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Movie Title Year Distributor Notes Rev Formats Noa Emiri: AV Debut 2014 Kira Kira idea for the Fifth Hour of Klang was to have an unaccompanied instrumental piece in three different versions (for bass clarinet, flute, and trumpet), followed by a longer trio for the same instruments, built from the same material. In this conception, it was to have been called Akkorde (Chords). The title was later changed to Harmonien. Late in 2006 or early in 2007, when Stockhausen decided to group some of the hours into subcycles, the original trio became Hour 6, and the first of a set of seven trios extending to Hour 12, all based on the material of the three versions of Harmonien (Kohl 2009c, 22). In keeping with Stockhausen's original idea of having each piece reflect the spirit of the hour of the day to which it is assigned, the character of Harmonien and the following trios (especially the ones scored for winds) suggest an aubade—especially suitable for Hours 5 and 6, but less so for the subsequent hours reaching to mid-day (Kohl 2012b, 518–19). In May 2006 Stockhausen wrote two sets of aphorisms which are related to the "noble words" used in Türin, which are meant to "hold open the Heaven's Door" of the fourth hour. Except for Glanz, the titles of the trios are all found amongst these noble words, which in turn appear to be derived from one of Stockhausen's favourite books, the Sufi Message by Hazrat Inayat Khan (Stockhausen-Stiftung für Musik 2010, 28, 30, 56 & 58; Kohl 2012b, 489–91).
Harmonien falls into five large sections, each made from a 25-note series. This series is the inversion of the 24-note row developed originally for Himmelfahrt, with the first note recurring at the end. This recurring note is regarded as the central pitch of the row. Each of the five sections uses a different transposition of this series, with central pitches (in the bass-clarinet version) on D?, E?, A, G, and A?, which are the fifth through ninth notes of the original (prime form) of the Klang series. Each of these 25-note cycles is then subdivided into five groups of 3, 4, 5, 6, and 7 notes, permuted differently in each cycle, resulting in a total of twenty-five groups containing 125 notes. At the end, a final D? is added as the 126th note, returning to the central pitch of the first cycle (Kohl 2012b, 479, 481). A fixed rising-falling registral scheme is applied to the 25 notes in each cycle and a twenty-four-step "chromatic" scale of tempos is added, from slowest to fastest according to register (low to high) and returning to its starting point for the twenty-fifth note of each cycle. The entire 126-note melody is then fitted with a duration scheme derived from the retrograde of the fifth of the twelve "rhythm families" previously devised for Himmelfahrt. These melodically fixed notes differ from the practice of twelve-tone technique, and resemble the formula composition Stockhausen had used between 1970 and 2004 (Kohl 2012b, 481–84).

At the end of each group, the component 3, 4, 5, 6, or 7 pitches are played in rapid "loops" or "ritornelli". These ritornelli give the work its name: "Harmonies come into being from successions of melodic groups.… At the end of a group, its pitches are repeated as very fast periods without rhythm and in different registral distribution, so that the melody has a harmonic effect, like a vibrating chord" (Stockhausen 2007c, 33 & 36). The last two of the five large cycles are each interrupted by a cadenza. The first is a "bass cadenza", found between the fourth and fifth groups of the fourth cycle and was planned from the outset. The second, which interrupts the third group of the last cycle, is in the treble register and was added after a first version of the composition had been finished. For the flute and trumpet versions only, Stockhausen added a coda as well (Kohl 2012b, 487–88). Katikati At about the time he was working on Harmonien in 2006, Stockhausen composed a short (ca. 4 minutes) flute piece for Kathinka Pasveer, titled Katikati. This work has not yet been premiered, and its connection (if any) with the Klang cycle has not been determined, but it has been assigned the work number 85.2 extra, following the flute version of Harmonien in the composer's work list (Stockhausen-Verlag 2010, 49). Sixth Hour: Schönheit Schönheit (Beauty), for flute, bass clarinet, and trumpet, 2006 (ca. 30 mins.). Work number 86. The specified colour is HKS 51 (turquoise blue). The premiere of Schönheit was given in Lisbon on 5 October 2009, at the Grande Auditório of the Gulbenkian Foundation by Suzanne Stephens (bass clarinet), Marco Blaauw (trumpet) and Kathinka Pasveer (flute). Schönheit was commissioned by the music department of the Fundação Calouste Gulbenkian, Lisbon. Schönheit is the original trio of the subcycle comprising hours six to eleven, and as such is also the simplest. The other six trios permute its five