Analysis
"A 'punctual' ensemble style using ten soloists divided into six sound groups ((1) flute-bassoon, (2) clarinet–bass clarinet, (3) trumpet-trombone, (4) piano, (5) harp, (6) violin-violoncello) is transformed irregularly but steadily into a soloistic style articulated by 'groups', gradually focussing on the piano part" (Stockhausen 1964, 20). This version adds progressively longer insertions of denser note groups, often in single instruments, while at the same time gradually replacing more and more long notes with groups of rapid, shorter ones in a technique called Ausmultiplikation (Kohl 2004). This gradual erosion of the originally sparse texture, reflected in the hyphenated title (meaning "Against Points"), complements three parallel processes already present in the first version: (1) the heterogeneous timbres of the full ensemble are gradually reduced to the "monochrome" of the solo piano; (2) widely fluctuating durations reduce to similar values; (3) wide-ranging dynamics reduce to a generally soft level. This unidirectional process has been compared to that of Maurice Ravel's Bolero (Pousseur 1970, 246). Countless minor changes have been introduced in subsequent revisions, the last of which, in January 2004, replaced the A clarinet with the B-flat instrument.
Read more about this topic: Kontra-Punkte (Stockhausen)
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