Quatre études de rythme

2.1 “Ile de feu I”

The title refers to Papua New Guinea, and the thematic

material of this movement has “all the violence of the
magic rites of this country” (Messiaen 1994). The piece
consists of five sections, in alternating pairs of musical
ideas. The first part of each section is a melodic theme
with accompaniment, the second is a departure which
Messiaen calls a trait (“episode”). The first section con-
sists of a thematic statement and trait. The first half of
the next three develop the initial theme. The fifth and fi-
nal section introduces a new, longer theme in two periods
Baining firedancers, Papua New Guinea which are immediately repeated before the etude is con-
cluded by a final trait amounting to a short coda (Barash
Quatre études de rythme (Four Rhythm Studies) is a set 2002, 18–19).
of four piano compositions by Olivier Messiaen, written
in 1949 and 1950. A performance of them lasts between
15 and 20 minutes.

2.2 “Mode de valeurs et d'intensités”

1 History
This movement is the most-discussed of the four, as the
The four pieces which the composer collectively termed first work by a European composer to apply numerical
Études de rythme are not a “cycle” like Messiaen’s ear- organisation to pitch, duration, dynamics, and mode of
lier Vingt regards sur l'enfant-Jésus (1944) or Visions attack (timbre) (Toop 1974, 142). Because the treatment
de l’Amen (1943). Messiaen composed “Neumes ryth- of the parameters is modal and not serial (that is, the ele-
miques” and “Mode de valeurs et d’intensités” in 1949 ments are treated simply as a scale, without any implica-
(the latter at Darmstadt) and added the other two études in tions for how they are to be ordered), there is no question
the following year, when he was at Tanglewood (Sherlaw of the material determining the work’s form (Toop 1974,
Johnson 1989, 104; Toop 1974, 142). The four move- 148). According to the composer’s own description, there
ments were premiered on 6 November 1950 in Tunis (at are separate modes composed of 36 pitches, 24 durations,
that time under the French protectorate of Tunisia) by the 12 attacks, and 7 dynamics. The duration scale is sepa-
composer himself, who shortly afterward made the first rated into three overlapping scales, called “tempi” by the
recording of the études. The French premiere was given composer, which correspond to the high, middle, and low
in Toulouse on 7 June 1951 by Yvonne Loriod (Anon. registers of the piano, and occur in simultaneous super-
n.d.). imposition. The first tempo uses 12 chromatic durations
applied to the semidemiquaver, the second does the same
with the semiquaver unit quaver, and the third with the
2 Analysis quaver (Sherlaw Johnson 1989, 105).
“The durations, intensities and attacks operate on the
The work consists of four movements same plane as the pitches; the combination of modes re-
veals colors of durations and intensity; each pitch of the
1. “Ile de feu I” (Fire Island I) same name has a different duration, attack and intensity
for each register in which it appears; the influence of reg-
2. “Mode de valeurs et d'intensités” (Mode of Dura- ister upon the quantitative, phonetic, and dynamic soun-
tions and Intensities) scape, and the division into three temporal regions im-
3. “Neumes rythmiques” (Rhythmic Neumes) bues the passage with the spirit of the sounds that traverse
them, creating the potential for new variations of colors”
4. “Ile de feu II” (Fire Island II) (Messiaen 1994).

