mn, Universal Edition
    • elec Trans for orchestra and tape (1971), 27 mn, Stockhausen Verlag
    • elec Ylem for nineteen instrumentalists / singers (1972), 26 mn, Stockhausen Verlag
    • elec stage Inori adoration for one or two soloists and large orchestra (1973-1974), 1 h 10 mn, Stockhausen Verlag
    • elec Der Jahreslauf concert version, for modern orchestra, tape and sound projection (1977), 46 mn, Stockhausen Verlag
    • elec stage Inori adoration for one or two soloists (mime-dancers) and chamber orchestra (1976-1977), 1 h 10 mn, Stockhausen Verlag
    • elec Jubiläum for orchestra (1977), Stockhausen Verlag
    • Tierkreis for chamber orchestra (1974-1977), 24 mn, Stockhausen Verlag
    • Donnerstag-Gruss (Michaels-Gruss) for eight brass instruments, piano and three percussionists (1978), 11 mn, Stockhausen Verlag
    • elec Kreuzigung for brass instruments and keyboard (1978), 18 mn, Stockhausen Verlag
    • Michaels-Ruf for variable ensemble in eight groups (1978), 2 mn, Stockhausen Verlag
    • elec Oberlippentanz (protest) for piccolo trumpet, trombone or euphonium, four or eight horns and two percussionists (1983), 15 mn, Stockhausen Verlag
    • stage Samstags - Gruss (Luzifers - Gruss) for twenty-six brass and two percussionists (1984), 8 mn, Stockhausen Verlag
    • elec Willkommen for trumpets, trombones and two synthesizers (1988), 60 s, Stockhausen Verlag
    • elec Kinntanz version for euphonium, percussion, alto trombones, tenor and baritone horns and tubas (1983-1989), 10 mn, Stockhausen Verlag
    • elec Orchester-finalisten for orchestra and electronics / sound projection (1995-1996), 45 mn, Stockhausen Verlag
    • Stop und Start for six instrument groups (2001), 21 mn, Stockhausen Verlag
    • Europa - Gruss for wind instruments and synthesizer ad libitum (1992-2002), 12 mn, Stockhausen Verlag
    • elec Mixtur 2003 for five instrument groups, four sine wave generators, four sound mixers, four ring modulators and sound projection (1967-2003), 27 mn, Stockhausen Verlag
    • Fünf Sternzeichen for orchestra (1974-2004), 11 mn, Stockhausen Verlag
  • Concert music
    • elec stage Michaels Reise um die Erde for trumpet and orchestra (1978), 47 mn, Stockhausen Verlag
    • elec Michaels Reise solo version for trumpet with nine co-performers (1978-1984), 48 mn, Stockhausen Verlag
  • Vocal music and instrument(s)
    • Drei Lieder for alto voice and chamber orchestra (1950), 19 mn, Universal Edition
    • Carré for four orchestras and four choirs (and four conductors) (1959-1960), 36 mn, Universal Edition
    • Momente for solo soprano, four choirs and thirteen instrumentalists (1962, 1965, 1972), 13 mn, Stockhausen Verlag
    • elec Mikrophonie II for twelve singers, Hammond organ, four ring modulator and magnetic tape (1965), 15 mn, Universal Edition
    • stage Sternklang park music, for five groups (twenty-one singers and instrumentalists) (1971), 2 h 30 mn, Stockhausen Verlag
    • Tierkreis for voice and harmonic instrument (1974-1975), 26 mn, Stockhausen Verlag
    • elec Atmen gibt das Leben opera for choir with orchestra or magnetic tape (1974-1977), 53 mn, Stockhausen Verlag
    • elec Sirius for soprano, bass, bass clarinet, trumpet and electronics (1975-1977), Stockhausen Verlag [program note]
    • elec stage Examen for tenor, trumpet, dancer, piano, basset horn and "jury" ad libitum : soprano, bass, two mime dancers and two tapes (1979), 22 mn, Stockhausen Verlag
    • Kindheit for tenor, soprano, bass, trumpet, basset horn, trombone, dancer and magnetic tapes (1979), 29 mn, Stockhausen Verlag
    • elec stage Michaels Jugend for soprano, tenor, bass, trumpet, basset horn, trombone, piano, electric organ, three mime dancers and magnetic tape (with choir and instruments) (1978-1979), 1 h 4 mn, Stockhausen Verlag
    • elec stage Mondeva for tenor and basset horn and ad libitum: soprano, bass, trombone, mime, electric organ or synthesizer and two magnetic tapes (1978-1979), 13 mn, Stockhausen Verlag
    • elec Argument for tenor, bass, electric organ or synthesizer and trumpet, trombone and percussion ad libitum (1980), 11 mn, Stockhausen Verlag
    • elec stage Donnerstag aus Licht opera in three acts for fourteen soloists (three voices, eight instrumentalists, three dancers), choir, orchestra and tapes (1978-1980), 4 h, Stockhausen Verlag
    • elec stage Festival for tenor, soprano, bass, trumpet, basset horn, trombone, two soprano saxophones, three mimes-dancers, old woman, choir and orchestra, magnetic tape with recorded choir (1980), 50 mn, Stockhausen Verlag
    • elec stage Michaels Heimkehr for tenor, soprano, bass, trumpet, basset horn, trombone, two soprano saxophones, electric organ or synthesizer, three dancers, old woman, choir, orchestra and tapes (1980), 1 h 18 mn, Stockhausen Verlag
    • elec Vision for tenor, trumpet, dancer, hammond organ, magnetic tape and shadow plays ad libitum (1980), 28 mn, Stockhausen Verlag
    • elec Luzifers Traum, oder Klavierstück XIII for bass and piano (1981), 35 mn, Stockhausen Verlag
    • elec stage Luzifers - Abschied for male choir, organ and seven trombones (live or on tape) (1982), 58 mn, Stockhausen Verlag
    • elec stage Luzifers Tanz for bass (or trombone or euphonium), piccolo trumpet, piccolo flute, wind orchestra or symphony orchestra, dancers on stilts, dancer, ballet or mimes (1983), 50 mn, Stockhausen Verlag
    • stage Samstag aus Licht opera in a salute and four scenes for thirteen soloists (one voice, ten instrumentalists, two dancers), wind orchestra, ballet or mimes, male choir with organ (1981-1983), 3 h 5 mn, Stockhausen Verlag
    • elec stage Evas Lied for seven children voices, four basset horns (including three female horn players, including a vocal basset horn), modern orchestra and female choir ad libitum (1984), 44 mn, Stockhausen Verlag
