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艺术家：多位艺术家
作品名称：《卡尔海因茨·施托克豪森：〈混合曲2003〉》
发行年份：2015年
厂牌：施托克豪森出版社
音乐类型：古典音乐
音质：24比特-48千赫兹FLAC（分轨）
总时长：57分00秒
总大小：539兆字节
网站：专辑预览
曲目列表
01. 《混合曲2003》：正向版本（28分53秒）
02. 《混合曲2003》：反向版本（28分07秒）
《混合曲》是德国作曲家卡尔海因茨·施托克豪森创作的一部管弦乐作品，为管弦乐队、4台正弦波发生器和4台环形调制器而作，创作于1964年，是他作品目录中的第16号作品。它存在三个版本：最初为完整管弦乐队创作的版本、1967年制作的缩编版本（第16½号），以及2003年对缩编版本重新记谱的版本，名为《混合曲2003》，第16⅔号。
从20世纪90年代后期开始，施托克豪森修订了他早期的一些偶然音乐总谱，制作出了一些细节经过精心编排并以传统记谱法固定下来的版本。其中最后一部被修订的作品就是《混合曲》，于2003年进行了重新编排。在原始版本的一些部分，演奏者需要从一系列书面材料中选择他们要演奏的内容。《混合曲2003》通过完整地写出所有声部，消除了这种不确定性。新版本中整体形式也被固定下来，去除了前两个版本中某些部分所允许的可变动性。在许多早期的演出中，通常会呈现两个不同的版本，一般是先演奏反向版本，然后是正向版本。《混合曲2003》的总谱写了两遍，先是正向版本，然后是反向版本。施托克豪森在一份节目说明中，将这种来回往复的形式描述为生死之间相互作用的一种隐喻。这个新版本于2006年8月30日在萨尔茨堡音乐节上进行了世界首演。施托克豪森原本计划指挥（并且在前一年6月已在柏林领导了排练），但由于坐骨神经痛发作而被迫取消，由沃尔夫冈·利施克代替他指挥。演出者是柏林德意志交响乐团，电子乐部分由弗莱堡声学艺术实验工作室负责，由安德烈·理查德监督。
《混合曲》是“瞬间形式”的一个范例，由二十个被称为“瞬间”的形式单元组成，每个单元都“具有独特且明确无误的特征”。它同时具有一种“多价形式”，其中的组成部分可以以不同的顺序进行演奏，并且融入了偶然音乐的元素（施托克豪森称之为“可变形式”）。
管弦乐队被分为五个组，每个组具有特定的音色：木管组（Holz）、铜管组（Blech）、打击乐组（Schlagzeug）、拨弦弦乐组（Pizzicato）和拉弦弦乐组（Streicher）。除了打击乐组之外，每个组的声音都通过麦克风拾取，并与正弦音调进行环形调制，从而产生对自然音色的变换、微分音的音高变化，并且当正弦音调的频率降至约16赫兹以下时，还会产生节奏上的变化。将管弦乐队分为五个组对于这部作品的整体形式起决定性作用。每个“瞬间”都有一个描述其整体特征的名称、一个“中心音”（在少数情况下是两个连续的中心音）、一个要省略的音（有时是两个音）、一个整体时长、一个静音比例、一个“密度”（参与演奏的管弦乐队组的数量）以及一种音色混合方式。
时长单位由指挥根据总谱说明来确定，速度在每分钟40到60拍之间（原始的大型管弦乐队总谱规定为每分钟50到60拍，但到1971年施托克豪森更倾向于每分钟40拍的较慢速度）。这二十个“瞬间”可以按数字顺序演奏，即升序或降序。前者被称为“正向版本”，后者被称为“反向版本”。然而，在任何一个版本中，每个“瞬间”内的事件顺序都是相同的。
Artist: VA
Title: Karlheinz Stockhausen: Mixtur 2003
Year Of Release: 2015
Label: Stockhausen Verlag
Genre: Classical
Quality: 24bit-48kHz FLAC (tracks)
Total Time: 57:00
Total Size: 539 MB
WebSite: Album Preview
Tracklist:
01. Mixtur 2003: Vorwärtsversion (28:53)
02. Mixtur 2003: Rückwärtsversion (28:07)
Mixtur, for orchestra, 4 sine-wave generators, and 4 ring modulators, is an orchestral composition by the German composer Karlheinz Stockhausen, written in 1964, and is Nr. 16 in his catalogue of works. It exists in three versions: the original version for full orchestra, a reduced scoring made in 1967 (Nr. 16½), and a re-notated version of the reduced scoring, made in 2003 and titled Mixtur 2003, Nr. 16⅔.
Beginning in the late 1990s, Stockhausen revised a number of his earlier aleatoric scores, making versions in which the details were worked out and fixed in conventional notation. The last of these was Mixtur, reworked in 2003. In several moments of the original version, the players choose what they play from a selection of written material. Mixtur 2003 eliminates such indeterminacy by completely writing out all the parts. The overall form is also fixed in the new version, which eliminates the movability of some moments permitted in the two previous versions. Many earlier performances had presented two different versions, usually the backwards version first, followed by the forwards version. The score of Mixtur 2003 is written out twice, first in the forwards and then in the backwards version. In a programme note Stockhausen characterised this back-and-forth motion as a metaphor for the interplay between life and death. The world premiere of the new version took place at the Salzburg Festival on 30 August 2006. Stockhausen was to have conducted (and had led the rehearsals in Berlin the previous June), but was forced to cancel because of an attack of sciatica, and his place was taken by Wolfgang Lischke. The performers were the Deutsche Symphonie-Orchester Berlin, with electronics by the Experimentalstudio für akustische Kunst Freiburg, supervised by André Richard.
Mixtur is an example of moment form, made up of twenty formal units called "moments", each of which is "recognizable by a personal and unmistakable character." It possesses at the same time a "polyvalent form", in which the components may be performed in different sequences, and incorporates elements of aleatory (called "variable form" by Stockhausen).
The orchestra is divided into five groups, each of a particular timbre: Holz (woodwinds), Blech (brass), Schlagzeug (percussion), Pizzicato (plucked strings), and Streicher (bowed strings) The sounds from each group except the percussion are picked up by microphones and ring modulated with sine tones, producing transformations of the natural timbres, microtonal pitch inflections, and—when the sine tone frequencies fall below about 16 Hz—rhythmic transformations as well. The division of the orchestra into five groups is decisive for the overall form of the composition. Each moment is given a name describing its overall character, a "central tone" (in a few cases, two consecutive central tones), a tone to be omitted (sometimes two tones), an overall duration, a proportion of silence, a "density" (number of orchestra groups participating), and a timbral mixture.
The duration unit is to be determined by the conductor, from between 40 and 60 beats per minute according to the score instructions for the kleine Beasetzung (the original, large-orchestra score specifies 50 to 60 beats per minute, but by 1971 Stockhausen favoured the slower tempo of 40). The twenty moments can be played in numerical order, ascending or descending. The former is referred to as the "forwards version", the latter as the "backwards version." The sequence of events within each moment, however, is the same in either version.
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