List_of_dodecaphonic_and_serial_compositions

List of dodecaphonic and serial compositions

List of dodecaphonic and serial compositions

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This is an incomplete list of musical pieces composed in the twelve-tone technique and pieces that use serialism.

List of musical pieces composed in the twelve-tone technique

List of pieces that use serialism

Organized by composer:

  • Tadeusz Baird
    • Cassazione per orchestra (1956)
    • String Quartet (1957)
    • Four Essays (1958)
    • Erotyki (1961)
  • Jean Barraqué
    • ... Au delà du hasard (premier "commentaire" de "Affranchi du hasard" et du "Temps restitué") for four instrumental groups and one vocal group (1958–59)
    • Chant après chant for six percussionists, voice and piano (1966)
    • Concerto for six instrumental groups and two solo instruments (vibraphone and clarinet) (1962–68)
    • Étude for 3-track tape (1952–53)
    • Séquence for voice, percussion and chamber ensemble (1950–55)
    • Sonata for Piano (1950–52)
    • Le Temps restitué for soprano, chorus and orchestra (1956–68)
  • Pierre Boulez
    • Anthèmes, for violin solo (1991/94)
    • Anthèmes II, for violin and live electronics (1997)
    • Cummings ist der Dichter, for chorus and ensemble (1970/1986)
    • Dérive 1, for six instruments (1984)
    • Dérive 2, for eleven instruments (1988/2002/2006)
    • Domaines, for clarinet solo or for clarinet and six instrumental groups (1968)
    • Études (2), musique concrète (1951–52)
    • ...explosante-fixe...
      • for flute, clarinet, and trumpet (1971–72)
      • for flute, clarinet, trumpet, harp, vibraphone, violin, viola, cello, and electronics (1973–74)
      • version for vibraphone and electronics (1986)
      • for solo MIDI flute, two "shadow" flutes, chamber orchestra, and electronics (1991–93)
      • version for vibraphone and electronics (1986)
    • Figures—Doubles—Prismes, for orchestra (1957–58/1964/1968)
    • Improvisé—pour le Dr. K, for flute, clarinet, piano, violin, and cello (1969; revised 2005)
    • Incises, for piano (1994/2001)
    • Livre, for string quartet (1948); two movements reworked for string orchestra (1968/1989)
    • Le marteau sans maître (1955–57)
    • Messagesquisse, for solo cello and six cellos (1976)
    • Notations
      • for piano (1945)
      • I–IV and VII for orchestra (1978–1984/1997)
    • Poésie pour pouvoir, for tape and 3 orchestras (1955/58, withdrawn)
    • Polyphonie X (1950–51)
    • Sonata No. 1, for piano (1946)
    • Sonata No. 2, for piano (1947–48)
    • Sonata No. 3, for piano (1958–63, unfinished)
    • Pli selon pli (1957–62)
    • Répons, for six soloists, chamber orchestra, and live electronics (1981–84)
    • Rituel in Memoriam Bruno Maderna, for large chamber ensemble in eight groups (1974–75)
    • Sonatine, for flute and piano (1946)
    • Structures, book I for two pianos (1952)
    • Structures, book II for two pianos (1961)
    • Sur incises, for 3 pianos, 3 harps, and 3 mallet percussion instruments (1996/1998)
  • Jacques Calonne
    • Orbes for orchestra (1965) [15]
  • Benjamin Frankel
  • Alexander Goehr
    • Piano Sonata (1952)[17]
    • The Deluge (1958)[17]
  • Karel Goeyvaerts
    • Nummer 1, Sonata for two pianos (1950–51)
    • Nummer 2, for thirteen instruments (1951)
    • Nummer 3 met gestreken en geslagen tonen, for chamber ensemble (1952)
    • Nummer 4 met dode tonen, electronic music (1952)
