Adieu (Stockhausen)wikipedia
Adieu für Wolfgang Sebastian Meyer is a composition for wind quintet by Karlheinz Stockhausen composed in 1966.
AdieuAdieu'' (Stockhausen)Adieu für Wolfgang Sebastian Meyer

Zeitmaße

Zeitmasze
In June 1966 the oboist Wilhelm Meyer, who had frequently performed Stockhausen's earlier quintet Zeitmaße under the composer's direction, asked Stockhausen to compose a new wind quintet for an upcoming tour of Asia.
It is the first of three wind quintets written by the composer (the others being Adieu für Wolfgang Sebastian Meyer of 1966 and the Rotary Wind Quintet of 1997), but is scored with cor anglais instead of the usual horn of the standard quintet.

Karlheinz Stockhausen

StockhausenKarlheinz StockhausenStockhausen, Karlheinz
Adieu für Wolfgang Sebastian Meyer is a composition for wind quintet by Karlheinz Stockhausen composed in 1966.
In other compositions, such as Stop for orchestra (1965), Adieu for wind quintet (1966), and the ''Dr.

Wind quintet

wind quintetwoodwind quintetwoodwind ensemble
Adieu für Wolfgang Sebastian Meyer is a composition for wind quintet by Karlheinz Stockhausen composed in 1966.

William Waterhouse (bassoonist)

William WaterhouseWaterhouse, William
In 1974 he recorded Stockhausen's Adieu with the London Sinfonietta: Sebastian Bell (flute), Janet Craxton (oboe), Antony Pay (clarinet) and John Butterworth (horn), conducted by the composer.

Rotary Wind Quintet

Rotary'' Wind QuintetRotary-Bläserquintett
The Rotary Wind Quintet is a chamber-music composition by Karlheinz Stockhausen, the last of his three wind quintets (following Zeitmaße and Adieu) and is Nr. 70½ in his catalogue of works.

Ylem (Stockhausen)

Ylem
Where Sadie found contrasts to Stockhausen's earlier works, New Zealand composer and writer Robin Maconie perceives similarities: Spiel (1952), Gruppen (1955–57), Kontakte (1958–60), Momente (1962–64/69), the moment titled "Translation" in Mixtur (1964), Adieu (1966), the "Russian Bridge" in the Third Region of Hymnen with orchestra (1966–67/69), Intervall for piano four-hands (1969), and the ''Dr.

Hymnen

Hymnen, dritte Region mit Orchester
Stockhausen initially demurred because a new quintet would probably take months to compose, and the current production of Hymnen in the Cologne electronic studio was taking up all of his time.

Piet Mondrian

MondrianPiet MondrianPiet Mondriaan
A visit made a few days later to a comprehensive exhibition in The Hague of Piet Mondrian's paintings made Stockhausen ask himself, when confronted with Mondrian's well-known series of paintings titled simply "compositions"—with their strict organization by vertical and horizontal lines dividing the canvasses into rectangles—why it should be necessary to take months of concentrated work to produce a piece.

Organist

organistcathedral organistconcert organist
Recalling also that Meyer's son Wolfgang Sebastian, an organist who not long before had asked Stockhausen to compose an organ piece, had been killed in a car crash on 10 January 1966, he immediately set to work on the new quintet in memory of the oboist's son, and completed it two days later.

Microtonal music

microtonalmicrotonal musicmicrotonality
This is accomplished through the use of long-held chords with microtonal fluctuations and gestures of interrupted movement—unfinished cadences, abrupt changes in the sound, and so on.

Cadence (music)

cadencecadencesplagal cadence
This is accomplished through the use of long-held chords with microtonal fluctuations and gestures of interrupted movement—unfinished cadences, abrupt changes in the sound, and so on.

Fibonacci number

Fibonacci sequenceFibonacciFibonacci spiral
The work is divided into sections proportioned according to the Fibonacci numbers from 1 to 144.

Wolfgang Amadeus Mozart

MozartWolfgang Amadeus MozartW. A. Mozart
The main material consists of long-drawn out, static or slowly changing sound expanses, interrupted at intervals by general pauses and five short, unfinished traditional tonal cadences, reminiscent of Mozart.

Articulation (music)

articulationarticulationsmusical articulation
Each Fibonacci duration is associated throughout the composition with a particular articulation type.

Trill (music)

trilltrillsshake
The value 13, for example, is associated with trills.

Dynamics (music)

crescendodynamicspianissimo
On the other hand, where 13 combines with 8 to form a larger section of 21 units, the 13 bar will take on in addition to trills the character associated with 21, which is crescendo.