    • elec stage Botschaft for basset horn, alto flute, choir and modern orchestra (1984-1985), 27 mn, Stockhausen Verlag
    • Der Kinderfänger for alto and piccolo flute, children's choir, modern orchestra and basset horn ad libitum (1986), 30 mn, Stockhausen Verlag
    • elec stage Evas Zauber for basset horn, flute, choir, children's choir and modern orchestra (1984-1986), 57 mn, Stockhausen Verlag
    • elec stage Das Grosse Geweine for three sopranos, bass, choir (live or on tape), modern orchestra and electronics (1987), 10 mn, Stockhausen Verlag
    • elec Erste - Geburts Arie for three sopranos, choir (live or on tape), synthesizer, tape and electronics (1987), 9 mn, Stockhausen Verlag
    • elec stage Evas Erstgeburt for three sopranos, three tenors, bass, actor, choir (live or on tape), twenty-one actresses, children's choir, modern orchestra (three synthesizers, percussion, tape) and electronics / sound projection (1987), 1 h 33 mn, Stockhausen Verlag
    • elec stage Evas Zweitgeburt for seven children's voices, four basset horns (including three female instrumentalists, including a vocal basset horn), piano, choir (live or on tape), twenty-one actresses, girls' choir , modern orchestra (1984-1987), 1 h 6 mn, Stockhausen Verlag
    • elec Geburts - Arien for three sopranos, three tenors, choir (live or on tape), synthesizer and tape (1987), 17 mn, Stockhausen Verlag
    • elec In Hoffnung mit Heinzelmännchen, for three sopranos, choir (live or on tape), twenty-one actresses, modern and electronic orchestra (1987), 27 mn, Stockhausen Verlag
    • elec Knabengeschrei for three sopranos, bass, actor, choir (live or on tape), children's choir, modern and electronic orchestra (1987), 22 mn, Stockhausen Verlag
    • stage Luzifers Zorn for bass, actor, synthesizer and tape (1987), 26 mn, Stockhausen Verlag
    • Mädchenprozession a cappella version, for a cappella girl's choir and piano (1984-1987), 19 mn, Stockhausen Verlag
    • elec stage Mädchenprozession Befruchtung mit Klavierstück - Wiedergeburt, for girls' choir, piano, choir (live or on tape) and modern orchestra (1984-1987), 22 mn, Stockhausen Verlag
    • elec Zweite - Geburts Arie for three tenors, three sopranos, choir ( live or on tape), synthesizer, magnetic tape and electronics (1987), 9 mn, Stockhausen Verlag
    • elec stage Dienstags - Gruss Wilkommen mit Friedens - Gruss, for soprano, nine trumpets, nine trombones, two synthesizers, choir, conductor and assistant conductor (1987-1988), 21 mn, Stockhausen Verlag
    • elec stage Montag aus Licht opera in three acts, a salute and a farewell for 21 soloists (14 voices, 6 instrumentalists, 1 actor), choir, 21 actresses, children's choir, girls' choir, modern orchestra (3 synthesizers, percussionist and tape), conductor, sound projectionist (1984-1988), 4 h 38 mn, Stockhausen Verlag
    • elec stage Dienstag aus Licht opera in a salute, two acts and a farewell, for seventeen actor musicians (three voices and ten solo instruments, four mime dancers), actors, mimes, choir, orchestra and tape (1977-1991), 2 h 36 mn, Stockhausen Verlag
    • elec stage Dienstags - Abschied for choir, electronic keyboard and electronic device (1991), 23 mn, Stockhausen Verlag
    • elec stage Invasion - Explosion mit Abschied for soprano, tenor, bass, choir, brass instruments and synthesizers (1990-1991), 1 h 14 mn, Stockhausen Verlag
    • elec stage Jahreslauf vom Dienstag for tenor, bass, four dancers-mimes, an actor-singer, three mimes, beautiful woman, modern orchestra of fourteen instruments, tape and sound projectionist (1977-1991), 1 h 60 s, Stockhausen Verlag
    • elec Antrag for soprano, bass, flute, basset horn and electronics (1994), 12 mn, Stockhausen Verlag
    • elec stage Fall for soprano, baritone, flute, basset horn and sound projection (1994), 18 mn, Stockhausen Verlag
    • elec stage Freitag - Versuchung for three voices and two solo instruments, children's choir and orchestra, choir of twelve singers, synthesizer, twelve pairs of mime dancers and sound projection (1991-1994), 2 h 25 mn, Stockhausen Verlag
    • elec stage Freitag aus Licht opera in a salutation, two acts and a farewell, for three voices, three solo instruments, orchestra, children's choir, choir, synthesizer, twelve pairs of mime dancers and electronics (1991-1994), 4 h 50 mn, Stockhausen Verlag
    • elec stage Kinder - Chor for, for example, twenty-four voices and bass (also conductor), synthesizer and electronics/sound projectionist (1994), 9 mn, Stockhausen Verlag
    • elec stage Kinder - Krieg for children's choir (if possible conductor), synthesizer and electronics / sound projectionist (1994), 12 mn, Stockhausen Verlag
    • elec stage Kinder - Orchester for e.g. sixteen instruments, conducting soprano, flute, basset horn, synthesizer and electronics / sound projectionist (1994), 6 mn, Stockhausen Verlag
    • elec stage Kinder - Tutti for children's choir and orchestra, conducting soprano, bass, flute, basset horn, synthesizer and sound projectionist (1994), 7 mn, Stockhausen Verlag
    • elec Reue for soprano, flute, basset horn and electronics / sound projection (1994), 10 mn, Stockhausen Verlag
    • elec stage Zustimmung for soprano, bass, flute, basset horn, synthesizer and electronics / sound projectionist (1994), 9 mn, Stockhausen Verlag
    • elec Michaelion (Presidency - Lucicamel - Operator) for bass, choir, two dancers, ensemble and electronics (1997), 53 mn, Stockhausen Verlag
    • elec stage Mittwoch aus Licht opera in one salutation, four scenes and a farewell for nine instrumentalists, a choir with singing conductor, orchestra, mime dancers and electronics (1995-1997), 4 h 27 mn, Stockhausen Verlag