    • Nummer 5 met zuivere tonen, electronic music (1953)
    • Nummer 6 met 180 klankvoorwerpen (1954)
    • Nummer 7 met convergerende en divergerende niveaus, electronic music (1955)
  • Ernest Gold
  • Jerry Goldsmith
  • Wojciech Kilar
    • Riff 62 (1962)
  • Gottfried Michael Koenig
    • Zwei Klavierstücke, for piano solo (1957)
    • Quintet for Woodwinds, for flute, oboe, cor anglais, clarinet, and bassoon (1958–59)
    • String Quartet 1959 (1959)
  • Ernst Krenek
    • String Quartet No. 6 (for example)
  • Witold Lutosławski
    • Symphony No. 1 (1947)
    • Five Songs to Words by Kazimiera Iłłakowiczówna for soprano and piano (1957); Arrangement with Orchestra (1958)
    • Musique funèbre (1958)
    • Trois poèmes d'Henri Michaux (1963)
    • Livre pour orchestre (1968)
    • Cello Concerto (1970)
    • Mi-parti (1976)
    • Grave: Metamorphoses for Cello and Piano (1981)
    • Symphony No. 3 (1983)
  • Johnny Mandel
  • Luigi Nono
    • Canti per tredeci, 13 instruments, (1954–55)
    • Il canto sospeso (1955–56)
    • Cori di Didone, for chorus and percussion (1958)
    • Diario polacco: Composizione no. 2 (1958–59)
    • Due espressioni, for orchestra (1953)
    • Incontri, for 24 instruments (1955)
    • Polifonica—monodia—ritmica, for seven instrumentalists (1951)
    • Varianti, for violin, woodwinds, and strings (1957)
  • Krzysztof Penderecki
  • Henri Pousseur
    • Apostrophe et six Réflexions for piano (1964–66)
    • Aquarius-Mémorial (in memoriam Karel Goeyvaerts)
      • I. Les Litanies d'Icare for piano (1994)
      • II. Danseurs Gnidiens cherchant la Perle clémentine for chamber orchestra (1998)
      • III. Les Fouilles de Jéruzona for orchestra (1995)
      • IV. Icare au Jardin du Verseau for piano and chamber orchestra (1999)
      • La Guirlande de Pierre for soprano, baritone and piano (1997)
    • At Moonlight, Dowland's Shadow passes along Ginkaku-Ji for shakuhachi, shamisen, and koto (1989)
    • Ballade berlinoise for piano solo (1977)
    • Canines for voice and piano (1980)
    • Caractères for piano (1961)
    • Chroniques berlinoises for piano and string quartet with baritone ad lib. (1975)
    • Chroniques canines for two pianos with soprano ad lib (1984)
    • Chroniques illustrées for large orchestra with baritone ad lib. (1976)
    • Couleurs croisées for large orchestra (1967)
    • Crosses of Crossed Colors for vocal soloist, two to five pianos, six tape-recorder operators, two turntablists, and two radio operators (1970)
    • Déclarations d'Orage for reciter, soprano, baritone, three improvising instruments (alto saxophone, tuba, synthesizer), large orchestra and tape (1988–89)
    • Dichterliebesreigentraum for soprano, baritone, two solo pianos, choir and orchestra (1992–93)
    • Les Éphémérides d'Icare 2 for a soloist, three-part concertino, and four instrumental quartets (1970)
    • Die Erprobung des Petrus Hebraïcus chamber opera in three acts, libretto by Léo Wintgens after Michel Butor (1974). Several "satellite" works are related to this opera:
    • Flexions IV for viola solo (1980)
    • Humeurs du Futur quotidien for two reciters and chamber orchestra (1978)
    • Les Icare africains for solo voices, ad lib. choir, and orchestra (2002)
    • Leçons d'Enfer music theatre for 2 actors, 3 singers, 7 instruments, tape, and live electronics; texts by Arthur Rimbaud and Michel Butor (1990–91)
    • Madrigal I for clarinet (1958)