1
2 4 DISCOGRAPHY

2.3 “Neumes rythmiques” a mode of twelve durations, twelve sounds, four attacks
and five intensities (Sherlaw Johnson 1989, 108). The
The first of the four to be composed, this étude alternates rhythmic focus in this piece concerns a symmetrical per-
two separate sets of refrains with longer strophes given mutation scheme for a duration scale initially given in de-
over to the rhythmic neumes of the title. The first set of scending order of durations. The elements are reordered
refrains is marked “rythme en ligne triple: 1 à 5, 6 à 10, according to a wedge-shaped process, which Messiaen
11 à 15”, which means there are three durations, short, elsewhere called “permutation in the form of an open
medium, and long, which are progressively expanded, fan”. The first permutation produces an new ordering
upon each repetition, by the addition of a semiquaver which Messiaen called “Interversion I”. The same permu-
unit. tation scheme applied to this first interversion produces
The second set of refrains is marked “Nombre pre- “Interversion II”, and so on (Sherlaw Johnson 1989, 109):
mier en rythme non rétrogradable” (A prime number A peculiarity is that the successive applications of this
in non-retrogradable rhythm) and, like the first set of permutation do not yield the twelve permutations which
refrains with which they alternate, are expanded upon might be expected. This is because the values 10 and 5
repetition—in this case by a series of progressively larger map into each other under this operation—which can be
prime numbers: 41, 43, 47, and 53 semiquavers. seen by scanning down columns 3 and 8 in the table. Con-
The strophes which occur between the refrains are sequently, the original order returns once the remaining
marked “neumes rythmiques, avec résonances et inten- ten values have circulated. This unexpected restriction
sités fixes” (rhythmic neumes, with fixed resonances and has been cited as an example of what Messiaen called the
intensities). From his studies of the neumatic notation “charm of impossibilities” (Sherlaw Johnson 1989, 109).
symbols of plainchant, Messiaen had formed the idea Messiaen later applied such permutation schemes in
of exploring the rhythms corresponding to them. “In works of larger scale, such as the orchestral work
an interplay of transposition, the neumatic symbol as Chronochromie, completed in 1960 (Bauer 2008, 149–
an indication of a sinuous melodic entity is now ap- 50).
plied to a rhythmic motive. Each rhythmic neume is as-
signed a fixed dynamic and resonances of shimmering
colours, more or less bright or somber, always contrast- 3 Reception
ing” (Messiaen 1994).
The collage-like rhythmic structure grows from the The second of the études, “Mode de valeurs et
iambic rhythm found at the beginning of the first stro- d'intensités”, overshadows all the others for having be-
phe. As in the refrains, there is a process of augmen- come the model for composers interested in the seri-
tation upon repetition, in which new duration units are alisation of musical parameters other than pitch. Ini-
added in order to form more complex rhythmic cells. tially, this influence occurred through works composed
The pitches grow out of the major seventh and the tri- in 1950 and 1951 by two of Messiaen’s pupils, Karel
tone found at the beginning of the first strophe and in its Goeyvaerts and Michel Fano. Messiaen’s composition
third bar, respectively. Five basic dynamic-envelope pat- and one of the works inspired by it, Goeyvaerts’s Sonata
terns are applied to different groups, while at the same for Two Pianos, impressed Karlheinz Stockhausen at
time the melodic motives constantly re-emerge in differ- the Darmstädter Ferienkurse in 1951, prompting him to
ent rhythms (Sherlaw Johnson 1989, 104–105). compose Kreuzspiel—his first acknowledged work (Toop
1974, 142–43). Pierre Boulez, after a period of estrange-
ment from Messiaen caused by what Boulez viewed as
2.4 “Ile de feu II” the excessively sensual Turangalîla-Symphonie, belatedly
discovered the “Mode de valeurs” in 1951 and composed
Although Messiaen’s programme note for this étude says his Structures, Book I as a gesture of conciliation to his
that it is, like the first étude, “also dedicated to Papua or former teacher, transforming the twelve “triplum” ele-
New Guinea”, his posthumously published analysis em- ments of the Mode’s first division into ordered series and
phatically states that it refers only to the former, not the composed Structures 1a in a single night (Gather 2003,
latter (Messiaen 1996, 165). "[T]he principal theme, fe- 78–79, 81–82).
rocious and violent, has the same character as the themes
of the first étude; the variations on this theme alternate
with permutations, successively permuted according to 4 Discography
the same process and superimposed two by two; the piece
closes with a cross-handed perpetual motion in the depths • Olivier Messiaen: Quatre études de rythme. Olivier
of the keyboard” (Messiaen 1994). Messiaen, piano. Sound Recording 2 discs, 78rpm,
The opening strophe from Île de feu I is modified to be- 30 cm. Columbia LFX 998/9 (CLX 2843; CLX
come the cyclic theme of this étude. As in the other 2844; CLX 2845; CLX 2846) [France]: Columbia,
pieces, this alternates with episodes, in this case based on 1951. Presumably the same recording reissued in:
 3