    • elec stage Lichter - Wasser (Sonntags - Gruss) for soprano, tenor and orchestra with synthesizer and sound projection (1998-1999), 51 mn, Stockhausen Verlag
    • elec stage Cuchulainn (Monday Scent) for soprano and synthesizer (2002), 4 mn, Stockhausen Verlag
    • elec stage Düfte - Ziechen for seven voices, children's voice, synthesizer and sound projection (2002), 57 mn, Stockhausen Verlag
    • stage Himmels - Duft duet for a child's voice and alto (2002), 7 mn, Stockhausen Verlag
    • elec stage Hoch - Zeiten for choir and orchestra with two conductors and sound projection (2001-2002), 1 h 10 mn, Stockhausen Verlag
    • elec stage Kyphi (Tuesday scent) for tenor and bass with synthesizer (2002), 5 mn, Stockhausen Verlag
    • elec stage Licht-Bilder for tenor, flute, trumpet, synthesizer and electronics (2002), 45 mn, Stockhausen Verlag
    • elec stage Mastix (Wednesday Scent) for soprano, tenor, baritone with synthesizer (2002), 4 mn, Stockhausen Verlag
    • elec stage Rosa Mystica (Thursday Scent) for tenor with synthesizer (2002), 7 mn, Stockhausen Verlag
    • elec stage Tate Yunanaka (Friday Scent) for soprano and baritone with synthesizer (2002), 4 mn, Stockhausen Verlag
    • elec stage Ud (Saturday Scent) for bass with synthesizer (2002), 4 mn, Stockhausen Verlag
    • elec stage Weihrauch / Frankincense (Sunday Scent) for soprano and tenor with synthesizer (2002), 8 mn, Stockhausen Verlag
    • elec stage Licht The seven days of the week, for solo voices, solo instruments, solo dancers, choirs, orchestras, ballets and mimes, electronics and concrète music (1977-2003), Stockhausen Verlag
    • elec stage Sonntag aus Licht opera in five scenes and a farewell, for ten solo voices, a child's voice, four solo instruments, two choirs, two orchestras, electronics and sound projection (1998-2003), 4 h 38 mn, Stockhausen Verlag
    • Himmelfahrt for organ or synthesizer, soprano and tenor (2004-2005), 37 mn, Stockhausen Verlag
  • A cappella vocal music
    • Choral for choir a cappella (1950), 4 mn, Universal Edition
    • Chöre für Doris for mixed choir a cappella (1950), 9 mn, Universal Edition
    • Frühe Noten collection for choir (1950-1951), Universal Edition
    • elec Stimmung for six vocalists (1968), Universal Edition
    • elec Stimmung Paris version, for six vocalists (1968), 1 h 15 mn, Universal Edition
    • elec Am Himmel Wande ich Indo-American song for two voices (1972), 51 mn, Stockhausen Verlag
    • elec Vortrag über Hu musical analysis of Inori , for a singer (1974), 1 h 23 mn, Stockhausen Verlag
    • elec Capricorn for bass and electronics (1977), 27 mn, Stockhausen Verlag
    • elec Geburts - Fest choral music with sound scenes, version by Evas Erstgeburt (1987), 1 h 8 mn, Stockhausen Verlag
    • elec Kinderspiel music for choir with sound scenes, version of Knabengeschrei, for a cappella choir and tape (1987), 19 mn, Stockhausen Verlag
    • elec stage Quelle des Lebens choral music with sound scenes, version of Expecting - Heinzelmännchen - Birth-Arias, for choir a cappella and tape (1987), 38 mn, Stockhausen Verlag
    • elec Trauer mit Humor choral music with sound scenes, version of The Great Weeping , for a cappella choir and tape (1987), 12 mn, Stockhausen Verlag
    • elec Chor - Spirale for choir of twelve singers (1994), 8 mn, Stockhausen Verlag
    • elec stage Welt-Parlament for a cappella choir (1995), 40 mn, Stockhausen Verlag
    • Litanei 97 for choir and conductor (1997), 23 mn, Stockhausen Verlag
    • elec Menschen Hört for six voices (1997), Stockhausen Verlag
    • elec stage Paare vom Freitag with soprano, bass, tape, electronics (1992-1999), 1 h 5 mn, Stockhausen Verlag
    • Engel - Prozessionen for choir a cappella (2000), 40 mn, Stockhausen Verlag
    • elec Havona for bass and electronics (2007), 24 mn, Inédit
    • elec Jerusem for tenor and electronics (2007), 21 mn, Inédit
    • elec Orvonton for baritone and electronics (2007), 24 mn, Inédit [program note]
    • elec Urantia for soprano and electronics (2007), 20 mn, Stockhausen Verlag [program note]
  • Electronic music / fixed media / mechanical musical instruments
    • elec Étude musique concrète (1952), 3 mn, Stockhausen Verlag
    • elec Studie I for electronic sounds (1953), 10 mn, Stockhausen Verlag [program note]
    • elec Studie II electronic music (1954), 3 mn, Stockhausen Verlag [program note]
    • elec Gesang der Jünglinge for electronic and concrete sounds (1955-1956), 13 mn, Stockhausen Verlag [program note]
    • elec Kontakte for electronic sounds (1958-1960), 35 mn, Stockhausen Verlag
    • elec Telemusik electronic music (1965-1966), 16 mn, Universal Edition
    • elec Hymnen electronic and concrète music (1966-1967), 1 h 54 mn, Stockhausen Verlag
    • elec stage Inori for one or two mime-dancers and magnetic tape (1973-1974), 1 h 10 mn, Stockhausen Verlag
    • elec Unsichtbare Chöre for recorded choir (16-channel tape, 8 or 2 tracks) (1979), 50 mn, Stockhausen Verlag
    • elec stage Montag - Abschied (Evas Abschied) for tape (with piccolo flute, multiple soprano voices and electronic keyboards) (1986-1988), 28 mn, Stockhausen Verlag
    • elec Oktophonie electronic music from Dienstag aus Licht (1990-1991), 1 h 9 mn, Stockhausen Verlag
    • elec stage Elektronische Musik mit Tonszenen vom Freitag aus Licht with ensemble of twelve sopranos and basses and electronic instruments (1991-1994), 2 h 25 mn, Stockhausen Verlag
    • elec Weltraum Freitags - Gruss and Freitags - Abschied (1991-1994), 2 h 26 mn, Stockhausen Verlag
    • elec Mittwochs-Abschied for electronics and concrète music (1996), 44 mn, Stockhausen Verlag
    • elec stage Mittwochs - Gruss for electronics (1998), 54 mn, Stockhausen Verlag
    • elec Two couples electronic and concrete music (1992-1999), 21 mn, Stockhausen Verlag
    • elec Cosmic pulses for electronics (2006-2007), 32 mn, Inédit