    • Madrigal II for 4 early instruments (flute, violin, viola da gamba, harpsichord) (1961)
    • Madrigal III for clarinet, violin, cello, 2 percussionists, and piano (1962)
    • Mnémosyne monody solo voice or instrument, or unison choir (1968)
    • Mnémosyne II for variable media (1969)
    • Mobile for two pianos (1957–58)
    • Navigations for harp (2000)
    • Ode for string quartet (1960–61)
    • La Paganania for solo violin (1982)
    • La Paganania seconda for solo cello (1982)
    • Paraboles-Mix electronic music (1972)
    • Pédigrée for female voice and seven instruments (1980)
    • Phonèmes pour Cathy for mezzo-soprano solo (1966)
    • Prospection for three pianos tuned in sixths of a tone (1952–53)
    • Quintette à la memoire d'Anton Webern for clarinet, bass clarinet, violin, cello, and piano (1955)
    • Rimes pour différentes sources sonores for orchestra and tape (1958)
    • Scambi electronic music (1957)
    • Séismogrammes electronic music (1954)
    • Seize Paysages planétaires ethno-electroacoustical music (2000)
    • Sept Versets des Psaumes de la Pénitence for four vocal soloists or mixed choir (1950)
    • Symphonies à 15 Solistes (1954–55)
    • Tales and Songs from the Bible of Hell four singers with real-time electronic transformation and pre-recorded 4 track tape (1979)
    • Trois Visages à Liège electronic music (1961)
    • Votre Faust (1960–68), opera for five actors, four singers, twelve instruments, and electronic music, libretto by Michel Butor. Plus related "satellite" works:
      • Miroir de Votre Faust (Caractères II) for solo piano and (optional) soprano (1964–65),
      • Jeu de Miroirs de Votre Faust for piano, soprano and tape (1964–65)
      • Echos de Votre Faust for mezzo-soprano, flute, cello, and piano (1961–69),
      • Les Ruines de Jéruzona for mixed choir and "rhythm section" (1978),
      • La Passion selon Guignol for amplified vocal quartet and orchestra (1981),
      • Parade de Votre Faust for orchestra (1974)
      • Aiguillages au carrefour des immortels for 16 or 17 instruments (2002)
      • Il sogno di Leporello: Parade 2 (de Votre Faust) for orchestra (2005)
    • Vue sur les Jardins interdits for saxophone quartet (1973)
  • Miklós Rózsa
  • David Shire
  • Karlheinz Stockhausen
    • Adieu, for wind quintet (flute, oboe, clarinet, bassoon, and horn), Nr. 21 (1966)
    • Alphabet für Liège, Nr. 36 (1972)
      • Am Himmel wandre ich ("In the Sky I Am Walking", American Indian Songs), Nr. 36½ (1972)
    • Amour, 5 pieces for clarinet, flute, or saxophone Nr. 44 (1976)
    • Atmen gibt das Leben, choral opera with orchestra (or orchestra on tape), Nr. 39 (1974/76–77)
    • Aus den sieben Tagen ("From the Seven Days"), 15 texts for intuitive music (performable separately), Nr. 26 (1968)
    • Bassetsu-Trio, for basset horn, trumpet, and trombone, Nr. 3. ex 70 (1997). Arranged from Mittwoch aus Licht, scene 4: Michaelion
    • Carré, for 4 orchestras and choirs, Nr. 10 (1959–60)
    • Dr K–Sextett, for flute, bass clarinet, percussionist (tubular chimes and vibraphone), piano, viola, and cello, Nr. 28 (1968–69)
    • Konkrete Etüde, musique concrète, Nr. 1/5 (1952)
    • Europa-Gruss, Nr. 72 (1992/2002)
    • Expo, for 3 players or singers with 3 short-wave receivers, Nr. 31 (1969–70)
    • Formel, for small orchestra, Nr. 1/6 (1951)
    • Fresco, for 4 orchestral groups, Nr. 29 (1969)
    • Für kommende Zeiten, 17 texts for intuitive music, Nr. 33 (1968–70)
