|
00'-00'
|
|
960 |
|
01 Anfang und Abschnitt 1
|
|
0 |
|
01 EINGANG (Takt 1)
|
|
0 |
|
01 Tuning - in and 1st combination
|
|
20 |
|
02 ABSCHIED (MICHAELs Formel) (Takt 21)
|
|
3 |
|
02 Abschnitt 2
|
|
0 |
|
02 Combination A
|
|
12 |
|
02'-15'
|
|
8214 |
|
03 ABFAHRT (Takt 44)
|
|
0 |
|
03 Abschnitt 3
|
|
0 |
|
03 Combination S II
|
|
10 |
|
04 Abschnitt 4
|
|
0 |
|
04 Combination S I
|
|
9 |
|
04 STATION 1 (Takt 68)
|
|
0 |
|
05 Abschnitt 5
|
|
0 |
|
05 Combination T II
|
|
11 |
|
05 STATION 2 (Takt 95)
|
|
0 |
|
06 Abschnitt 6
|
|
0 |
|
06 Combination T I
|
|
8 |
|
06 STATION 3 (Takt 147)
|
|
0 |
|
06'-38'
|
|
570 |
|
07 Abschnitt 7
|
|
0 |
|
07 Combination T II
|
|
6 |
|
07 STATION 4 (Takt 173)
|
|
1 |
|
08 Abschnitt 8
|
|
0 |
|
08 Combination S I
|
|
11 |
|
08 STATION 5 (Takt 243)
|
|
0 |
|
09 Abschnitt 9
|
|
0 |
|
09 Combination B
|
|
5 |
|
09 STATION 6 (Takt 279)
|
|
0 |
|
10 Abschnitt 10
|
|
0 |
|
10 Combination S I
|
|
1 |
|
10 STATION 7 (Takt 353)
|
|
1 |
|
101-4-1-Choruses For Doris
|
|
32 |
|
101-4-10-Sonatine
|
|
20 |
|
101-4-11-Sonatine
|
|
20 |
|
101-4-12-Cross-Play
|
|
28 |
|
101-4-13-Cross-Play
|
|
22 |
|
101-4-14-Cross-Play
|
|
21 |
|
101-4-2-Choruses For Doris
|
|
26 |
|
101-4-3-Choruses For Doris
|
|
23 |
|
101-4-4-Chorale
|
|
18 |
|
101-4-5-Chorale
|
|
19 |
|
101-4-6-Three Songs
|
|
18 |
|
101-4-7-Three Songs
|
|
16 |
|
101-4-8-Three Songs
|
|
18 |
|
101-4-9-Sonatine
|
|
23 |
|
11 Abschnitt 11
|
|
0 |
|
11 Combination B
|
|
10 |
|
11 HALT (Takt 385)
|
|
0 |
|
11'-38'
|
|
521 |
|
12 Abschnitt 12
|
|
0 |
|
12 Combination T I
|
|
5 |
|
12 MISSION (Takt 444)
|
|
0 |
|
13 Abschnitt 13A & 13B
|
|
0 |
|
13 Combination T II
|
|
6 |
|
13 VERSPOTTUNG (Takt 530)
|
|
1 |
|
14 Abschnitt 14
|
|
1 |
|
14 Combination S II
|
|
5 |
|
14 KREUZIGUNG (Takt 553)
|
|
0 |
|
15 Abschnitt 15
|
|
2 |
|
15 Combination A
|
|
4 |
|
15 HIMMELFAHRT (Takt 681)
|
|
1 |
|
16 Abschnitt 16
|
|
0 |
|
16 Combination B
|
|
4 |
|
17 Abschnitt 17
|
|
0 |
|
17 Combination S I
|
|
7 |
|
17'-23'
|
|
514 |
|
18 Abschnitt 18
|
|
0 |
|
18 Combination T I
|
|
5 |
|
19 Abschnitt 19
|
|
2 |
|
19 Combination B
|
|
6 |
|
2-01 Tuning - In And 1st Combination
|
|
16 |
|
2-02 Combination A
|
|
12 |
|
2-03 Combination S II
|
|
6 |
|
2-04 Combination S I
|
|
7 |
|
2-05 Combination T II
|
|
6 |
|
2-06 Combination T I
|
|
4 |
|
2-07 Combination T II
|
|
5 |
|
2-08 Combination S I
|
|
4 |
|
2-09 Combination B
|
|
2 |
|
2-10 Combination S I
|
|
2 |
|
2-11 Combination B
|
|
2 |
|
2-12 Combination T I
|
|
2 |
|
2-13 Combination T II
|
|
2 |
|
2-14 Combination S II
|
|
2 |
|
2-15 Combination A
|
|
2 |
|
2-16 Combination B
|
|
3 |
|
2-17 Combination S I
|
|
2 |
|
2-18 Combination T I
|
|
2 |
|
2-19 Combination B
|
|
2 |
|
2-20 Combination S II
|
|
1 |
|
2-21 Combination T II
