Uploaded December 2015 | Updated September 2026, 1 week ago
I. Allegro nervoso (5:09)
II. Sostenuto, molto calmo (4:55)
III. Come un meccanismo di precisione (3:07)
IV. Presto furioso, brutale, tumultoso (2:03)
V. Allegro con delicatezza stets sehr mild (5:33)
The LaSalle Quartet:
Violin – Henry Meyer, Walter Levin
Viola – Peter Kamnitzer
Cello – Jack Kirstein
György Ligeti was born on 28.5.1923 as the son of Hungarian-Jewish parents in Dicsőszentmárton (now known as Tîrnăveni, in Transylvania/Rumania). He studied at the Conservatory in Klausenburg with Ferenc Farkas from 1941 to 1943 and from 1945 to 1949 at the Franz Liszt Academy in Budapest with Sándor Veress, Pál Járdányi and Lajos Bárdos. Following the abatement of the Hungarian Revolution, he left his native country in December 1956 for both political and artistic reasons. During his time as freelancer in the West German Radio studio for electronic music in Cologne (1957-58), he undertook an intense study of the music of Karlheinz Stockhausen, Mauricio Kagel and Pierre Boulez. In the 1960s, Ligeti was associate professor at the Summer School for Contemporary Music in Darmstadt and guest professor at the Royal Swedish Academy of Music in Stockholm. He received a scholarship from the German Academic Exchange Programme (DAAD) in Berlin for 1969-70 and was Composer in Residence at the Stanford University in California in 1972 before being appointed as Professor for Composition at the Hamburg Musikhochschule the following year. The composer made a substantial impact on international contemporary music both as a university professor (up to 1989) and as an active member of the music scene and became the musical aesthetic benchmark for a whole generation. György Ligeti died in Vienna on 12 June 2006.
I. Allegro nervoso (5:09)
II. Sostenuto, molto calmo (4:55)
III. Come un meccanismo di precisione (3:07)
IV. Presto furioso, brutale, tumultoso (2:03)
V. Allegro con delicatezza stets sehr mild (5:33)
The LaSalle Quartet:
Violin – Henry Meyer, Walter Levin
Viola – Peter Kamnitzer
Cello – Jack Kirstein
György Ligeti was born on 28.5.1923 as the son of Hungarian-Jewish parents in Dicsőszentmárton (now known as Tîrnăveni, in Transylvania/Rumania). He studied at the Conservatory in Klausenburg with Ferenc Farkas from 1941 to 1943 and from 1945 to 1949 at the Franz Liszt Academy in Budapest with Sándor Veress, Pál Járdányi and Lajos Bárdos. Following the abatement of the Hungarian Revolution, he left his native country in December 1956 for both political and artistic reasons. During his time as freelancer in the West German Radio studio for electronic music in Cologne (1957-58), he undertook an intense study of the music of Karlheinz Stockhausen, Mauricio Kagel and Pierre Boulez. In the 1960s, Ligeti was associate professor at the Summer School for Contemporary Music in Darmstadt and guest professor at the Royal Swedish Academy of Music in Stockholm. He received a scholarship from the German Academic Exchange Programme (DAAD) in Berlin for 1969-70 and was Composer in Residence at the Stanford University in California in 1972 before being appointed as Professor for Composition at the Hamburg Musikhochschule the following year. The composer made a substantial impact on international contemporary music both as a university professor (up to 1989) and as an active member of the music scene and became the musical aesthetic benchmark for a whole generation. György Ligeti died in Vienna on 12 June 2006.






![Karlheinz STOCKHAUSEN: Stimmung
Stimmung, for six vocalists and six microphones, is a piece by Karlheinz Stockhausen, written in 1968 and commissioned by the City of Cologne for the Collegium Vocale Köln. Its average length is seventy-four minutes, and it bears the work number 24 in the composers catalog. It is a tonal, and yet also a serial composition (Toop 2005, 39; Stuppner 1974).
The German word Stimmung [ˈʃtɪmʊŋ] has several meanings, including tuning and mood. The word is the noun formed from the verb stimmen, which means to harmonize, to be correct, and related to Stimme (voice).
Stimmung is in just intonation. Six singers amplified by six microphones tune to a low B♭1 drone, inaudible to the audience, and expand upwards through overtone singing, with that low B♭s harmonics 2, 3, 4, 5, 7, and 9 (B♭2, F+2, B♭3, D4, A7♭+4, and C+5) becoming in turn fundamentals for overtone singing. It is composed using what the composer calls moment form, and consists of 51 sections (called moments).
Stockhausen himself attributes a month spent walking among ruins in Mexico as his primary influence, Stimmung recreating that magic space. On the other hand, he also describes the snow on frozen Long Island Sound in February and March 1968 (when he was composing Stimmung in Madison, Connecticut), as the only landscape I really saw during the composition of the piece (Cott 1974, 163). In a letter to Gregory Rose written on 24 July 1982 (printed in the liner notes to Hyperion CDA66115), he describes how, in the small house his wife Mary had rented it was only possible for him to work at night because their two small children needed quiet during the day. He could not sing aloud, as he had done initially, but began to hum quietly, listening to the overtone melodies. Mary reports that Stockhausen first discovered the technique when listening to their small son Simon producing multiple tones while humming in his crib after falling asleep. In this way, Stockhausen became the first Western composer to use this technique of singing again—in the Middle Ages it had been practised by women and children in churches, but was later entirely supplanted by masculine Gregorian music (Bauermeister 2011, 217–18).
Commissioned by the city of Köln for the Collegium Vocale Köln, an ensemble at the Rheinische Musikschule (Rhenish Conservatory). Composed during February and March 1968 in Madison, Connecticut (US). Dedicated to Mary Bauermeister. Recorded at Westdeutscher Rundfunk Köln, October 30th & 31st 1969.
Baritone Vocals – Georg Steinhoff
Bass Vocals – Hans-Alderich Billig
Composed By, Directed By, Liner Notes – Karlheinz Stockhausen
Design – Holger Matthies Ensemble – Collegium Vocale Köln Liner Notes [Translated By] – Richard Toop
Mezzo-soprano Vocals – Helga Albrecht
Soprano Vocals – Dagmar Apel, Gaby Rodens
Tenor Vocals, Directed By – Wolfgang Fromme
Words By [Magic Names Collated By] – Nancy Wyle
© Stockhausen Foundation for Music, 51515 Kürten (www.stockhausen-verlag.com) Karlheinz STOCKHAUSEN: Stimmung](https://i.ytimg.com/vi/KB981oiSuH4/mqdefault.jpg)



