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Movie Title Year Distributor Notes Rev Formats No Panty Gal in the School 2014 Kira Kira First Hour: Himmelfahrt Interior of the Milan Cathedral, where the First and Second Hours of Klang were premiered Himmelfahrt (Ascension), for organ or synthesizer, soprano, and tenor. 2004–05 (36 mins.). Work number 81. The specified colour is deep violet-blue (Stockhausen 2008a, cover; Stockhausen 2008b, cover). Himmelfahrt was premiered at the Milan Cathedral on 5 May 2005 (version with organ), by Alessandro La Ciacera, organ, Barbara Zanichelli, soprano, Paolo Borgonovo, tenor, and Karlheinz Stockhausen, sound projection (Stockhausen 2006a, 3). The North American premiere (and second performance overall) took place at the Schwartz Center for the Performing Arts at Emory University in Atlanta on 11 October 2005, by Randall Harlow, organ, Teresa Hopkin, soprano, John Bigham, tenor, and Steve Everett, sound projection (Gresham 2005). The version with synthesizer was premiered in the Sülztalhalle, Kürten on 9 July 2006, Antonio Pérez Abellán, synthesizer, Barbara Zanichelli, soprano, Hubert Mayer, tenor, and Karlheinz Stockhausen, sound projection (Stockhausen 2006b, 14 & 34).
Himmelfahrt was commissioned, with the support of a Milanese bank, by the priest and organist Don Luigi Garbini, director of the Laboratory of Contemporary Music in the Service of the Liturgy (LmcsL), for performance in the Milan Cathedral on Ascension Thursday 2005, as part of the Pause Festival that year (Gervasoni 2005a). LmcsL, founded by Don Luigi in 1999 with the support of the then-Archbishop of Milan, Monsignor Carlo Maria Martini, had launched the multidisciplinary Pause Festival in 2004. It included Stockhausen's famous 1956 electronic composition, Gesang der Jünglinge. When Stockhausen mentioned at that time his plan for a new cycle of compositions, Don Luigi seized the opportunity to commission the First Hour, because Stockhausen's approach to music "seems truly sacred" (Gervasoni 2005b).

The work uses 24 different tempos in a chromatic time scale, and the part for organ or synthesizer requires 24 corresponding registrations/timbres—the more complex and heavier timbres for slower tempos, the more transparent and lighter timbres for the faster tempos. The keyboardist's two hands are required to play in different tempos simultaneously, performing "temporal head-stands for both hands—actually impossible for us today—and the relationship of the tempo to the intensity of a sound-colour was composed by me in the spirit of the Ascension: unimaginable—unheard—invisible" (Stockhausen 2006a). The composer felt this "is like compelling a man to the physical rupture that allows him to go in the form of a spirit to another world" (Gervasoni 2005a). The text proclaimed by the two singers was written by Stockhausen himself, and refers freely to the Ascension of Christ. The vocal parts, however, only occur intermittently, and it is the keyboard instrument that accounts for the largest share of the music. The score describes an ascent, like climbing a stairway to the Most High, and is divided into 24 moments. The ascent, however, is not a constant progression—the climber sometimes seems to stop to look behind him or around him (Gervasoni 2008c, 67). Second Hour: Freude Marianne Smit, together with Esther Kooi, premiered Freude, the Second Hour of Klang. Freude (Joy), for two harps. 2005 (40 mins.). Work number 82. The specified colour is a medium blue (Stockhausen 2007e, cover; Stockhausen 2008b cover). Freude was premiered in the Milan Cathedral on 7 June 2006 by Marianne Smit and Esther Kooi, harps (Stockhausen 2006b, 19 & 39). The American premiere was given in New York on 2 May 2010 by June Han and Bridget Kibbey (Anon. 2010; Smith 2010). The earliest sketch for the Second Hour of Klang is headed with the title Galaxien (Galaxies), and has a later alternative suggestion of Kreuz-Klang-Rätsel (Cross-Klang-Puzzle) (Stockhausen 2007a, 5). When Stockhausen received a commission from Don Luigi Garbini of the Milan Cathedral for the work, to be premiered for Pentecost 2006, he provisionally titled the work Pentecost, and chose as text the Pentecost hymn "Veni Creator Spiritus", to be sung in Latin by the two harpists as they play. Following the 24 verses of the Latin hymn, the work is composed, like the First Hour, in 24 moments, and the title was changed to Freude, because this was the