• Les rarissimes de Olivier Messiaen. CD 1: 1976. Reissued as part of The Legendary Busoni
Trois petites liturgies de la présence divine; Les Recordings & Works by Bach, Bartók, Brahms, Mes-
offrandes oubliées; Vingt regards sur l'enfant siaen, Stravinsky. Paul Jacobs, piano. Compact disc,
Jésus; Trois préludes; CD 2: Visions de l'amen 2 sound discs: digital, stereo, 12 cm. Arbiter 124.
pour deux pianos; Quatre études de rythme. New York: Arbiter, 2000.
Olivier Messiaen and Yvonne Loriod, piano;
Jeanne Loriod, ondes Martenot; Ensemble • Olivier Messiaen: Cantéyodjayâ; “Neumes ryth-
Vocal Marcel Couraud; Orchestre de Cham- miques; "Île de feu” I and II. Robert Sherlaw John-
bre André Girard; Orchestre de l'Association son: Piano Sonata No. 1; Seven Short Pieces. Robert
des Concerts Pierné; Marcel Couraud and Sherlaw Johnson, piano. LP recording, sound disc:
Roger Désormière, conds. Recorded: Paris, analog, 33⅓rpm, stereo. Argo ZRG 694. London:
Théâtre Apollo und Studio Albert, between Argo, 1972.
1942 and 1954. Audio restoration by EMI • Olivier Messiaen: Préludes & études. Michel
Music France. Compact disc, 2 sound discs: Béroff, piano. LP recording, 1 disc, 33rpm, 30 cm.
monaural, 12 cm. EMI Classics 0946 385275 La voix de son maître 2 C 06916229. France: Pathé
2 7. [France]: EMI Music France, 2007. Marconi, 1978.
• Premier festival de l'art d'avant-garde. Anton We- • Iannis Xenakis: Evryali 1973; Herma: 1962; Olivier
bern: Cinq mélodies, op. 4; Variations pour piano, Messiaen: Quatre etudes de rythme. Yuji Takahashi,
opus 27; Trois chants, op. 23; Olivier Messiaen: piano. Recorded at Arakawa Public Hall, Tokyo
Quatre études de rythmes; Pierre Boulez: Etude II 21–22 May 1976. Compact disc, 1 sound disc: dig-
(“Etude sur sept sons”); Jean Barraqué: Etude. Ethel ital, stereo. ; 4 3/4 in. Denon 33CO-1052. [Japan]:
Semser, soprano; Paul Jacobs, piano. Musique sur Denon, 1986.
bande. LP recording, 1 disc, 33rpm, 30 cm. Barclay
89005. [N.p.]: Barclay Records, 1959. • César Franck: Prélude, choral et fugue; Olivier
Messiaen: Quatre études de rythme; Edvard Grieg:
• Olivier Messiaen: Huit préludes; Quatre études de Sonata in E Minor, op. 7; Sergei Rachmaninov:
rythme. Yvonne Loriod, piano. LP recording, 1 Variations on a Theme by Arcangelo Corelli, op.
disc, 33rpm, stereo, 30 cm. Erato STU 70433. 42. Shura Cherkassky, piano. Compact disc,
Paris: Éditions Costallat, 1968. Reissued as part of: sound disc, digital, stereo, 12 cm. Nimbus Records