  • Unspecified instrumentation
    • stage Originale musical theater with Kontakte (1961), 1 h 34 mn, Universal Edition
    • elec Alphabet pour Liège thirteen musical scenes for soloists and duets (1972), Inédit
    • Kadenzen cadenzas for concertos (1978-1985), Inédit
    • elec stage Die sieben Lieder der Tage for voice, or voice and polyphonic instrument or for melodic instrument or melodic instrument and polyphonic instrument (1986), 9 mn, Stockhausen Verlag
    • elec Klang Die 24 Stunden des Tages (2004-2007), Stockhausen Verlag
  • 2007
    • Balance for bass clarinet, English horn and flute, 30 mn, Inédit
    • elec Cosmic pulses for electronics, 32 mn, Inédit
    • elec Edentia for soprano saxophone and electronics, 19 mn, Inédit
    • Erwachen for cello, trumpet and soprano saxophone, 30 mn, Inédit
    • Glanz for seven instrumentalists, 40 mn, Inédit
    • Glück for bassoon, english horn, oboe and synthesizer, 30 mn, Inédit
    • elec Havona for bass and electronics, 24 mn, Inédit
    • Hoffnung for cello, viola, violin and tam-tam, 35 mn, Inédit
    • elec Jerusem for tenor and electronics, 21 mn, Inédit
    • elec Klang Die 24 Stunden des Tages, Stockhausen Verlag
    • elec Nebadon for horn and electronics, 22 mn, Inédit
    • elec Orvonton for baritone and electronics, 24 mn, Inédit [program note]
    • elec Paradis for flute and electronics, 18 mn, Inédit
    • Treue Klang, 11. Stunde , for bass clarinet, basset horn and clarinet in e b, 30 mn, Inédit
    • elec Urantia for soprano and electronics, 20 mn, Stockhausen Verlag [program note]
    • elec Uversa Klang, 16. Stunde , for basset horn and electronics, 23 mn, Inédit
  • 2006
  • 2005
    • Freude for two harps, 41 mn, Stockhausen Verlag
    • Himmelfahrt for organ or synthesizer, soprano and tenor, 37 mn, Stockhausen Verlag
    • Himmels-Tür for a percussionist and a little girl, 28 mn, Stockhausen Verlag
  • 2004
  • 2003
    • Amour for saxophone, 29 mn, Stockhausen Verlag
    • elec stage Licht The seven days of the week, for solo voices, solo instruments, solo dancers, choirs, orchestras, ballets and mimes, electronics and concrète music, Stockhausen Verlag
    • elec Mixtur 2003 for five instrument groups, four sine wave generators, four sound mixers, four ring modulators and sound projection, 27 mn, Stockhausen Verlag
    • elec Rechter Augenbrauentanz for clarinets, bass clarinet (s), percussionist, synthesizer, 35 mn, Stockhausen Verlag
    • elec stage Sonntag aus Licht opera in five scenes and a farewell, for ten solo voices, a child's voice, four solo instruments, two choirs, two orchestras, electronics and sound projection, 4 h 38 mn, Stockhausen Verlag
    • elec stage Sonntags - Abschied electronic music, for five synthesizers, 35 mn, Stockhausen Verlag
    • elec Vibra - Elufa for vibraphone, 7 mn, Stockhausen Verlag
  • 2002
    • elec stage Cuchulainn (Monday Scent) for soprano and synthesizer, 4 mn, Stockhausen Verlag
    • elec Düfte - Zeichen version for alto flute and basset horn with synthesizer, 50 mn, Stockhausen Verlag
    • elec stage Düfte - Ziechen for seven voices, children's voice, synthesizer and sound projection, 57 mn, Stockhausen Verlag
    • Europa - Gruss for wind instruments and synthesizer ad libitum, 12 mn, Stockhausen Verlag
    • stage Himmels - Duft duet for a child's voice and alto, 7 mn, Stockhausen Verlag
    • elec stage Hoch - Zeiten for choir and orchestra with two conductors and sound projection, 1 h 10 mn, Stockhausen Verlag
    • elec stage Knaben - Duft solo for viola with synthesizer and six vocalists (live or recorded), 7 mn, Stockhausen Verlag
    • elec stage Kyphi (Tuesday scent) for tenor and bass with synthesizer, 5 mn, Stockhausen Verlag
    • elec stage Licht-Bilder for tenor, flute, trumpet, synthesizer and electronics, 45 mn, Stockhausen Verlag
    • elec stage Mastix (Wednesday Scent) for soprano, tenor, baritone with synthesizer, 4 mn, Stockhausen Verlag
    • elec stage Rosa Mystica (Thursday Scent) for tenor with synthesizer, 7 mn, Stockhausen Verlag
    • elec Strahlen for percussionist and ten-track magnetic tape, 35 mn, Stockhausen Verlag
    • elec stage Tate Yunanaka (Friday Scent) for soprano and baritone with synthesizer, 4 mn, Stockhausen Verlag
    • elec stage Ud (Saturday Scent) for bass with synthesizer, 4 mn, Stockhausen Verlag
    • elec stage Weihrauch / Frankincense (Sunday Scent) for soprano and tenor with synthesizer, 8 mn, Stockhausen Verlag
  • 2001
  • 2000
  • 1999
    • elec Komet Klavierstück XVII, for electronic keyboard, electronics, concrète music and sound projection, 15 mn, Stockhausen Verlag
    • elec Komet version for percussionist, electronics and concrète music and sound projection, 15 mn, Stockhausen Verlag
    • elec stage Lichter - Wasser (Sonntags - Gruss) for soprano, tenor and orchestra with synthesizer and sound projection, 51 mn, Stockhausen Verlag
    • elec stage Paare vom Freitag with soprano, bass, tape, electronics, 1 h 5 mn, Stockhausen Verlag
    • elec Two couples electronic and concrete music, 21 mn, Stockhausen Verlag
  • 1998
  • 1997
    • Bassetsu for basset horn, 6 mn, Stockhausen Verlag
    • elec Bassetsu - Trio for basset horn, trumpet and trombone and sound projection, 26 mn, Stockhausen Verlag
    • Litanei 97 for choir and conductor, 23 mn, Stockhausen Verlag
    • elec Menschen Hört for six voices, Stockhausen Verlag
    • elec Michaelion (Presidency - Lucicamel - Operator) for bass, choir, two dancers, ensemble and electronics, 53 mn, Stockhausen Verlag
    • elec stage Mittwoch aus Licht opera in one salutation, four scenes and a farewell for nine instrumentalists, a choir with singing conductor, orchestra, mime dancers and electronics, 4 h 27 mn, Stockhausen Verlag
    • Rotary for wind quintet, 8 mn, Stockhausen Verlag
