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''Zeitmaße'' (Time Measures) for five woodwinds (1955–56) is a chamber-music work by German composer Karlheinz Stockhausen, and is Number 5 in the composer's catalog. 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. Its title refers to the different ways of treating musical time found in the composition. ==History== ''Zeitmaße'' was composed more or less concurrently with three other works in contrasting media, which together formed the basis for Stockhausen's rise to fame in the 1950s. The others were ''Gesang der Jünglinge'' for electronic and concrète sounds, ''Gruppen'' for three orchestras, and ''Klavierstück XI'' for piano . In order to begin work on a commission for the new orchestral composition which would become ''Gruppen'', Stockhausen interrupted work on ''Gesang der Jünglinge'' in August and September 1955 and took the opportunity to retreat to an inexpensive rented room in the attic of a parsonage in Paspels, Switzerland, recommended to him by a colleague in the WDR studio, Paul Gredinger. He had scarcely arrived in Paspels when a message reached him, requesting a short composition to celebrate Heinrich Strobel's tenth anniversary of service at the Südwestrundfunk, Baden-Baden . I had to write something quickly, by that evening. I did not allow myself to take any time over it. And then, suddenly, I hear this whole little four-minute piece. I really chuckled to myself about it. It was for voice and wind quintet . Later I replaced the vocal part with a cor anglais, and the "piece" is the first four minutes of ''Zeitmaße''. The humorous, caprice-like song—for alto voice, flute, clarinet in A, and bassoon—sets an epigrammatic text written by Strobel, in a French translation by Antoine Goléa (; ): On cherche pour trouver quelque chose. Mais au fond, on ne sait pas ce qu’on cherche au juste. Et cela est vrai non seulement pour l’Allemagne musicale. (We are seeking to find something. But at bottom, we do not know quite what we are looking for. And that is true not only of German musical life.)The song (in which Stockhausen omits the last five words of the French text) was later published in a memorial volume for Strobel . Upon returning to Cologne, Stockhausen resumed work on ''Gesang der Jünglinge'' and returned also to ''Zeitmaße''—now scored for flute, oboe, cor anglais, clarinet, and bassoon—completing a first version that was recorded for the radio in December 1955 by the Wind Quintet of the WDR Symphony Orchestra (led by their oboist, Wilhelm Meyer), and first broadcast in January 1956. Stockhausen subsequently nearly doubled the length of the work by inserting five "cadenzas", which became the defining moments of the composition . The planned premiere by the WDR Quintet at the Darmstädter Ferienkurse in July 1956 fell through, but Stockhausen brought the score there anyway and showed it to his friends. Pierre Boulez initially dismissed ''Zeitmaße'' with a characteristically cutting remark to the effect that Stockhausen would do better to stay in the electronic studio, but soon changed his mind and asked to programme it in Paris on his Domaine Musical concert series. Stockhausen agreed, and the world premiere took place there on 15 December 1956, "before a quiet and extremely attentive audience" (; ). Five months later, Boulez included ''Zeitmaße'' in a programme taken on tour to London—a performance which was broadcast by the BBC on 6 May 1957—and after returning to Paris made the first recording for commercial release. This recording was made in the composer's presence over a span of eight days in June 1957 (; ; ). In the meantime, the WDR Quintet had made a recording for broadcast, and in February 1957 gave the German premiere in Bonn, followed in March by a tour to Baden-Baden, Linz, Vienna, and Venice, performing the piece twice on each program. In a letter to Wolfgang Steinecke (director of the Darmstadt Courses), Stockhausen reported a "quite unexpectedly huge, genuine success" on every occasion, and that he was "especially surprised by the spontaneous reaction of the Italians" . Steinecke had already invited Stockhausen to give seminars at Darmstadt. One was titled "Time Composition" and focused on ''Zeitmaße'' and ''Klavierstück XI'' (Universal Edition had promised delivery of the printed score in time for the performance of ''Zeitmaße'' on 22 July). The other was on that year's announced topic, "Music and Speech", and discussed Boulez’s ''Le Marteau sans maître'' and Nono’s ''Il canto sospeso'', as well as Stockhausen's own ''Gesang der Jünglinge'' . 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Zeitmaße」の詳細全文を読む スポンサード リンク
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