    • Gesang der Jünglinge, electronic and concrete music, Nr. 8 (1955–56)
    • Gruppen, for 3 orchestras, Nr. 6 (1955–57)
    • Harlekin, for clarinet, Nr. 42 (1975)
    • Helikopter-Streichquartett, for string quartet and 4 helicopters, Nr. 69 (1992–93) [Scene 3 of Mittwoch aus Licht]
    • Herbstmusik, musical theatre for 4 performers, Nr. 40 (1974)
      • Laub und Regen, duet for clarinet and viola, Nr. 40½
    • Hymnen, 4-channel electronic and concrete music (also version with soloists, and Third Region with orchestra), Nr. 22 (1966–67)
    • In Freundschaft, for clarinet (and versions for most other instruments), Nr. 46 (1977)
    • Inori, adorations for 1 or 2 soloists and large orchestra, Nr. 38 (1973–74)
      • Vortrag über HU, for a singer, Nr. 38½ (1974)
    • Jubiläum, for orchestra, Nr. 45 (1977)
    • Klang ("Sound", the 24 Hours of the Day), Nr. 81– (2004–2007)
      • First Hour: Himmelfahrt (Ascension), for organ (or synthesizer), soprano, and tenor, Nr. 81 (2004–05)
      • Second Hour: Freude (Joy), for 2 harps, Nr. 82 (2005)
      • Third Hour: Natürliche Dauern 1–24 (Natural Durations 1–24), for piano, Nr. 83 (2005–06)
      • Fourth Hour: Himmels-Tur (Heaven's Door), for a percussionist and a little girl, Nr. 84 (2005)
      • Fifth Hour: Harmonien (Harmonies), Nr. 85, versions for:
        • bass clarinet, Nr. 85.1 (2006)
        • flute, Nr. 85.2 (2006)
        • trumpet, Nr. 85.3 (2006)
      • Sixth Hour: Schönheit (Beauty), for flute, bass clarinet, and trumpet, Nr. 86 (2006)
      • Seventh Hour: Balance, for flute, English horn, and bass clarinet, Nr. 87 (2007)
      • Eighth Hour: Glück (Bliss), for oboe, English horn, and bassoon, Nr. 88 (2007)
      • Ninth Hour: Hoffnung (Hope), for violin, viola, and cello, Nr. 89 (2007)
      • Tenth Hour: Glanz (Brilliance), for oboe, clarinet, bassoon, trumpet, trombone, tuba, and viola, Nr. 90 (2007)
      • Eleventh Hour: Treue (Fidelity), for E-flat clarinet, basset horn, and bass clarinet, Nr. 91 (2007)
      • Twelfth Hour: Erwachen (Awakening), for soprano saxophone, trumpet, and cello, Nr. 92 (2007)
      • Thirteenth Hour: Cosmic Pulses, electronic music, Nr. 93 (2006–07)
      • Fourteenth Hour: Havona, for bass voice and electronic music, Nr. 94 (2007)
      • Fifteenth Hour: Orvonton, for baritone and electronic music, Nr. 95 (2007)
      • Sixteenth Hour: Uversa, for basset-horn and electronic music, Nr. 96 (2007)
      • Seventeenth Hour: Nebadon, for horn and electronic music, Nr. 97 (2007)
      • Eighteenth Hour: Jerusem, for tenor and electronic music, Nr. 98 (2007)
      • Nineteenth Hour: Urantia, for soprano and electronic music, Nr. 99 (2007)
      • Twentieth Hour: Edentia, for soprano saxophone and electronic music, Nr. 100 (2007)
      • Twenty-first Hour: Paradies (Paradise), for flute and electronic music, Nr. 101 (2007)
    • Klavierstücke
    • Kontakte ("Contacts"), for electronic sounds, Nr. 12 (1958–60); Kontakte, for electronic sounds, piano, and percussion, Nr. 12½ (1958–60); Originale, musical theatre with Kontakte, Nr. 12⅔ (1961)
    • Kontra-Punkte ("Counter-Points"), for 10 instruments, Nr. 1 (1952–53)
    • Kreuzspiel, for oboe, bass clarinet, piano, and 3 percussionists, Nr. 1/7 (1951)
    • Kurzwellen, for 6 players with live electronics, plus sound director, Nr. 25 (1968)
    • Licht, Nr. 47–80 (1977–2003)
    • Licht-Ruf, Nr. 67 (1995)
    • Litanei 97, Nr. 74 (1997)
    • Mantra, for 2 pianists (with wood blocks and antique cymbals) and electronics, Nr. 32 (1970)