|
|
1 |
|
2-22 Combination A
|
|
3 |
|
2-23 Combination T II
|
|
1 |
|
2-24 Combination S II
|
|
2 |
|
2-25 Combination A
|
|
2 |
|
2-26 Combination S I
|
|
2 |
|
2-27 Combination A
|
|
2 |
|
2-28 Combination B
|
|
2 |
|
2-29 Combination S II
|
|
2 |
|
2-30 Combination S II
|
|
3 |
|
2-31 Combination A
|
|
2 |
|
2-32 Combination T II
|
|
2 |
|
2-33 Combination S II
|
|
2 |
|
2-34 Combination S I
|
|
2 |
|
2-35 Combination B
|
|
2 |
|
2-36 Combination T I
|
|
2 |
|
2-37 Combination A
|
|
3 |
|
2-38 Combination T II
|
|
2 |
|
2-39 Combination T I
|
|
3 |
|
2-40 Combination T II
|
|
3 |
|
2-41 Combination B
|
|
6 |
|
2-42 Combination T II
|
|
4 |
|
2-43 Combination T I
|
|
2 |
|
2-44 Combination B
|
|
1 |
|
2-45 Combination S II
|
|
2 |
|
2-46 Combination T I
|
|
2 |
|
2-47 Combination S I
|
|
3 |
|
2-48 Combination A
|
|
2 |
|
2-49 Combination T I
|
|
7 |
|
2-50 Combination Sii
|
|
7 |
|
2-51 Combination T I
|
|
15 |
|
20 Abschnitt 20
|
|
0 |
|
20 Combination S II
|
|
7 |
|
20'-00'
|
|
451 |
|
21 Abschnitt 21
|
|
0 |
|
21 Combination T II
|
|
1 |
|
22 Abschnitt 22
|
|
0 |
|
22 Combination A
|
|
4 |
|
23 Abschnitt 23
|
|
0 |
|
23 Combination T II
|
|
1 |
|
24 Abschnitt 24
|
|
0 |
|
24 Combination S II
|
|
4 |
|
24 TURIN for door, rin and speaker silence
|
|
6 |
|
24 TURIN fur Tur, Rin und Sprechstimme Stille
|
|
3 |
|
24'-44'
|
|
443 |
|
25 Abschnitt 25
|
|
0 |
|
25 Combination A
|
|
7 |
|
26 Abschnitt 26
|
|
0 |
|
26 Combination S I
|
|
6 |
|
27 Abschnitt 27
|
|
0 |
|
27 Combination A
|
|
6 |
|
28 Abschnitt 28
|
|
0 |
|
28 Combination B
|
|
31 |
|
29 Abschnitt 29A
|
|
5 |
|
29 Combination S II
|
|
6 |
|
29'-53'
|
|
414 |
|
3 Michaels: "And I know that many of you will ridicule me" - Bar 260
|
|
1 |
|
3 Michaels: "And yet I have become man" - Bar 160
|
|
2 |
|
3 Michaels: "Lucifer, Prince of Light"
|
|
2 |
|
3 Michaels: "Man have I become" - Bar 211
|
|
2 |
|
30 Abschnitt 29B
|
|
0 |
|
30 Combination S I
|
|
4 |
|
31 Abschnitt 30
|
|
0 |
|
31 Combination A
|
|
4 |
|
32 Abschnitt 31
|
|
1 |
|
32 Combination T II
|
|
6 |
|
33 Abschnitt 32
|
|
0 |
|
33 Combination S II
|
|
5 |
|
34 Abschnitt 33
|
|
0 |
|
34 Combination S I
|
|
4 |
|
34'-15'
|
|
462 |
|
35 Abschnitt 34
|
|
0 |
|
35 Combination B
|
|
4 |
|
36 Abschnitt 35
|
|
1 |
|
36 Combination T I
|
|
5 |
|
37 Combination A
|
|
1 |
|
37'-50'
|
|
366 |
|
38 Combination T II
|
|
7 |
|
39 Combination T I
|
|
7 |
|
3rd Glass
|
|
0 |
|
4 Helicopters & String Quartet
|
|
533 |
|
40 Combination T II
|
|
5 |
|
41 Combination B
|
|
5 |
|
42 Combination T II
|
|
8 |
|
42'-40'
|
|
291 |
|
43 Combination T I
|
|
17 |
|
44 Combination B
|
|
5 |
|
45 Combination S II
|
|
6 |
|
46 Combination T I
|
|
8 |
|
47 Combination S I
|
|
6 |
|
47'-10'
|
|
344 |
|
48 Combination A
|
|
5 |
|
49 Combination T I