fundamental feeling Stockhausen had about the composition (Stockhausen 2007a, 3). The text setting is sometimes syllabic, sibilant, employs speech-song, and in places evokes plainchant and early polyphony. The music probes the meaning of joy through a deep and detailed text-setting reminiscent of the "frighteningly beautiful" Mikrophonie II of 1965 (Medwin 2007). At the French premiere in Lyon on Friday, 8 March 2008, the "formidable interpretation" by its dedicatees, the harpists Marianne Smit and Esther Kooi, Freude produced "the effect of a fountain of youth" (Gervasoni 2008a). At the New York premiere two years later, "Appreciating a sophisticated composition brilliantly executed was only natural. But if you gave yourself over to Stockhausen’s calculated mix of ritualistic vocals and the harps’ intrinsic glamour, the peculiar divinity he envisioned seemed almost within reach" Smith 2010. Third Hour: Natürliche Dauern Stockhausen with Antonio Pérez Abellán during the recording sessions for Natürliche Dauern 16–24 Natürliche Dauern 1–24 (Natural Durations 1–24), for piano, 2005–06 (ca. 140 mins.). Work number 83. The specified colour is teal blue (Stockhausen 2008b, cover). Natürliche Dauern consists of 24 pieces for solo piano. No. 1 was premiered in New York 23 February 2006, at the Holy Trinity Church, 65th Street and Central Park West by Philip Edward Fisher (Anon. 2006); nos. 2–15 were premiered at the Sülztalhalle in Kürten on 12 July 2006 by the pianists Benjamin Kobler and Frank Gutschmidt; nos. 16–24 were premiered in Lisbon on 17 July 2007 by the Spanish pianist Antonio Pérez Abellán, to whom these are dedicated (Stockhausen-Stiftung für Musik 2008, 37 & 78). There are various ways to determine the intervals of entry using the durations of tones or sounds, whereby each time the entire rhythmic development of a piano piece is governed by natural durations. In some of the pieces, the durations are regulated by prescribed in- and exhaling, or by the resonances of RIN (Japanese temple instruments) which are struck. In this cycle, also various degrees of difficulty of the piano playing result in natural durations—for example, intervallic leaps of various sizes, or the way fingers mesh, or the bunching together of simultaneously played keys, or combinations of attacks, clusters, glissandi and the more or less complicated notation of the attack durations. (Stockhausen-Stiftung für Musik 2008, 77) Fourth Hour: Himmels-Tür Heaven's Door, depicted on the main entrance of the Milan Cathedral Himmels-Tür (Heaven’s Door), for a percussionist and a little girl, 2005 (ca. 28 mins.). Work number 84. The specified colour is bright blue [Hellblau] (Stockhausen 2007f, cover; Stockhausen 2008b, cover). Himmels-Tür was commissioned by the Italian concert organisation Angelica, and composed in 2005. It was premiered on 13 June 2006 in the Teatro Rossini in Lugo, Italy, by the American percussionist Stuart Gerber and Arianna Garotti as the little girl. Gerber gave the German premiere a few weeks later at the Stockhausen Courses in Kürten (Stockhausen 2006b, 21 & 41; Toop 2012, 425). The only overtly theatrical piece from Klang, the idea for Himmels-Tür came to Stockhausen in a dream, in which he found himself at the gates of heaven, which are locked against him. (Several of Stockhausen's earlier theatrical compositions—such as Trans, Musik im Bauch, and the Helicopter String Quartet—also had their origins in dreams.) Because of the indefinite pitches of the instruments (a large double-panelled door and an assortment of cymbals and gongs), Himmels-Tür is the only work in the Klang cycle that does not use the 24-note series extrapolated from the all-interval "Gruppen" row (Kohl 2008, 17; Toop 2008b, 199–200). "A percussionist beats with wooden beaters on a heaven’s door made of wood. It is divided from bottom to top into six fields. Sometimes he (she) stomps on the floor with his (her) nailed shoes." There are fourteen main sections defined by moods, such as "cautious", "entreating", "agitated", and "angry", until finally, the door opens. "After a moment of silence, the percussionist cautiously steps through the doorway and disappears. A terrifying noise of tam-tams, hi-hats, and cymbals bursts out”, not to mention sirens. "A little girl comes out of the audience onto the stage, and disappears through the doorway. The metallic sounds become increasingly rare and gradually cease. Finally, the siren