    • Thinki for flute, 4 mn, Stockhausen Verlag
  • 1996
    • elec Fagott from Orchester Finalisten, for bassoon and electronics/sound projection, 4 mn, Stockhausen Verlag
    • elec Flöte from Orchester Finalisten, for flute and electronics / sound projection, 5 mn, Stockhausen Verlag
    • elec Klarinette from Orchester Finalisten, for clarinet and electronics/sound projection, 3 mn, Stockhausen Verlag
    • elec Kontrabass from Orchester Finalisten, for double bass and electronics/sound projection, 8 mn, Stockhausen Verlag
    • elec Mittwochs-Abschied for electronics and concrète music, 44 mn, Stockhausen Verlag
    • elec Oboe from Orchester Finalisten, for oboe and electronics / sound projection, 5 mn, Stockhausen Verlag
    • elec Orchester-finalisten for orchestra and electronics / sound projection, 45 mn, Stockhausen Verlag
    • elec Posaune by Orchester Finalisten, for trombone and electronics / sound projection, 4 mn, Stockhausen Verlag
    • elec Trompete by Orchester Finalisten , for trumpet and electronics / sound projection, 4 mn, Stockhausen Verlag
    • elec Tuba by Orchester Finalisten , for tuba and electronics / sound projection, 4 mn, Stockhausen Verlag
    • elec Viola by Orchester Finalisten , for viola and electronics / sound projection, 4 mn, Stockhausen Verlag
    • elec Violine by Orchester Finalisten , for violin and electronics / sound projection, 3 mn, Stockhausen Verlag
    • elec Violoncello by Orchester Finalisten , for cello and electronics / sound projection, 3 mn, Stockhausen Verlag
  • 1995
    • elec Klavierstück XVI for piano and tape, 7 mn, Stockhausen Verlag
    • Licht - Ruf for trumpet, basset horn and trombones or other instruments, 1 h 50 mn, Stockhausen Verlag
    • elec Trumpetent for four trumpets and sound projection, 16 mn, Stockhausen Verlag
    • elec stage Welt-Parlament for a cappella choir, 40 mn, Stockhausen Verlag
  • 1994
    • elec Antrag for soprano, bass, flute, basset horn and electronics, 12 mn, Stockhausen Verlag
    • elec Chor - Spirale for choir of twelve singers, 8 mn, Stockhausen Verlag
    • elec stage Elektronische Musik mit Tonszenen vom Freitag aus Licht with ensemble of twelve sopranos and basses and electronic instruments, 2 h 25 mn, Stockhausen Verlag
    • elec stage Fall for soprano, baritone, flute, basset horn and sound projection, 18 mn, Stockhausen Verlag
    • elec stage Freitag - Versuchung for three voices and two solo instruments, children's choir and orchestra, choir of twelve singers, synthesizer, twelve pairs of mime dancers and sound projection, 2 h 25 mn, Stockhausen Verlag
    • elec stage Freitag aus Licht opera in a salutation, two acts and a farewell, for three voices, three solo instruments, orchestra, children's choir, choir, synthesizer, twelve pairs of mime dancers and electronics, 4 h 50 mn, Stockhausen Verlag
    • elec stage Kinder - Chor for, for example, twenty-four voices and bass (also conductor), synthesizer and electronics/sound projectionist, 9 mn, Stockhausen Verlag
    • elec stage Kinder - Krieg for children's choir (if possible conductor), synthesizer and electronics / sound projectionist, 12 mn, Stockhausen Verlag
    • elec stage Kinder - Orchester for e.g. sixteen instruments, conducting soprano, flute, basset horn, synthesizer and electronics / sound projectionist, 6 mn, Stockhausen Verlag
    • elec stage Kinder - Tutti for children's choir and orchestra, conducting soprano, bass, flute, basset horn, synthesizer and sound projectionist, 7 mn, Stockhausen Verlag
    • elec Reue for soprano, flute, basset horn and electronics / sound projection, 10 mn, Stockhausen Verlag
    • elec Weltraum Freitags - Gruss and Freitags - Abschied , 2 h 26 mn, Stockhausen Verlag
    • elec stage Zustimmung for soprano, bass, flute, basset horn, synthesizer and electronics / sound projectionist, 9 mn, Stockhausen Verlag
  • 1993
    • elec stage Helikopter-Streichquartett for string quartet, four helicopters and four video cameras, TV transmitters, microphones and equipment for transmission of click-track, 31 mn, Stockhausen Verlag
  • 1992
    • elec Signale zur Invasion for trombone and electronics ad libitum , between 19 mn and 52 mn, Stockhausen Verlag
  • 1991
    • elec stage Dienstag aus Licht opera in a salute, two acts and a farewell, for seventeen actor musicians (three voices and ten solo instruments, four mime dancers), actors, mimes, choir, orchestra and tape, 2 h 36 mn, Stockhausen Verlag
    • elec stage Dienstags - Abschied for choir, electronic keyboard and electronic device, 23 mn, Stockhausen Verlag
    • Elufa for flute, basset horn and electronics ad libitum, 7 mn, Stockhausen Verlag
    • elec Freia for flute, 7 mn, Stockhausen Verlag
    • elec Freia for basset horn, 7 mn, Stockhausen Verlag
    • elec stage Invasion - Explosion mit Abschied for soprano, tenor, bass, choir, brass instruments and synthesizers, 1 h 14 mn, Stockhausen Verlag
    • elec stage Jahreslauf vom Dienstag for tenor, bass, four dancers-mimes, an actor-singer, three mimes, beautiful woman, modern orchestra of fourteen instruments, tape and sound projectionist, 1 h 60 s, Stockhausen Verlag
    • elec Oktophonie electronic music from Dienstag aus Licht, 1 h 9 mn, Stockhausen Verlag
    • elec Pietà for bugle, soprano and electronics (or for bugle and electronics), 28 mn, Stockhausen Verlag
    • elec Synthi - Fou Klavierstück XV , for electronic and electronic keyboard, 23 mn, Stockhausen Verlag
  • 1990
    • elec Linker Augentanz for saxophones, percussion and synthesizer, 20 mn, Stockhausen Verlag
    • elec Linker Backentanz for trumpets, trombones, percussion and synthesizer, Stockhausen Verlag
    • elec Nasenflügeltanz for percussion and synthesizer or for solo percussion, 7 mn, Stockhausen Verlag