NI5090. Monmouth: Nimbus records Ltd., 1988.
• Messiaen: Petites esquisses d'oiseaux, Huit
Préludes; Quatre études de rythme. Yvonne • The Piano Music of Olivier Messiaen. Préludes;
Loriod, piano. Erato 2292-45505-2/5 ECD Quatre études de rythme; Cantéyodjayâ . Peter
71589 (+). Previously released in 1968 (2nd– Hill, piano. Previously released on analog discs in
3rd works) and in 1988; Yvonne Loriod, pi- 1985 (1st work) and 1986 (remainder). Recorded
ano./ Recorded at the Eglise Notre-Dame du in Rosslyn Hill Unitarian Chapel, 21–22 Febru-
Liban, Paris, October 1987 (1st work) and ary 1984 and 25–26 September 1985. Compact
January 1968 (2nd and 3rd works). Compact disc, 1 sound disc: digital, stereo, 12 cm. London:
disc, 1 sound disc: digital; 12 cm. [Paris]: Er- Unicorn-Kanchana, 1989. Also packaged as part of
ato, n.d. Messiaen Edition vol. 1: Organ Works; Piano Works;
Songs. Willem Tanke; Peter Hill, piano; Ingrid
• Olivier Messiaen: Vingt regards sur l'Enfant
Kappelle; Håkon Austbø, piano. Compact disc, 17
Jésus; Petites esquisses d'oiseaux; Huit
sound discs: digital, stereo, 12 cm. Brilliant Classics
préludes; Quatre études de rythme. Yvonne
8949/1–17. [Leeuwarden, The Netherlands]: Bril-
Loriod, piano. Recorded at the Eglise
liant Classics, 2008.
Notre-Dame du Liban, Paris, October 1973
(CD 1 & CD 2); October 1987 & October • Messiaen: Petites esquisses d’oiseaux; Cantéyodjayâ;
1968 (CD 3). Compact disc, 3 sound discs: Quatre eetudes de rhythme; Pièce pour le tombeau
analog/digital, stereo, 12 cm. Series: Piano de Paul Dukas. Gloria Cheng, piano. Recorded
français. Erato 4509-96222-2. France: Erato, 20–21 December 1993 at SUNY Purchase Recital
1987. Hall. Compact disc recording: digital, stereo, 12
cm. Koch International Classics 3-7267-2 H1. Port
• Piano Etudes by Bartók, Busoni, Messiaen, Stravin- Washington, NY: Koch International L. P., 1994.
sky. Olivier Messiaen: Quatre etudes de rythme;
Béla Bartók: Studies for Piano, op. 18; Ferruc- • Études pour piano, vol. 1: Strawinsky, Bartók, Mes-
cio Benvenuto Busoni: Klavierübung (selections); siaen, Ligeti. Igor Strawinsky: Quatre études op.
Igor Fedorovich Stravinsky, Etudes for Piano, no. 7; Béla Bartók: Studies, op. 18; Olivier Messiaen:
7. Paul Jacobs, piano. LP recording, 1 disc: stereo- Quatre études de rythme. György Ligeti: Etudes
phonic. Nonesuch H-71334. Nonesuch Records, pour piano, premier livre et deuxième livre. Erika
4 5 REFERENCES