|
|
8 |
|
50 Combination S II
|
|
1 |
|
51 Combination T I
|
|
5 |
|
53'-20'
|
|
353 |
|
56'-33'
|
|
308 |
|
60'-15'
|
|
319 |
|
65'-20'
|
|
332 |
|
69'-30'
|
|
308 |
|
ABSCHIED
|
|
111 |
|
Abschnitt 1
|
|
14 |
|
Abschnitt 1 (Studioproduktion)
|
|
8 |
|
Abschnitt 12
|
|
11 |
|
Abschnitt 12 (Studioproduktion)
|
|
9 |
|
Abschnitt 17
|
|
29 |
|
Abschnitt 17 (Studioproduktion)
|
|
6 |
|
Abschnitt 2
|
|
58 |
|
Abschnitt 23
|
|
12 |
|
Abschnitt 23 (Studioproduktion)
|
|
6 |
|
Abschnitt 29A
|
|
30 |
|
Abschnitt 29A (Studioproduktion)
|
|
6 |
|
Abschnitt 29B
|
|
23 |
|
Abschnitt 29B (Studioproduktion)
|
|
7 |
|
Abschnitt 29C
|
|
0 |
|
Abschnitt 29C (Studioproduktion)
|
|
0 |
|
Abschnitt 30
|
|
23 |
|
Abschnitt 30 (Studioproduktion)
|
|
7 |
|
Abschnitt 6
|
|
40 |
|
Abschnitt 6 (Studioproduktion)
|
|
6 |
|
Anders Eliasson - Disegno
|
|
3 |
|
Anfang Schicht 1 bei/at 15.20
|
|
0 |
|
Anfang Schicht 10 bei/at 9.20
|
|
0 |
|
Anfang Schicht 11 bei/at 8.40
|
|
1 |
|
Anfang Schicht 12 bei/at 8.00
|
|
0 |
|
Anfang Schicht 13 bei/at 7.20
|
|
1 |
|
Anfang Schicht 14 bei/at 6.40
|
|
0 |
|
Anfang Schicht 15 bei/at 6.00
|
|
2 |
|
Anfang Schicht 16 bei/at 5.20
|
|
0 |
|
Anfang Schicht 17 bei/at 4.40
|
|
1 |
|
Anfang Schicht 18 bei/at 4.00
|
|
1 |
|
Anfang Schicht 19 bei/at 3.20
|
|
0 |
|
Anfang Schicht 2 bei/at 14.40
|
|
0 |
|
Anfang Schicht 20 bei/at 2.40
|
|
0 |
|
Anfang Schicht 21 bei/at 2.00
|
|
1 |
|
Anfang Schicht 22 bei/at 1.20
|
|
2 |
|
Anfang Schicht 23 bei/at 0.40
|
|
1 |
|
Anfang Schicht 24 bei 0.00 im Formschema
|
|
3 |
|
Anfang Schicht 3 bei/at 14.00
|
|
1 |
|
Anfang Schicht 4 bei/at 13.20
|
|
1 |
|
Anfang Schicht 5 bei/at 12.40
|
|
1 |
|
Anfang Schicht 6 bei/at 12.00
|
|
0 |
|
Anfang Schicht 7 bei/at 11.20
|
|
4 |
|
Anfang Schicht 8 bei/at 10.40
|
|
2 |
|
Anfang Schicht 9 bei/at 10.00
|
|
1 |
|
Anfang/Beginning
|
|
0 |
|
Arabian Oboes Trumpet Solo + Electronic Music
|
|
21 |
|
Bassoon Solo + Electronic Music
|
|
21 |
|
Beginning: Electronic Music
|
|
27 |
|
Bird House
|
|
0 |
|
Clarinet Solo + Electronic Music
|
|
23 |
|
Click Of Ventilator Switch
|
|
0 |
|
Contrabass Solo + Electronic Music
|
|
20 |
|
COSMIC PULSES
|
|
50 |
|
Dive Into Water
|
|
0 |
|
Electonic Bassoon
|
|
0 |
|
Eroffnung
|
|
25 |
|
Eroffnung (Studioproduktion)
|
|
9 |
|
Etude
|
|
999 |
|
Etude (1952)
|
|
5076 |
|
Etude: Musique Concréte
|
|
157 |
|
EXAMEN 1 Anfang
|
|
2 |
|
EXAMEN 1 Stadium I
|
|
5 |
|
EXAMEN 1 Stadium II
|
|
5 |
|
EXAMEN 1 Stadium III
|
|
6 |
|
EXAMEN 1 Stadium IV
|
|
5 |
|
EXAMEN 1 Stadium V
|
|
6 |
|
EXAMEN 1 Stadium VI
|
|
5 |
|
EXAMEN 1 Stadium VII
|
|
5 |
|
EXAMEN 2 Anfang
|
|
0 |
|
EXAMEN 2 Stadium I
|
|
0 |
|
EXAMEN 2 Stadium II
|
|
0 |
|
EXAMEN 2 Stadium III
|
|
0 |
|
EXAMEN 2 Stadium IV
|
|
0 |
|
EXAMEN 2 Stadium V
|
|
0 |
|
EXAMEN 2 Stadium VI