main sections and add new material as insertions between them, creating introductions, codas, interludes, or cadenzas. This permutability is an example of what Stockhausen called "polyvalent form", and these seven trios may be regarded as seven different versions of a single composition (Kohl 2009c; Kohl 2012b, 491). According to Marco Blaauw, "Like Bach’s Art of the Fugue, it is therefore a work of synthesis which requires a great intellectual effort on the part of the listener" (quoted in Martin 2009). As in the trumpet version of Harmonien, the performers punctuate the introductory chords with the words "Lob sei Gott", spoken in unison. Like Harmonien (which supplies the basic materials), Schönheit is in five sections. Each section contains all of the groups from all three versions of the respective cycle of Harmonien, including the ritornelli and the cadenzas, permuted in various ways. They are so arranged that three consecutive sets of groups occur in the combined trio texture, while at the same time each instrument presents all of the groups from its version of Harmonien linearly—though in permuted order. These quotations may occur one at a time, or with two or three simultaneously. Because the original tempos are preserved along with the notes and rhythms, when two or three are quoted at the same time, simultaneous combinations of any of the twelve tempos are possible, resulting sometimes in complex relations belied by the seeming simplicity of the sounding music (Kohl 2012b, 491–94). When only one or two quotations are present, new accompanying material is sometimes added in the remaining part or parts. In the first large section this is ordered into a process involving five different accompanimental types; later they become progressively less systematic (Kohl 2012b, 494–95, 497, 499). The course of the entire piece describes a gradual linear process of increasing complexity (Siano 2013, 133). Stockhausen sometimes rotates segments of the row through the three instruments in a "homophonic canon" (Kohl 2012b, 493). The work concludes with a tonal authentic cadence in D? major—the same central pitch as the original bass-clarinet version of Harmonien (Kohl 2012b,2012b, 500–501). Seventh Hour: Balance Balance, for flute, cor anglais, and bass clarinet. 2007 (ca. 30 mins.). Work number 87. The specified colour is HKS 54 (bluish green [Verkehrsgrün]) (Stockhausen 2008b, cover). Balance was the third trio to be composed, after Schönheit and Glanz (Kohl 2012b, 504). It was given its premiere in the Großer Sendesaal of the WDR, Cologne on the composer’s eightieth birthday, 22 August 2008, by members of ensemble recherche. This trio takes the five sections from Schönheit in retrograde order, which yields a process of steadily increasing clarity and distinctness of subdivisions. Solo interludes for the cor anglais are inserted before the second and third sections, and a cadenza for the same instrument occurs between sections 3 and 4. There is also a concluding coda composed especially for this trio (Kohl 2012b, 503, 515). At the end of this trio, the performers speak in unison the Latin words of the first two lines of the Greater Doxology: "Gloria in excelsis Deo / et in terra pax hominibus bonae voluntatis" (Glory to God in the highest / and on earth peace, goodwill to all people) (Kohl 2012b, 516). Eighth Hour: Glück Mediapark 7 (left), in Cologne, where the Eighth Hour was premiered in the Studio der musikFabrik on 8 May 2010 Glück (Bliss), for oboe, cor anglais, and bassoon. 2007 (ca. 30 mins.). Work number 88. The specified colour is HKS 60 (yellow-green) (Stockhausen 2008b, cover; Stockhausen 2010b, I–II). After having completed Schönheit, Glanz, and Balance, Stockhausen had no commissions for the remaining four trios, and so turned his attention to the composition of the "Urantia" hours 14 to 21. There are no written sketches for Glück, Hoffnung, Treue, and Erwachen, apart from a manuscript with specifications of their instrumentation dated 8 March 2007. In the cases of Balance and Glanz, photocopies of the score of Schönheit were marked up with indications of how to proceed, but there are also no similar documents for the eighth, ninth, eleventh, and twelfth hours. Stockhausen had verbally communicated to Kathinka Pasveer the permutations of the five sections and instructions for distributing the inserts, and it was because of these instructions that the last four trios could be assembled after Stockhausen's death. Since there are no duplication of the inserts between Glanz and Balance, had he lived to complete these last four trios himself, it is likely that Stockhausen would have composed different “magical inserts” for each of them (Siano 2013, 133). Glück was premiered on 8 May 2010 at the Studio der musikFabrik in Mediapark 7 in Cologne, by members of musikFabrik, as part of the MusikTriennale Köln. The performers were Peter Veale (oboe), Piet van Bockstal (cor anglais), and Edurne Santos (bassoon). Sound direction was by Hans-Günther Kasper. Glück permutes the five sections from Schönheit in the order 4 2 5 1 3 (Kohl 2012b, 503). The only material added to these five basic sections is a coda adapted from the fourth (tuba) insert from Glanz (Kohl 2012b, 517). As in the other trios, the performers speak words aloud in unison. In this case, they are "Noten zu Klängen zu Kreislauf zu Glück" ([Written] notes to sounds to circular movement to bliss) and "GOTT ist GLÜCK" (God is bliss). Ninth Hour: Hoffnung Hoffnung (Hope) for violin, viola, and cello. 