stops" (Stockhausen 2006b, 41). It is probably no coincidence that many years earlier, in Kontakte, Stockhausen had associated metallic sounds with the "heavenly", in contrast to the "earthly" sounds of skin percussion (entirely absent in Himmels-Tür), with wooden sounds functioning as a transition between them, like the door to heaven here. Although the graphic notation is unconventional, the improvisatory appearance of both the performance and the score is deceptive. Every stroke, every gesture is precisely specified in its rhythm, dynamics, and timbre (Kohl 2008, 17). Although originally planned to occupy twenty-four pages (a number found generally throughout the cycle, reflecting the number of hours in a day), the final score consists of just twenty-two. The first sixteen are performed on the door, the remaining six behind the door, out of sight of the audience. In the first, larger section of the work the number of strokes, types of strokes, and door panels on which the percussionist performs are controlled by global serial factors, but the details are not serially determined. By contrast, the closing section, with the metal percussion instruments played backstage, is serially organised using number squares, including a version of the source square for the second set of Klavierstücke from 1954–55 (Toop 2012, 431–32, 463–65). Türin Japanese rin, one of the sound sources in Türin In just two days in October 2006, Stockhausen realised a 13-minute electronic work to accompany Himmels-Tür on its first CD recording. The title Türin combines the names of the two sound sources used, the door (German: Tür) from the percussion piece, and a chromatic set of rin—Japanese bowl-gongs that Stockhausen had previously used in several compositions, such as Telemusik, Inori, Lucifer's Dance from Samstag aus Licht, and the orchestra version of Hoch-Zeiten from Sonntag aus Licht, as well as in Himmelfahrt (Hour 1) and the twenty-second piece of Natural Durations (Hour 3) from Klang. The recorded sounds of strokes on the door are electronically processed to focus their pitch and extend their resonance, and a rin stroke of the corresponding pitch is added to each attack (Kohl 2008, 17). The composition, written in September 2006 and realised on 7 and 8 October, consists of a single, stately presentation of the 24-tone Klang row in its original transposition, in rhythms derived from the pitches. Within each of these long tones, Stockhausen's voice intones a different "noble word" (such as "hope", "fidelity", "balance", "generosity", etc.). The utter simplicity of this piece puts it at the opposite extreme from the hyper-complex Cosmic Pulses, work on which was already in progress at the time Türin was created (Kohl 2008, 17; Kohl 2012b, 478–79). There are two versions of Türin, one with the words spoken in German, the other in English. According to the composer, these "noble words" are meant to keep the Himmels-Tür open (booklet accompanying Stockhausen Complete Edition CD 86, pp. 12 & 24). This composition was not assigned a work-number by Stockhausen, but is now included in the official catalogue of his works as "Nr. 84 extra". Fifth Hour: Harmonien Suzanne Stephens, for whom the first version of Harmonien was composed Harmonien (Harmonies), for bass clarinet, or flute, or trumpet, 2006 (ca. 15 mins.). Work number 85. The specified colour is HKS 50 (light greenish blue) (Stockhausen 2008d, I; Stockhausen 2009a, I). The bass clarinet version (work number 85.1) was premiered in Kürten on 11 July 2007 by Suzanne Stephens; the flute version (work number 85.2) was premiered in Kürten 13 July 2007 by Kathinka Pasveer (Stockhausen 2007b and Stockhausen 2007c); the trumpet version (work 85.3) was premiered on 2 August 2008 by Marco Blaauw in London at a BBC Proms concert (Stockhausen-Stiftung 2008, 7). The bass clarinet version, originally titled Akkorde (Chords), was the first to be composed, as a birthday gift for Suzanne Stephens (Stockhausen 2007c). The flute and trumpet versions were made by transposing the entire work up by a whole tone, with numerous adjustments to fit the range and character of the instruments, as well as a few small additions. While the bass clarinet and flute versions are purely instrumental, in the trumpet version the player speaks three words between the four introductory notes: "Lob sei Gott" ("May God be praised"). Stockhausen’s original

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