|
|
0 |
|
EXAMEN 2 Stadium VII
|
|
5 |
|
EXAMEN 3 Stadium I
|
|
5 |
|
EXAMEN 3 Stadium II
|
|
5 |
|
EXAMEN 3 Stadium III
|
|
5 |
|
EXAMEN 3 Stadium IV
|
|
6 |
|
EXAMEN 3 Stadium V
|
|
5 |
|
EXAMEN 3 Stadium VI
|
|
6 |
|
EXAMEN 3 Stadium VII
|
|
6 |
|
Final Sound Taku and Taiko Beat (No) with reverb
|
|
715 |
|
Fische
|
|
204 |
|
Flute Solo + Electronic Music
|
|
23 |
|
Formel
|
|
191 |
|
Gesang der Juenglinge (1955-56)
|
|
1784 |
|
Gesang Der Jünglinge: Electronic Music
|
|
340 |
|
Helikopter-Streichquartett
|
|
1030 |
|
Helikopter-Streichquartett (Beginning)
|
|
100 |
|
Helikopter-Streichquartett (End)
|
|
67 |
|
Horn Solo
|
|
0 |
|
I + II Tutti 157
|
|
1099 |
|
I + II Tutti pianissimo
|
|
940 |
|
I Collage
|
|
2473 |
|
I Laeutend - Saegend
|
|
27 |
|
I Prasselnd - Kraechzend - Tosend / I + II Pizzicato
|
|
1455 |
|
I Raschelnd (Rattelnd) - Murmelnd
|
|
116 |
|
I Rassenlng - Aechzend - Donnernd
|
|
2393 |
|
I Schwirrend - Knurrend
|
|
32 |
|
I Singend (II Streichtoene)
|
|
1251 |
|
I Trillernd Knallend Gellend
|
|
26 |
|
I Trompetend - Bruellend / Silence at end 1'11''
|
|
738 |
|
I Winselnd - Jaulend
|
|
115 |
|
I Wischend - Brummend - Posaunend / II Schluerfend - Quietschend
|
|
1001 |
|
I Wispernd
|
|
37 |
|
I X(Xi)
|
|
1078 |
|
I Zirpend - Schnarchend - Grunzend
|
|
27 |
|
I Zupfend
|
|
27 |
|
I+II Tutti forte
|
|
3555 |
|
Iannis Xenakis - Keren
|
|
105 |
|
II 4 sec before the entry of moments 24, 25
|
|
27 |
|
II Berstend (Krachend)
|
|
26 |
|
II Geraeusch ad lib.
|
|
24 |
|
II Klaenge ad lib.
|
|
32 |
|
II Klatschend - Heulend - Bellend
|
|
27 |
|
II Knisternd - Gackernd
|
|
5260 |
|
II Pfeifend - Floetend
|
|
117 |
|
II Piepsend - Knackend
|
|
19 |
|
II Prellend - Knatternd (Ratternd)
|
|
28 |
|
II Rauschend - Toenend - Tutend / I + II Glaesern Singend
|
|
4376 |
|
II Rollend
|
|
28 |
|
II Schnarrend
|
|
1558 |
|
II Wirbelnd - Trommelnd - Knarrend
|
|
119 |
|
II Y (Ypsilon)
|
|
1670 |
|
John Cage - Sliding Trombone
|
|
0 |
|
Jungfrau
|
|
189 |
|
Karlheinz Stockhausen - In Freundschaft, Work No. 46 12/13
|
|
0 |
|
karlheinz stockhausen - studie 2
|
|
94 |
|
KINDHEIT Eröffnung
|
|
6 |
|
Kindheit I
|
|
38 |
|
Kindheit II
|
|
37 |
|
Kindheit III
|
|
39 |
|
Kindheit IV
|
|
34 |
|
Kindheit V
|
|
35 |
|
Kindheit VI
|
|
31 |
|
Klavierstuck I
|
|
247 |
|
Klavierstuck II
|
|
244 |
|
Klavierstuck III
|
|
251 |
|
Klavierstuck IV
|
|
199 |
|
Klavierstuck IX
|
|
303 |
|
Klavierstuck V
|
|
359 |
|
Klavierstuck VI
|
|
143 |
|
Klavierstuck VII
|
|
185 |
|
Klavierstuck VIII
|
|
233 |
|
Klavierstuck X
|
|
134 |
|
Klavierstuck XI
|
|
222 |
|
Klavierstück XII
|
|
100 |
|
Klavierstück XIII
|
|
130 |
|
Klavierstück XIV
|
|
121 |
|
Kontakte
|
|
3579 |
|
Kontakte (1959-60) - Struktur I
|
|
1643 |
|
Kontakte (1960) pour piano, percussion et bande magnetique