Haase, piano. Recorded Frankfurt am Main, Feste- • Olivier Messiaen, 1908–1992. The Anniversary Edi-
burgkirche, 1997. Compact disc, sound disc: dig- tion, vol. 7. Visions de l'amen; Quatre études de ry-
ital, stereo, 12 cm. Tacet 53. [Germany]: Tacet, thme; Cantéyodjayâ. In the 1st work: Alexandre
1997. Rabinovitch, Martha Argerich, pianos; 2nd work:
Michel Béroff, piano ; 3rd work: John Ogdon, pi-
• Olivier Messiaen: Piano Music. Håkon Austbø, pi- ano. 1 sound disc: digital, 12 cm. EMI Classics
ano. Vol. 3; Préludes [1–8]; Four rhythmic studies 2174732. 2008
[Quatre études de rythme]; Cantéyodjayâ.; Vol. 4;
Les offrandes oubliées; Fantaisie burlesque; Pièce • Complete edition. Olivier Messiaen; Roger Muraro;
pour le tombeau de Paul Dukas; Rondeau; Prélude Olivier Latry. Compact disc 32 sound discs: digi-
(1964); La fauvette des jardins. Compact disc, 4 tal; 12 cm. Deutsche Grammophon (set) 480 1333;
sound discs Vol. 1– . [S.l.]: HNH International, Deutsche Grammophon 480 1365-480 1334. CD
1999- 2: Petites esquisses d'oiseaux; Quatre études de ry-
thme; Cantéyodjayâ; Rondeau; Fantasie burlesque;
• Angela Hewitt Plays Olivier Messiaen. Préludes Prélude pour piano; Piéce pour le tombeau de Paul
(selections): La colombe; Chant d'extase dans un Dukas. Roger Muraro, piano. Germany: Deutsche
paysage triste; Le nombre léger; Instants défunts; Grammophon, 2008.
Les sons impalpables du rêve; Cloches d'angoisse et
larmes d'adieu; Plainte calme; Un reflet dans le vent
...; Quatre études de rythme (selections): Île de feu
1; Île de feu 2; Vingt regards sur l'enfant Jésus (se-
5 References
lections): Regard de la Vierge; Le baiser de l'Enfant-
Jésus; Regard de l'esprit de joie. Angela Hewitt, pi- • Anon. n.d. " Olivier Messiaen (1908-1992): Qua-
ano. Recorded in the Reitstadel, Neumarkt in der tre Études de rythme (1949-1950), pour piano".
Oberpfalz, Germany, 21–23 January 1998. Com- Brahms.ircam.fr (accessed 27 October 2012).
pact disc; 1 sound disc: digital, stereo, 12 cm. Hy-
• Barash, Amari Pepper. 2002. “Cadential Gestures
perion CDA67054. London: Hyperion, 1998.
in Post-tonal Music: The Constitution of Cadences
• Composizioni per pianoforte. Maurice Ravel: Le in Messiaen’s 'Île de feu I' and Boulez' Première
tombeau de Couperin; Claude Debussy: Cinq pre- sonate, First Movement”. DMA thesis. New York:
ludes; Jeux d'eau; Olivier Messiaen: Quatre études City University of New York, Graduate Center.
de rythme. Luca Trabucco, pianist. Twentieth Cen- • Bauer, Amy. 2008. “The Impossible Charm of
tury French Piano Music. Compact disc, 1 sound Messiaen’s Chronochromie". In Messiaen Studies,
disc: stereo, digital, 12 cm. Sony PH 99504. [Aus- edited by Robert Sholl, 145–67. Cambridge Com-
tria]: Sony, 1999. poser Studies. Cambridge and New York: Cam-
• Olivier Messiaen: Visions de l'amen; Quatre études bridge University Press, 2008. ISBN 978-0-521-
de rythme; Cantéyodjayâ. Paul S. Kim, piano; 83981-5.
Matthew Kim, 2nd piano (in 1st and 2nd [sic] • Covington, Kate R. 1980. “Visual Perception vs.
works). Compact disc. Recorded Armonk, New Aural Perception: A Look at 'Mode de valeurs et
York August 2002, (1st work); New York City, d'intensités’". Indiana Theory Review 3, no. 2:4–
September 2002 (remaining works). Compact disc 11.
1 sound disc: digital; 12 cm. Centaur Records CRC
2668. [Baton Rouge, La.]: Centaur Records, 2003. • Gather, John-Philipp. 2003. “The Origins of Syn-
thetic Timbre Serialism and the Parisian Conflu-
• Olivier Messiaen: Préludes; Quatre études de ence, 1949–1952”. PhD diss. Buffalo: State Uni-
rythme ; Cantéyodjayâ. Martin Zehn, piano. versity of New York at Buffalo.
Recorded in Cologne (Klaus-von-Bismarck-Saal).
Compact disc 1 sound disc: digital, stereo, 12 cm. • Hufschmidt, Wolfgang. 1981. “Musik aus Zahlen.
Arte Nova 82876 57833 2; [Europe] : BMG ; Prinzipien der musikalischen Formgestaltung in der
[France] : distrib. BMG, 2004 seriellen Kompositionspraxis”. In Reflexionen über
Musik heute: Texte und Analysen, edited by Wilfried
• Hommage à Messiaen. Pierre-Laurent Aimard, pi- Gruhn, 24–57. Mainz: Schott Musik International.
ano. Compact disc, sound disc: digital, stereo, 12
cm. Deutsche Grammophon 477 7452 GH. Con- • Kämper, Dietrich. 2004. “Olivier Messiaen und
tents: Préludes pour piano (selection): “La bous- die musikalische Avantgarde der fünfziger Jahre:
carle"; Catalogue d'oiseaux (selection): “L'alouette Zur Rezeption der Etüde 'Mode de valeurs et
Lulu"; Quatre études de rythme (selections): “Ile de d'intensités’". In Kompositorische Stationen des 20.
feu 1 et 2”. Hamburg: Deutsche Grammophon, Jahrhunderts: Debussy, Webern, Messiaen, Boulez,
2008. Cage, Ligeti, Stockhausen, Höller, Bayle, edited by
 5