    • Rechter Augentanz for oboe, english horns, bassoons, percussion, synthesizers, Stockhausen Verlag
    • Rechter Backentanz for trumpets, trombones, percussion and synthesizer, Stockhausen Verlag
  • 1989
    • Flautina solo for flute with piccolo and alto flute, 6 mn, Stockhausen Verlag
    • elec Kinntanz version for euphonium, percussion and synthesizer, 10 mn, Stockhausen Verlag
    • elec Kinntanz version for euphonium, percussion, alto trombones, tenor and baritone horns and tubas, 10 mn, Stockhausen Verlag
    • elec Quitt for alto flute, clarinet and trumpet, 7 mn, Stockhausen Verlag
    • elec Sukat for basset horn and alto flute, 8 mn, Stockhausen Verlag
    • elec Ypsilon for a melodic instrument with microtones, 9 mn, Stockhausen Verlag
    • elec Ypsilon basset horn version, 9 mn, Stockhausen Verlag
    • elec Ypsilon flute version, 9 mn, Stockhausen Verlag
  • 1988
    • elec stage Dienstags - Gruss Wilkommen mit Friedens - Gruss, for soprano, nine trumpets, nine trombones, two synthesizers, choir, conductor and assistant conductor, 21 mn, Stockhausen Verlag
    • elec stage Montag - Abschied (Evas Abschied) for tape (with piccolo flute, multiple soprano voices and electronic keyboards), 28 mn, Stockhausen Verlag
    • elec stage Montag aus Licht opera in three acts, a salute and a farewell for 21 soloists (14 voices, 6 instrumentalists, 1 actor), choir, 21 actresses, children's choir, girls' choir, modern orchestra (3 synthesizers, percussionist and tape), conductor, sound projectionist, 4 h 38 mn, Stockhausen Verlag
    • elec stage Montags - Gruss (Eva - Gruss) for several basset horns and electronic instruments (or for magnetic tape), 34 mn, Stockhausen Verlag
    • elec Willkommen for trumpets, trombones and two synthesizers, 60 s, Stockhausen Verlag
    • elec stage Wochenkreis (die sieben Lieder der Tage) duo for basset horn and synthesizer, 25 mn, Stockhausen Verlag
  • 1987
    • elec stage Das Grosse Geweine for three sopranos, bass, choir (live or on tape), modern orchestra and electronics, 10 mn, Stockhausen Verlag
    • elec Erste - Geburts Arie for three sopranos, choir (live or on tape), synthesizer, tape and electronics, 9 mn, Stockhausen Verlag
    • elec stage Evas Erstgeburt for three sopranos, three tenors, bass, actor, choir (live or on tape), twenty-one actresses, children's choir, modern orchestra (three synthesizers, percussion, tape) and electronics / sound projection, 1 h 33 mn, Stockhausen Verlag
    • elec stage Evas Zweitgeburt for seven children's voices, four basset horns (including three female instrumentalists, including a vocal basset horn), piano, choir (live or on tape), twenty-one actresses, girls' choir , modern orchestra, 1 h 6 mn, Stockhausen Verlag
    • elec Geburts - Arien for three sopranos, three tenors, choir (live or on tape), synthesizer and tape, 17 mn, Stockhausen Verlag
    • elec Geburts - Fest choral music with sound scenes, version by Evas Erstgeburt, 1 h 8 mn, Stockhausen Verlag
    • elec In Hoffnung mit Heinzelmännchen, for three sopranos, choir (live or on tape), twenty-one actresses, modern and electronic orchestra, 27 mn, Stockhausen Verlag
    • elec Kinderspiel music for choir with sound scenes, version of Knabengeschrei, for a cappella choir and tape, 19 mn, Stockhausen Verlag
    • elec Knabengeschrei for three sopranos, bass, actor, choir (live or on tape), children's choir, modern and electronic orchestra, 22 mn, Stockhausen Verlag
    • stage Luzifers Zorn for bass, actor, synthesizer and tape, 26 mn, Stockhausen Verlag
    • Mädchenprozession a cappella version, for a cappella girl's choir and piano, 19 mn, Stockhausen Verlag
    • elec stage Mädchenprozession Befruchtung mit Klavierstück - Wiedergeburt, for girls' choir, piano, choir (live or on tape) and modern orchestra, 22 mn, Stockhausen Verlag
    • elec stage Quelle des Lebens choral music with sound scenes, version of Expecting - Heinzelmännchen - Birth-Arias, for choir a cappella and tape, 38 mn, Stockhausen Verlag
    • elec Trauer mit Humor choral music with sound scenes, version of The Great Weeping , for a cappella choir and tape, 12 mn, Stockhausen Verlag
    • elec Zweite - Geburts Arie for three tenors, three sopranos, choir ( live or on tape), synthesizer, magnetic tape and electronics, 9 mn, Stockhausen Verlag
  • 1986
    • elec Der Kinderfänger for flute, two synthesizers, percussion and tape, 32 mn, Stockhausen Verlag
    • Der Kinderfänger for alto and piccolo flute, children's choir, modern orchestra and basset horn ad libitum, 30 mn, Stockhausen Verlag
    • elec stage Die sieben Lieder der Tage for voice, or voice and polyphonic instrument or for melodic instrument or melodic instrument and polyphonic instrument, 9 mn, Stockhausen Verlag
    • elec Entführung solo for piccolo flute, 12 mn, Stockhausen Verlag
    • elec stage Evas Zauber for basset horn, flute, choir, children's choir and modern orchestra, 57 mn, Stockhausen Verlag
    • elec Xi for a melodic instrument with microtones, between 6 mn and 9 mn, Stockhausen Verlag
    • elec Xi basset horn version, 9 mn, Stockhausen Verlag
    • elec Xi version for alto flute or flute, 6 mn, Stockhausen Verlag
  • 1985
  • 1984
    • elec stage Evas Lied for seven children voices, four basset horns (including three female horn players, including a vocal basset horn), modern orchestra and female choir ad libitum, 44 mn, Stockhausen Verlag
    • elec Evas Spiegel for basset horn, 4 mn, Stockhausen Verlag
    • elec Michaels Reise solo version for trumpet with nine co-performers, 48 mn, Stockhausen Verlag
    • stage Samstags - Gruss (Luzifers - Gruss) for twenty-six brass and two percussionists, 8 mn, Stockhausen Verlag
    • elec Susani for basset horn, 7 mn, Stockhausen Verlag
  • 1983