|
|
17 |
|
Kontakte 1959-60
|
|
171 |
|
Kontakte, Struktur I
|
|
1417 |
|
Kontakte, Struktur II
|
|
1517 |
|
Kontakte, Struktur III
|
|
1196 |
|
Kontakte, Struktur IV
|
|
1183 |
|
Kontakte, Struktur IX
|
|
1068 |
|
Kontakte, Struktur V
|
|
1077 |
|
Kontakte, Struktur VI
|
|
40 |
|
Kontakte, Struktur VII
|
|
1062 |
|
Kontakte, Struktur VIII
|
|
1105 |
|
Kontakte, Struktur X
|
|
965 |
|
Kontakte, Struktur XI
|
|
880 |
|
Kontakte, Struktur XII
|
|
1067 |
|
Kontakte, Struktur XIII A
|
|
891 |
|
Kontakte, Struktur XIII B
|
|
32 |
|
Kontakte, Struktur XIII C
|
|
816 |
|
Kontakte: Struktur I: Beginning
|
|
1394 |
|
Kontakte: Struktur II: Page 3
|
|
564 |
|
Kontakte: Struktur III: Page 4
|
|
234 |
|
Kontakte: Struktur IV: Page 9
|
|
351 |
|
Kontakte: Struktur IX: Page 17
|
|
164 |
|
Kontakte: Struktur V: Page 9
|
|
202 |
|
Kontakte: Struktur VI: Page 12
|
|
12 |
|
Kontakte: Struktur VII: Page 12
|
|
178 |
|
Kontakte: Struktur VII: Page 15
|
|
182 |
|
Kontakte: Struktur X: Page 19
|
|
139 |
|
Kontakte: Struktur XI: Page 24
|
|
124 |
|
Kontakte: Struktur XII: Page 27
|
|
135 |
|
Kontakte: Struktur XIIIA: Page 28
|
|
120 |
|
Kontakte: Struktur XIIIB: Page 30
|
|
7 |
|
Kontakte: Struktur XIIIC: Page 30
|
|
123 |
|
Kontakte: Struktur XIIID: Page 31
|
|
121 |
|
Kontakte: Struktur XIIIE: Page 32
|
|
7 |
|
Kontakte: Struktur XIIIF: Page 32
|
|
113 |
|
Kontakte: Struktur XIV: Page 34
|
|
12 |
|
Kontakte: Struktur XV: Page 35
|
|
122 |
|
Kontakte: Struktur XVIA: Page 36
|
|
132 |
|
Kontakte: Struktur XVIB: Page 36
|
|
11 |
|
Kontakte: Struktur XVIC: Page 36
|
|
7 |
|
Kontakte: Struktur XVID: Page 37
|
|
9 |
|
Kontakte: Struktur XVIE: Page 37
|
|
120 |
|
Krebs
|
|
211 |
|
Kurtag
|
|
74 |
|
Loewe
|
|
270 |
|
Luciano Berio - Sequenza V
|
|
33 |
|
Mantra (Takta/bars 3-10)
|
|
13 |
|
Mauricio Kagel - Atem
|
|
6 |
|
Michael - Für ein Weltzeialter
|
|
77 |
|
Michael's Return Home (Act III) Scene 2: Vision - "For a universal era" (Bar 17)
|
|
2 |
|
Michael's Return Home (Act III) Scene 2: Vision - "I, spirit of the spirit Michael"…
|
|
3 |
|
Michael's Return Home (Act III) Scene 2: Vision - "Lucifer, the most noble..." (Bar…
|
|
3 |
|
Michael's Return Home (Act III) Scene 2: Vision - "Michael - You have heard me" (Bar…
|
|
2 |
|
Michaelion
|
|
61 |
|
MICHAELs GRUSS I
|
|
14 |
|
MICHAELs GRUSS III
|
|
8 |
|
Michaels-Gruss II
|
|
127 |
|
Microphonie I (1964, Brussels Version) - I Quakend
|
|
30 |
|
Mikrophonie II (1965) - Moment 1
|
|
22 |
|
Mittwochsabschied
|
|
76 |
|
Model 1
|
|
217 |
|
Model 10
|
|
288 |
|
Model 11
|
|
279 |
|
Model 12
|
|
285 |
|
Model 13
|
|
284 |
|
Model 14
|
|
270 |
|
Model 15
|
|
272 |
|
Model 16
|
|
311 |
|
Model 17
|
|
260 |
|
Model 18
|
|
298 |
|
Model 19
|
|
251 |
|
Model 2
|
|
200 |
|
Model 20
|
|
254 |
|
Model 21