    • Mikrophonie I, for tamtam (2 players), 2 microphones, 2 filters with potentiometers, and 4 pair of loudspeakers, Nr. 15 (1964)
    • Mikrophonie II, for 12 voices, Hammond organ (or synthesizer), 4 ring modulators, and tape, Nr. 17 (1965)
    • Mixtur, for orchestra, 4 sinewave generators, and 4 ring-modulators, Nr. 16 (1964)
    • Musik im Bauch, for 6 percussionists and music boxes, Nr. 41 (1975)
    • Momente, for soprano solo, 4 choirs, and 13 instrumentalists, Nr. 13 (1962–64/69)
    • Oktophonie (1990/91) electronic music of Tuesday from Light
    • Plus-Minus, 2 x 7 pages for realization, Nr. 14 (1963)
    • Pole, for 2 players or singers with 2 short-wave radios, Nr. 30 (1969–70)
    • Prozession, for 6 players with live electronics, Nr. 23 (1967)
    • Punkte ("Points"), for orchestra, Nr. ½ (1952/62/66/93)
    • Quitt ("Even"), for alto flute, clarinet, and trumpet, Nr. 1 ex 59 (1989)
    • Refrain, for piano (+ 3 woodblocks), vibraphone (+ 3 alpine cowbells and keyboard glockenspiel), and celesta (+ 3 antique cymbals), Nr. 11 (1959)
    • Rotary Wind Quintet, for flute, oboe, clarinet, bassoon, and horn, Nr. 70½ (1997)
    • Schlagtrio ("Percussive Trio") [originally Schlagquartett], for piano and 2 x 3 [originally 3 x 2] timpani, Nr. ⅓ (1952)
    • Sirius, electronic music with trumpet, soprano, bass clarinet, and bass voice, Nr. 43 (1975–77)
    • Solo, for a melody instrument and feedback (live electronics with 4 technicians, 4 pair of loudspeakers), Nr. 19 (1965–66)
    • Spiel ("Play"), for orchestra, Nr. ¼ (1952)
    • Spiral, for a soloist with short-wave receiver and live electronics with sound director, Nr. 27 (1968)
    • Sternklang ("Star Sound"), park music for five groups, Nr. 34 (1971)
    • Stimmung ("Tuning"), for 6 vocalists, Nr. 24 (1968)
    • Stop, for small orchestra in 6 groups, Nr. 18 (1965)
    • Strahlen ("Rays"), for a percussionist and ten-channel sound recording, Nr. 80½ (2002)
    • Studie I, electronic music, Nr. 3/I (1953)
    • Studie II, electronic music, Nr. 3/II (1954)
    • Sukat, for alto flute and basset-horn, Nr. 2 ex 60 (1989)
    • Telemusik, electronic and concrete music, Nr. 20 (1966)
    • Thinki, for flute, Nr. 1 ex 70 (1997)
    • Tierkreis ("Zodiac"), 12 melodies of the star signs, for a melody and/or chording instrument, Nr. 41½ (1974–75)
    • Trans, for orchestra and tape, Nr. 35 (1971)
    • Traum-Formel ("Dream Formula"), for basset-horn, Nr. 51⅔ (1981)
    • Trumpetent (aka "Trompetent"), for 4 trumpeters, Nr. 73 (1995)
    • Türin, for Tür (door), rin, and speaker (versions in German and English), with electronics (2006)
    • Unsichtbare Chöre, 16-channel recording of a cappella choir, for 8-channel playback, ex Nr. 79 (1979)
    • Vibra-Elufa, for vibraphone, Nr. 9¾ ex 64 (2003)
    • Xi, for a melody instrument with microtones, Nr. 1 ex 55 (1986)
    • Ylem, for 19 players, Nr. 37 (1972)
    • Ypsilon, for a melody instrument with microtones, Nr. 2 ex 59 (1989)
    • Zeitmaße ("Time Measures"), for oboe, flute, cor anglais, clarinet, and bassoon, Nr. 5 (1955–56)
    • Zyklus ("Cycle"), for a percussionist, Nr. 9 (1959)
  • Gilles Tremblay
    • Cantique de durées (1960)[18]

See also

References

  1. [1]
    Nicole V. Gagné, Historical Dictionary of Modern and Contemporary Classical Music, Historical Dictionaries of Literature and the Arts (Lanham, Maryland: Scarecrow Press, 2012): 98. ISBN 978-0-8108-6765-9.