2007 (ca. 35 mins.). Work number 89. The specified colour is HKS 67 (yellowish-green) (Stockhausen 2008b, cover). Hoffnung was premiered in the Klaus-von-Bismarck-Saal at the WDR in Cologne on 31 August 2008 by members of musikFabrik: Juditha Haeberlin (violin), Axel Porath (viola), and Dirk Wietheger (cello). Hoffnung is the sole example in Stockhausen's output of a piece scored for the standard string trio of violin, viola, and cello. Only in the Helicopter String Quartet did he similarly write for a standard small ensemble of strings, but there only with considerable additional technology. The performers in Hoffnung are asked to rotate their positions on the stage, and to describe certain musical figures with gestures in the air. Near the end, they speak in unison the words, "Dank sei Gott … Danke Gott für das Werk … Hoffnung" (Praise be to God … Thank God for the work … Hope" (Günther 2008. The uniform string timbre of Hoffnung is reflected by the scoring of two of the other trios: the Eighth Hour, Glück, is for three double reeds, and the Eleventh Hour, Treue, is for three sizes of clarinet (the Tenth Hour, Glanz, also includes a homogeneous trio—of brass instruments—though these occur in separate solo and duo inserts, as supplemental timbres to the original mixed instrumental trio) (Kohl 2009b). Hoffnung reverses the order of the sections in the preceding trio, Glück, which means the original sections from Schönheit now occur in the sequence 3 1 5 2 4. The only added material here is a coda, made by combining the Anfang and first insert from Glanz (Kohl 2012b, 503, 518). Tenth Hour: Glanz The Muziekgebouw aan 't IJ, where Glanz was premiered Glanz (Brilliance), for oboe, clarinet, bassoon, trumpet, trombone, tuba, and viola. 2007 (ca. 40 mins.). Work number 90. The specified colour is HKS 69 (sulphur green) (Stockhausen 2008b, cover; Stockhausen 2011, I and III). Glanz was the first of the Klang trios to be commissioned, and so was the first to be composed after Schönheit, completed on 24 May 2007 (Kohl 2012b, 504). It was given its premiere in the Muziekgebouw aan 't IJ, Amsterdam, on 19 June 2008 by members of the Asko Ensemble, with Kathinka Pasveer as sound-projectionist (Beer 2008; Voermans 2008). Originally intended as a trio for clarinet, bassoon, and viola, Stockhausen was persuaded by the Holland Festival management to add four more instruments to the ensemble (Beer 2008; Swed 2008). The original trio remains as the main structure, but four inserts interrupt as "magic moments", in which other instruments engage in dialogue with the trio: the first is an imperious solo oboe, the second a stentorian trumpet-trombone duo, and the last a somnolent tuba. The third insert, on the other hand, is self-reflective, performed by the core trio and including, like the Seventh Hour, the spoken Latin words "Gloria in excelsis Deo et in terra pax in hominibus bonae voluntatis" (Kohl 2008, 16). In the score, Stockhausen specified that the work should be performed with a "light sculpture" in the middle of the stage, and this sculpture should gradually become more brilliant. For the world premiere in Amsterdam, a pyramidal sculpture was designed by the lighting technician Maarten Warmerdam, which was made to increase in brightness over the course of the performance Stockhausen 2011, I and III). One critic has described it as "a cheesy 4-foot pyramid" (Swed 2008). Eleventh Hour: Treue Treue (Fidelity), for E? clarinet, basset horn, and bass clarinet. 2007 (ca. 30 mins.). Work number 91. The specified colour is HKS 2 (zinc yellow [Zinkgelb]) (Stockhausen 2008b, cover; Stockhausen 2010d, I–II). Treue received its premiere on 8 May 2010 at the KOMED-Saal of Mediapark 7, Cologne, by Roberta Gottardi (E? clarinet), Rumi Sota-Klemm (basset horn), and Petra Stump (bass clarinet), as part of the MusikTriennale Köln (Gimpel 2010). The MusikTriennale Köln commissioned the premiere with the support of the Kunst-Stiftung NRW (Stockhausen-Stiftung für Musik 2010, 23 & 51). Treue permutes the five Schönheit sections in the order 5 3 1 4 2 and adds a Schluß (coda) for the E? clarinet alone, which is essentially the same as the first cor-anglais solo from Balance (Kohl 2012b, 503, 518). The brief spoken text in this trio is "Treue zu Gott

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