|
|
287 |
|
Model 22
|
|
273 |
|
Model 23
|
|
245 |
|
Model 24
|
|
245 |
|
Model 25
|
|
207 |
|
Model 26
|
|
234 |
|
Model 27
|
|
234 |
|
Model 28
|
|
240 |
|
Model 29
|
|
245 |
|
Model 3
|
|
188 |
|
Model 30
|
|
250 |
|
Model 31
|
|
253 |
|
Model 32
|
|
191 |
|
Model 33
|
|
216 |
|
Model 34
|
|
212 |
|
Model 35
|
|
210 |
|
Model 36
|
|
211 |
|
Model 37
|
|
216 |
|
Model 38
|
|
207 |
|
Model 39
|
|
206 |
|
Model 4
|
|
192 |
|
Model 40
|
|
238 |
|
Model 41
|
|
208 |
|
Model 42
|
|
221 |
|
Model 43
|
|
206 |
|
Model 44
|
|
202 |
|
Model 45
|
|
223 |
|
Model 46
|
|
230 |
|
Model 47
|
|
203 |
|
Model 48
|
|
197 |
|
Model 49
|
|
222 |
|
Model 5
|
|
179 |
|
Model 50
|
|
216 |
|
Model 51
|
|
241 |
|
Model 6
|
|
224 |
|
Model 7
|
|
81 |
|
Model 8
|
|
183 |
|
Model 9
|
|
168 |
|
Moment 10
|
|
140 |
|
Moment 10: digitus paternae dexterae,
|
|
13 |
|
Moment 11 4th Time-Window Gesang der Juenglinge
|
|
34 |
|
Moment 11: tu rite promissum Patris,
|
|
12 |
|
Moment 12
|
|
28 |
|
Moment 12: sermone ditans guttura.
|
|
11 |
|
Moment 13
|
|
28 |
|
Moment 13: Accende lumen sensibus:
|
|
12 |
|
Moment 14
|
|
41 |
|
Moment 14: infunde amorem cordibus:
|
|
11 |
|
Moment 15
|
|
107 |
|
Moment 15: infirma nostri corporis
|
|
10 |
|
Moment 16
|
|
758 |
|
Moment 16: virtute firmans perpeti.
|
|
11 |
|
Moment 17 5th Time-Window Carre
|
|
23 |
|
Moment 17: Hostem repellas longius,
|
|
10 |
|
Moment 18
|
|
816 |
|
Moment 18: pacemque dones protinus:
|
|
9 |
|
Moment 19 6th Time-Window Momente
|
|
119 |
|
Moment 19: ductore sic te praevio
|
|
11 |
|
Moment 1: Veni, Creator Spiritus
|
|
13 |
|
Moment 2 1st Time-Window Gesang der Juenglinge
|
|
31 |
|
Moment 20 7th Time Window Carre plus Gesang...
|
|
1350 |
|
Moment 20: vitemus omne noxium.
|
|
8 |
|
Moment 21 7th Time Window Carre plus Gesang...
|
|
28 |
|
Moment 21: Per te sciamus da Patrem,
|
|
9 |
|
Moment 22 7th Time Window Carre plus Gesang...
|
|
23 |
|
Moment 22: noscamus atque Filium;
|
|
11 |
|
Moment 23
|
|
33 |
|
Moment 23: te utriusque Spiritum
|
|
9 |
|
Moment 24
|
|
28 |
|
Moment 24: credamus omni tempore.
|
|
10 |
|
Moment 25
|
|
25 |
|
Moment 26
|
|
29 |
|
Moment 27
|
|
22 |
|
Moment 28
|
|
263 |
|
Moment 29
|
|
778 |
|
Moment 2: Mentes Tuorum Visita,
|
|
11 |
|
Moment 3
|
|
1339 |
|
Moment 30
|
|
36 |
|
Moment 31
|
|
127 |
|
Moment 32 8th Time-Window Momente
|
|
24 |
|
Moment 33
|
|
698 |
|
Moment 3: Imple Superna Gratia
|
|
10 |
|
Moment 4
|
|
962 |
|
Moment 4: Quae Tu Creasti Pectora.
|
|
13 |
|
Moment 5 2nd Time-Window Carre
|
|
1575 |
|
Moment 5: Qui Diceris Paraclitus,
|
|
10 |
|
Moment 6
|
|
32 |
|
Moment 6: Altissimi Donum Dei,
|
|
9 |
|
Moment 7
|
|
28 |
|
Moment 7: Fons Vivus, Ignis, Caritas,
|
|
9 |
|
Moment 8 3rd Time-Window Momente
|
|
1081 |
|
Moment 8: Et Spiritalis Unctio.