Christoph von Blumröder and Tobias Hünermann, • Trawick, Eleanor F. 1999. “Order, Progression, and
24–34. Signale aus Köln 7. Münster: Lit Verlag. Time in the Music of Messiaen”. Ex Tempore 9, no.
ISBN 978-3-8258-7212-0. 2 (Spring–Summer): 64–77.

• Kämper, Dietrich. 2006. “Messiaen und die

Darmstädter Ferienkurse: eine Begegnung”. In
La cité céleste: Olivier Messiaen zum Gedächtnis—
6 Further reading
Dokumentation einer Symposienreihe, edited by
Christine Wassermann Beirão, 181–90. Berlin: • Bauer, Hans-Joachim. 1983. “Klangkristalle.
Weidler. ISBN 978-3-89693-473-4. Zur Analyse einer seriellen Komposition für den
Musikunterricht”. Zeitschrift für Musikpädagogik 8,
• Kinzler, Hartmuth. 1997. “Viereinhalb no. 22:48–57.
Marginalien zum ersten Stadium von Stock-
• D'âčkova, Lûdmila Sergeevna (Дьячкова,
hausens Kreuzspiel". Musiktheorie 12, no. 1
Людмила Сергеевна). 2002. "Парадигма
(Analysieren und Hören neuer Musik): 71–86.
как научный метод познания" [Paradigm as a
• Krumhansl, Carol L. 1991. “Internal Representa- scholarly method of cognition]. In Музыковедение
tions for Music Perception and Performance”. In к началу века: Прошлое и настоящее [Musicol-
Cognitive Bases of Musical Communication, edited ogy at the Turn of the Century: Past and Present],
by Mari Riess Jones and Susan Holleran, 197–211. edited by Tat'âna Ivanovna Naumenko (Татьяна
Washington, D.C.: American Psychological Asso- Ивановна Науменко), 24–41. Moscow: Rossi-
ciation. ISBN 1-55798-127-2. jskaâ Akademiâ Muzyki imeni Gnesinyh. ISBN
5-8269-0052-0.
• Messiaen, Olivier. 1994. Programme note in book-
let accompanying Koch International Classics 3- • Firnkees, Gertrud. 1980. “Improvisation als Ein-
7267-2 H1. führung in die zeitgenössische Musik”. Zeitschrift
für Musikpädagogik 5, no. 12:192–95.
• Messiaen, Olivier. 1996. Traité de rythme, de
• Lee, John Madison. 1972. “Harmonic Structures
couleur, et d’ornithologie (1949-1992): en sept
In The 'Quatre études rythmiques’ [sic] of Olivier
tomes. vol. 3. Paris: Editions Musicales
Messiaen”. Ph.D. diss. Tallahassee: The Florida
Alphonse Leduc. ISBN 9782856890493 (br); ISBN
State University.
9782858690497.
• Puspita, Amelia. 2008. “The Influence of Balinese
• Nichols, Roger. 1975. Messiaen. Oxford Studies
Gamelan on the Music of Olivier Messiaen”. DMA
of Composers 13. Oxford and New York: Oxford
diss. Cincinnati: University of Cincinnati.
University Press.
• Song, Sun-ju. 2008. “Music Analysis and the
• Schweizer, Klaus. 1973. “Olivier Messiaens Avant-Garde Compositions of Post–World War II:
Klavieretude Mode de valeurs et d'intensités”. Four Case Studies”. PhD diss. Nathan: Queensland
Archiv für Musikwissenschaft 30, no. 2:128–46. Conservatorium Griffith University.
• Sherlaw Johnson, Robert. 1989. Messiaen, revised • Zheng, Zhong ( ). 2005. ——
and updated edition. London: J. M. Dent & Sons; [Messiaen’s Multi-level
Berkeley: University of California Press. ISBN Serial Composition Technique: On the Example of
9780460126038 (London); ISBN 9780520067349 the Piano Piece 'Mode de valeurs et d'intensités’].
(Berkeley). Huangzhong: Zhongguo Wuhan Yinyue Xueyuan
xuebao/Huangzhong: Journal of Wuhan Conserva-
• Stegemann, Michael. 1986. “O. Messiaen: Mode
tory of Music, China 1, no. 73:57–63.
de valeurs et d'intensités”. In Werkanalyse in
Beispielen, edited by Siegmund Helms and Helmuth
Hopf, 360–69. Regensburg: Gustav Bosse. ISBN
37-649-2276-1. 7 External links
• Toop, Richard. 1974. “Messiaen/ Goeyvaerts, • Fiche de l'ircam
Fano/ Stockhausen, Boulez”. Perspectives of New
Music 13, no. 1 (Fall–Winter): 141–69. • Work on « Île de Feu I » and « Île de Feu II » (Por-
tuguese)
• Toop, Richard. 2000. “Von der 'Sternenmusik'
zur Musik des Weltraums: Karlheinz Stockhausens
musikalischer Kosmos”. Neue Zeitschrift für Musik
161, no. 6 (November–December): 38–43.
6 8 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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