    • elec stage Kathinkas Gesang als Luzifers Requiem for flute and six percussionists or for solo flute, 33 mn, Stockhausen Verlag [program note]
    • elec Kathinkas Gesang als Luzifers Requiem version for flute and multiple piano, 33 mn, Stockhausen Verlag
    • elec Klavierstück XII for solo piano, 22 mn, Stockhausen Verlag
    • elec Linker Augenbrauentanz for flute, basset horn, percussion and synthesizer, Stockhausen Verlag
    • elec stage Luzifers Tanz for bass (or trombone or euphonium), piccolo trumpet, piccolo flute, wind orchestra or symphony orchestra, dancers on stilts, dancer, ballet or mimes, 50 mn, Stockhausen Verlag
    • elec Oberlippentanz for piccolo trumpet, 13 mn, Stockhausen Verlag [program note]
    • elec Oberlippentanz (protest) for piccolo trumpet, trombone or euphonium, four or eight horns and two percussionists, 15 mn, Stockhausen Verlag
    • stage Samstag aus Licht opera in a salute and four scenes for thirteen soloists (one voice, ten instrumentalists, two dancers), wind orchestra, ballet or mimes, male choir with organ, 3 h 5 mn, Stockhausen Verlag
    • elec Tierkreis trio-version, for clarinet, flute and piccolo, trumpet and piano, 29 mn, Stockhausen Verlag
    • elec stage Zungenspitzentanz for piccolo flute, ad libitum dancer, two euphoniums or synthesizer, percussionist ad libitum , or for solo piccolo, 9 mn, Stockhausen Verlag
  • 1982
    • elec stage Luzifers - Abschied for male choir, organ and seven trombones (live or on tape), 58 mn, Stockhausen Verlag
  • 1981
  • 1980
    • elec Argument for tenor, bass, electric organ or synthesizer and trumpet, trombone and percussion ad libitum, 11 mn, Stockhausen Verlag
    • elec Bijou for alto flute, bass clarinet and tape, 15 mn, Stockhausen Verlag
    • elec stage Donnerstag aus Licht opera in three acts for fourteen soloists (three voices, eight instrumentalists, three dancers), choir, orchestra and tapes, 4 h, Stockhausen Verlag
    • stage Donnerstags-Abschied (Michaels-Abschied) for five trumpets (or a trumpet on four-track magnetic tape), between 11 mn and 30 mn, Stockhausen Verlag
    • elec Drachenkampf for trumpet, trombone, electric organ or synthesizer, two dancers ad libitum and a percussionist ad libitum, 13 mn, Stockhausen Verlag
    • elec stage Festival for tenor, soprano, bass, trumpet, basset horn, trombone, two soprano saxophones, three mimes-dancers, old woman, choir and orchestra, magnetic tape with recorded choir, 50 mn, Stockhausen Verlag
    • Knabenduett for two soprano saxophones or two other instruments, 4 mn, Stockhausen Verlag
    • elec stage Michaels Heimkehr for tenor, soprano, bass, trumpet, basset horn, trombone, two soprano saxophones, electric organ or synthesizer, three dancers, old woman, choir, orchestra and tapes, 1 h 18 mn, Stockhausen Verlag
    • elec Tanze Luzefa ! for basset horn and bass clarinet, 6 mn, Stockhausen Verlag
    • elec Vision for tenor, trumpet, dancer, hammond organ, magnetic tape and shadow plays ad libitum , 28 mn, Stockhausen Verlag
  • 1979
    • elec stage Examen for tenor, trumpet, dancer, piano, basset horn and "jury" ad libitum : soprano, bass, two mime dancers and two tapes, 22 mn, Stockhausen Verlag
    • Kindheit for tenor, soprano, bass, trumpet, basset horn, trombone, dancer and magnetic tapes, 29 mn, Stockhausen Verlag
    • elec stage Michaels Jugend for soprano, tenor, bass, trumpet, basset horn, trombone, piano, electric organ, three mime dancers and magnetic tape (with choir and instruments), 1 h 4 mn, Stockhausen Verlag
    • elec stage Mondeva for tenor and basset horn and ad libitum: soprano, bass, trombone, mime, electric organ or synthesizer and two magnetic tapes, 13 mn, Stockhausen Verlag
    • elec Unsichtbare Chöre for recorded choir (16-channel tape, 8 or 2 tracks), 50 mn, Stockhausen Verlag
  • 1978
  • 1977
    • elec Aries for trumpet and electronics, 15 mn, Stockhausen Verlag [program note]
    • elec Atmen gibt das Leben opera for choir with orchestra or magnetic tape, 53 mn, Stockhausen Verlag
    • elec Capricorn for bass and electronics, 27 mn, Stockhausen Verlag
    • elec Der Jahreslauf concert version, for modern orchestra, tape and sound projection, 46 mn, Stockhausen Verlag
    • In Freundschaft for clarinet, 15 mn, Stockhausen Verlag [program note]
    • elec stage Inori adoration for one or two soloists (mime-dancers) and chamber orchestra, 1 h 10 mn, Stockhausen Verlag
    • elec Jubiläum for orchestra, Stockhausen Verlag
    • elec Libra for bass clarinet and electronics, 33 mn, Stockhausen Verlag
    • Piccolo for piccolo flute, 3 mn, Stockhausen Verlag
    • Saxophone for soprano and bongo saxophone or for solo soprano saxophone, 6 mn, Stockhausen Verlag
    • elec Sirius for soprano, bass, bass clarinet, trumpet and electronics, Stockhausen Verlag [program note]
    • Tierkreis for chamber orchestra, 24 mn, Stockhausen Verlag
  • 1976
    • Amour five pieces for clarinet, 26 mn, Stockhausen Verlag
  • 1975
    • Der Kleine Harlekin for clarinet, 9 mn, Stockhausen Verlag [program note]
    • Harlekin for clarinet, 45 mn, Stockhausen Verlag
    • elec Musik im Bauch for six percussionists and music boxes, 38 mn, Stockhausen Verlag
    • Tierkreis twelve melodies of the constellations, for a melodic or harmonic instrument, 26 mn, Stockhausen Verlag
    • Tierkreis for voice and harmonic instrument, 26 mn, Stockhausen Verlag
  • 1974
    • elec Herbstmusik theater music for four instrumentalists, 50 mn, Stockhausen Verlag
    • elec stage Inori adoration for one or two soloists and large orchestra, 1 h 10 mn, Stockhausen Verlag
    • elec stage Inori for one or two mime-dancers and magnetic tape, 1 h 10 mn, Stockhausen Verlag
    • elec Laub und Regen for clarinet and viola, 11 mn, Stockhausen Verlag
    • elec Vortrag über Hu musical analysis of Inori , for a singer, 1 h 23 mn, Stockhausen Verlag