|
|
10 |
|
Moment 9
|
|
1110 |
|
Moment 9: Tu, Septiformis Munere,
|
|
10 |
|
Mondeva
|
|
72 |
|
No. 2: Klavierstuck I
|
|
9 |
|
No. 2: Klavierstuck II
|
|
7 |
|
No. 2: Klavierstuck III
|
|
7 |
|
No. 2: Klavierstuck IV
|
|
8 |
|
No. 4: Klavierstuck V
|
|
6 |
|
No. 4: Klavierstuck VI
|
|
6 |
|
No. 4: Klavierstuck VII
|
|
4 |
|
No. 4: Klavierstuck VIII
|
|
3 |
|
Oboe Solo + Electrronic Music
|
|
19 |
|
Orchester-Finalisten
|
|
80 |
|
Orchestra Fade Out + Silence At The End
|
|
19 |
|
Partitur - Seite - kleines Madchen geht durch die Tur
|
|
7 |
|
Partitur - Seite 10
|
|
6 |
|
Partitur - Seite 11
|
|
8 |
|
Partitur - Seite 12
|
|
6 |
|
Partitur - Seite 13
|
|
5 |
|
Partitur - Seite 14
|
|
6 |
|
Partitur - Seite 15
|
|
8 |
|
Partitur - Seite 16 - Schritte durch die Tur
|
|
5 |
|
Partitur - Seite 17 - Tamtams-Becken-Hihats
|
|
6 |
|
Partitur - Seite 19 - Anfang Sirene
|
|
8 |
|
Partitur - Seite 2
|
|
7 |
|
Partitur - Seite 22 - Ausblende der Sirene
|
|
6 |
|
Partitur - Seite 3
|
|
9 |
|
Partitur - Seite 4
|
|
10 |
|
Partitur - Seite 5
|
|
5 |
|
Partitur - Seite 6
|
|
5 |
|
Partitur - Seite 7
|
|
6 |
|
Partitur - Seite 8
|
|
8 |
|
Partitur - Seite 9
|
|
6 |
|
Partitur - Seite/score page 1
|
|
10 |
|
Punkte - N0. 85
|
|
107 |
|
Punkte - No. 109
|
|
96 |
|
Punkte - No. 121
|
|
103 |
|
Punkte - No. 13
|
|
99 |
|
Punkte - No. 37
|
|
97 |
|
Punkte - No. 49
|
|
123 |
|
Punkte - No. 61
|
|
118 |
|
punkte - no. 73
|
|
112 |
|
Punkte - No. 97
|
|
198 |
|
Punkte - Nr. 1
|
|
99 |
|
Punkte - Takt Vor 133
|
|
95 |
|
Punkte - Takt Vor 25
|
|
102 |
|
Realization A
|
|
130 |
|
Realization B
|
|
88 |
|
Realization C
|
|
82 |
|
Realization D
|
|
71 |
|
Refrain (1959) piano et percussion
|
|
20 |
|
Sailing Ship
|
|
0 |
|
Schuetze
|
|
134 |
|
Sea And Seagulls
|
|
0 |
|
Shadow Play 1 (Melodies) - Bar 89
|
|
2 |
|
Shadow Play 2 (Intensity) - Bar 94
|
|
3 |
|
Shadow Play 3 (Chromaticism) - Bar 97
|
|
3 |
|
Shadow Play 4 (Harmony) - Bar 102
|
|
4 |
|
Shadow Play 5 (Audiogrammar) - Bar 116
|
|
2 |
|
Shadow Play 6 (Ecstasy) - Bar 120
|
|
2 |
|
Shadow Play 7 (Light) - Bar 123
|
|
3 |
|
Skorpion
|
|
192 |
|
Soprano
|
|
6 |
|
Spiel - 1St Movement
|
|
76 |
|
Spiel - 2Nd Movement
|
|
95 |
|
Steamer
|
|
0 |
|
Steinbock
|
|
172 |
|
Stier
|
|
190 |
|
stimmung
|
|
331 |
|
Structure 10
|
|
151 |
|
Structure 11 Japan Kabuki (Yatai Aikata and Daidai Kagura)
|
|
786 |
|
Structure 12 Hungary (cont. of 9)
|
|
36 |
|
Structure 13 Amazonas Shipibo Indians (Dance for Adoloscent Girls)
|
|
114 |
|
Structure 14 Kabuki (cont. 11) + Hungary (cont. 9) + Shipibo (cont. 13)
|
|
31 |
|
Structure 15 Kabuki (cont. Daidai Kagura)
|
|
763 |
|
Structure 16
|
|
747 |
|
Structure 17 Japan Conch Music (Omisutori Ceremony, Todaiji Temple)
|
|
112 |
|
Structure 18 cont. Conch Music
|
|
38 |
|
Structure 19 cont. Conch Music
|
|
30 |
|
Structure 2
|
|
27 |
|
Structure 20 Bali (like 5) + Gagaku (like 3) + Africa (like 5) + Shipibo (like 13)
|
|
138 |
|
Structure 21 China (Keihosu)
|
|
784 |
|
