Poetica e tecniche compositive in Natürliche dauern di Karlheinz Stockhausen
In this article I analyse Stockhausen’s latest piano work Natürliche Dauern (Natural Durations), third part of the cycle Klang. Die 24 Stunden des Tages (Sound. e 24 Hours of the Day). The compositional techniques are discussed taking in consideration the large context of the musical poetics of the composer. The work in question offers the opportunity to examine the peculiar features of Stockhausen’s late style (a certain minimalism, the concentration on the decay of sound as well on its relation with silence), and besides that how the composer in his last cycle tried to “overcome” (in the Hegelian sense: Aufhebung) the traditional twelve- tone technique through what he defined the “serial spirit”.