  2. [2]
    Horace Reisberg, "The Vertical Dimension in Twentieth Century Music", Aspects of Twentieth-Century Music, edited by Gary Wittlich, 362–72, citation on 370–71 (Englewood Cliffs, New Jersey: Prentice-Hall, 1975). ISBN 0-13-049346-5.
  3. [3]
    Robert L. Parker, "Carlos Chávez's Opus Ultimum: The Unfinished Cello Concerto". American Music 11, no. 4 (Winter 1993): 473–87. Citation on p. 479.
  4. [4]
    Dimitri Kennaway, notes for recording, Naxos 8.557850, "credited with being the first British feature film score to employ the method [twelve-tone serialism] almost entirely."
  5. [5]
    British Library Frankel Biography – Middle Years
  6. [6]
    Howard Pollack, Walter Piston (Ann Arbor, Mich: UMI Research Press, 1982): 35, 72–73. ISBN 0-8357-1280-X.
  7. [7]
    Bruce Archibald, "Reviews of Records: Walter Piston: Symphony No. 7, Symphony No. 8, Louisville Orchestra, Jorge Mester; Walter Piston: Symphony No. 5, Louisville Orchestra, Robert Whitney; Walter Piston: Concerto for Viola and Orchestra, Paul Doktor, viola, Louisville Orchestra, Robert Whitney; Walter Piston: The Incredible Flutist, Louisville Orchestra, Jorge Mester", The Musical Quarterly 64, no. 2 (1978): 263–68 (citation on 267).
  8. [8]
    Donald Chittum, Liner notes to Walter Piston: String Quartet No. 5, in American String Quartets, Volume II: 1900–1950, Kohon String Quartet, 3-LP set, Vox SVBX 5305 (New York: Vox, 1974).
  9. [9]
    Elliott Carter, "Walter Piston", The Musical Quarterly 32, no. 3 (July 1946): 354–75 (citation on 364–65).
  10. [10]
    Colin Mason, Hugo Cole, and David C.F. Wright, "Searle, Humphrey", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
  11. [11]
    Frisius, Rudolf (2008). Karlheinz Stockhausen II: Die Werke 1950–1977; Gespräch mit Karlheinz Stockhausen, "Es geht aufwärts". Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International. p. 25. ISBN 978-3-7957-0249-6.
  12. [12]
    Robin Maconie, Other Planets: The Complete Works of Karlheinz Stockhausen, 1950–2007, updated edition (Lanham, Maryland; Boulder, Colorado; New York; London: Rowman & Littlefield, 2016): 23, 35–36 ISBN 978-1-4422-7267-5; Frisius 2008, p. 32; Michael Kurtz, Stockhausen: A Biography, translated by Richard Toop (London and Boston: Faber and Faber, 1992): 30 ISBN 0-571-14323-7 (cloth); ISBN 0-571-17146-X (pbk).
  13. [13]
    Joseph N. Straus, Stravinsky's Late Music, Cambridge Studies in Music Theory and Analysis (Cambridge: Cambridge University Press, 2001), 4. ISBN 0-521-80220-2 (cloth) ISBN 0-521-60288-2.
  14. [14]
    Christopulos, Jim; Smart, Phil (2005). Van der Graaf Generator – The Book. Phil and Jim Publishers. p. 58. ISBN 978-0-955-13370-1.
  15. [15]
    Jacques Calonne, "Aspects d'un resume (Apropos d' Orbes pour orchestre)", Revue d'Esthetique 21 (1968), nos. 2–4 ("Musiques nouvelles"): 59–103.
  16. [16]
    Dimitri Kennaway, notes for recording, Naxos 8.557850, "his [Frankel's] first published experimentation with serial technique"
  17. [17]
    Gagné (2012), p.116.
  18. [18]
    Gilles Tremblay, "Note pour Cantique de durées", Revue d'esthetique 21 (1968), nos. 2–4 ("Musiques nouvelles"): 51–58.
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