Structure 22 Japan 2 Temple Chants (Kohyasan Temple) + Conch Music + Amazonas Jahave…
|
|
539 |
|
Structure 23 Conch Music (cont. 22)
|
|
31 |
|
Structure 24 Kabuki (Daidai Kagura) + Jahave Song (like 22) + Vietnam (Song of the…
|
|
512 |
|
Structure 25 cont. Vietnam
|
|
120 |
|
Structure 26 Vietnam (Air of Gongs)
|
|
24 |
|
Structure 27 Vietnam Air of Gongs and Concert of Flutes faded into each other
|
|
678 |
|
Structure 28 Vietnam cont. 27
|
|
25 |
|
Structure 29 Japan Temple Instruments
|
|
129 |
|
Structure 29 Spain (Sevillanas) + Hungary (Pista Bacsi, Janos Bacsi
|
|
795 |
|
Structure 3 Japan Gagaku-Music (Eten Raku)
|
|
924 |
|
Structure 30 Japan Yakushiji Temple (Jion-E)
|
|
22 |
|
Structure 31 Gagaku like 3 + 4 temple bells + cont JION-E (priests chanting, with…
|
|
468 |
|
Structure 32 Japan No Percussionist (voice)
|
|
19 |
|
Structure 4
|
|
22 |
|
Structure 5 Bali (Baris Bapan) + Africa (Ibani-Sansa-Lied)
|
|
104 |
|
Structure 6, 7 Gagaku + Bali + Africa + Spanish Flamenco Music
|
|
89 |
|
Structure 7 cont. Japan Priest Chanting (Kohyasan Temple)
|
|
115 |
|
Structure 8
|
|
907 |
|
Struktur II
|
|
1744 |
|
Struktur III
|
|
1632 |
|
Struktur IV
|
|
1645 |
|
Struktur IX
|
|
1449 |
|
Struktur V
|
|
1563 |
|
Struktur VI
|
|
58 |
|
Struktur VII
|
|
1540 |
|
Struktur VIII
|
|
1482 |
|
Struktur X
|
|
1441 |
|
Struktur XI
|
|
1359 |
|
Struktur XII
|
|
1355 |
|
Struktur XIII A
|
|
1341 |
|
Struktur XIII B
|
|
33 |
|
Struktur XIII C
|
|
1348 |
|
Struktur XIII D
|
|
1314 |
|
Struktur XIII E
|
|
36 |
|
Struktur XIII F
|
|
1247 |
|
Struktur XIV
|
|
38 |
|
Struktur XV
|
|
1277 |
|
Struktur XVI A
|
|
1296 |
|
Struktur XVI B
|
|
37 |
|
Struktur XVI C
|
|
32 |
|
Struktur XVI D
|
|
40 |
|
Struktur XVI E
|
|
1254 |
|
Studie I (1953)
|
|
4041 |
|
Studie II (1954)
|
|
4060 |
|
Studie: I: Electronic Music
|
|
164 |
|
Studie: II: Electronic Music
|
|
146 |
|
Takte 109-120
|
|
16 |
|
Takte 121-131
|
|
10 |
|
Takte 132-150
|
|
11 |
|
Takte 151-188
|
|
14 |
|
Takte 189-211
|
|
12 |
|
Takte 212-237
|
|
12 |
|
Takte 238-261
|
|
11 |
|
Takte 262-298
|
|
9 |
|
Takte 299-323
|
|
8 |
|
Takte 324-421
|
|
8 |
|
Takte 422-434
|
|
8 |
|
Takte 435-491
|
|
10 |
|
Takte 492-529
|
|
7 |
|
Takte 530-577
|
|
10 |
|
Takte 578-637
|
|
8 |
|
Takte 638-640
|
|
10 |
|
Takte 641-655
|
|
9 |
|
Takte 656-686
|
|
7 |
|
Takte 687-854
|
|
9 |
|
Takte 71-108
|
|
12 |
|
Takte 855-880
|
|
9 |
|
Takte 881-883
|
|
2 |
|
Takte 884-Schlu/End
|
|
6 |
|
Tatke 11-70
|
|
12 |
|
Teil 1
|
|
349 |
|
Teil 2
|
|
247 |
|
Telemusik (1966) - Structure 1
|
|
125 |
|
Thursday Farewell (Michael's Farewell)
|
|
3 |
|
Trombone Solo + Electronic Music
|
|
19 |
|
Tuba Solo + Electronic Music
|
|
25 |
|
Violin Solo + Electronic Music
|
|
20 |
|
Violincello Solo + Electronic Music
|
|
24 |
|
Waage
|
|
255 |
|
Wasserman
|
|
186 |
|
Weltparlament
|
|
56 |
|
Widder
|
|
172 |
|
Wild Geese Violin Solo + Electronic Music
|
|
22 |
|
Zwillinge
|
|
263 |
|
Zyklus (1959) percussion
|
|
27 |
Karlheinz Stockhausen 
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