  • 1972
    • elec Alphabet pour Liège thirteen musical scenes for soloists and duets, Inédit
    • elec Am Himmel Wande ich Indo-American song for two voices, 51 mn, Stockhausen Verlag
    • elec Ylem for nineteen instrumentalists / singers, 26 mn, Stockhausen Verlag
  • 1971
    • stage Sternklang park music, for five groups (twenty-one singers and instrumentalists), 2 h 30 mn, Stockhausen Verlag
    • elec Trans for orchestra and tape, 27 mn, Stockhausen Verlag
  • 1970
    • Expo for three instrumentalists-singers, with three shortwave receivers, 1 h 10 mn, Stockhausen Verlag
    • elec Für Kommende Zeiten seventeen texts for intuitive music, Stockhausen Verlag
    • elec Mantra for two pianists, between 1 h 5 mn and 1 h 12 mn, Stockhausen Verlag [program note]
    • elec Pole for two instrumentalists-singers with two shortwave receivers, 1 h 5 mn, Stockhausen Verlag
  • 1969
    • Dr K-Sextett for flute, cello, tubular bells and vibraphone, bass clarinet, viola and piano, 3 mn, Universal Edition
    • Fresco for four orchestral groups, Universal Edition
    • elec Hymnen (Dritte Region) electronic music with orchestra, 42 mn, Stockhausen Verlag [program note]
    • Stop Paris version, for eighteen instrumentalists in six groups, 20 mn, Universal Edition
  • 1968
    • Aus den sieben Tagen fifteen texts composed for intuitive music, Universal Edition
    • Kurzwellen for six instrumentalists and shortwave receiver, between 50 mn and 1 h 5 mn, Universal Edition
    • elec Spiral for an instrument and short waves, 2 h 15 mn, Universal Edition
    • elec Stimmung for six vocalists, Universal Edition
    • elec Stimmung Paris version, for six vocalists, 1 h 15 mn, Universal Edition
  • 1967
    • elec Hymnen electronic and concrète music, version with four soloists, 26 mn, partition retirée du catalogue
    • elec Hymnen electronic and concrète music, 1 h 54 mn, Stockhausen Verlag
    • elec Mixtur version for small orchestra, four wave generators and four ring modulators, 28 mn, Universal Edition
    • elec Prozession for tam-tam, viola, electronium, piano, microphone and filter (six performers), 32 mn, Universal Edition
  • 1966
    • Adieu für Wolfgang Sebastian Meyer, for wind quintet, 16 mn, Universal Edition
    • elec Solo for a melodic instrument with feedback, between 10 mn and 20 mn, Universal Edition [program note]
    • elec Telemusik electronic music, 16 mn, Universal Edition
  • 1965
    • elec Mikrophonie II for twelve singers, Hammond organ, four ring modulator and magnetic tape, 15 mn, Universal Edition
    • elec Stop for orchestra, 17 mn, Universal Edition
  • 1964
    • elec Mikrophonie I for tam-tam, two microphones and two filters with potentiometers, 22 mn, Universal Edition
    • elec Mixtur for orchestra, four wave generators and four ring modulators, 27 mn, Universal Edition
  • 1963
  • 1962
    • Momente for solo soprano, four choirs and thirteen instrumentalists, 13 mn, Stockhausen Verlag
    • Punkte for orchestra, 27 mn, Universal Edition [program note]
  • 1961
  • 1960
    • Carré for four orchestras and four choirs (and four conductors), 36 mn, Universal Edition
    • elec Kontakte for piano, percussion and tape, 35 mn, Stockhausen Verlag [program note]
    • elec Kontakte for electronic sounds, 35 mn, Stockhausen Verlag
  • 1959
  • 1957
    • Gruppen for three orchestras, 24 mn, Universal Edition
  • 1956
  • 1955
  • 1954
  • 1953
  • 1952
    • Schlagtrio for piano and two timpani, between 12 mn and 24 mn, Universal Edition
    • Spiel for orchestra, 16 mn, Universal Edition
    • elec Étude musique concrète, 3 mn, Stockhausen Verlag
  • 1951
    • Formel for orchestra, 13 mn, Universal Edition
    • Frühe Noten collection for choir, Universal Edition
    • Kreuzspiel for oboe, bass clarinet, piano and three percussionists, 12 mn, Universal Edition [program note]
    • Sonatine for violin and piano, 11 mn, Universal Edition
  • 1950
    • Choral for choir a cappella, 4 mn, Universal Edition
    • Chöre für Doris for mixed choir a cappella, 9 mn, Universal Edition
    • Drei Lieder for alto voice and chamber orchestra, 19 mn, Universal Edition

Documents

Liens Internet

Bibliographie sélective

  • Jonathan COTT, Conversations avec Stockhausen, Paris, J.Cl. Lattès, 1979.
  • Rudolf FRISIUS, Stockhausen, Einführung in das Gesamtwerk, Gespräche, Mainz, Schott, 1996.
  • M. J. GRANT, Imke MISCH, The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward, Hofheim, Wolke, 2016.
  • Robin MACONIE (textes réunis par), Stockhausen on music, Lecture et interviews, London, Marion Boyards, 1989.
  • Michel RIGONI, Stockhausen : un vaisseau lancé vers le ciel, Lillebonne, éd. Millénaire III, 1998.
  • Karlheinz STOCKHAUSEN, Comment passe le temps : essais sur la musique 1952-1961, Genève, Contrechamps, 2017.
  • Karlheinz STOCKHAUSEN, Texte vol.1, 2, 3, Cologne, DuMont Schauberg, 1963, 1964, 1971; Texte vol. 4, 5, 6, Cologne, DuMont, 1978, 1989, 1989; (tous ces textes sont réédités à Kürten, aux éditions Stockhausen) ; Texte vol. 7, 8, 9, 10, Kürten, éd. Stockhausen, 1998.
  • « Karlheinz Stockhausen », dans Contrechamps n° 9, Lausanne, L’Age d’Homme, 1988.
  • « Le Klavierstück XI de Stockhausen : pluralité et organisation », Cahiers du CIREM n° 18-19, 1991.
  • Perspectives of Music : vol.36, n°1 et 2, 1998, vol.3 n° 1, 1999.
  • Programme du Festival d’Automne 1988, éd. Contrechamps/Festival d’Automne.
  • « Stockhausen et la musique minimale », revue Dissonance n° 41, Zurich, août 1994.

Discographie

Édition Stockhausen Verlag
Autres éditions
  • Karlheinz STOCKHAUSEN, Kontakte, Refrain, Zyklus, Koch schwann, Musica Mundi, 310 020 HI.
  • Karlheinz STOCKHAUSEN, Les Klavierstücke 1 - 11, Microphonie 1 et 2, Sony, S2K 53346.
  • Karlheinz STOCKHAUSEN, Mantra, New Albion Records, NA 025.