Stockhausen CD 27-47: LICHT Part 1

LICHT, Part 1

     The best, most efficient way to hear Stockhausen's works is through his official record label and publishing house. The Stockhausen Edition CDs are meticulously assembled with often voluminous booklets in English and German, filled with sketches and other documentary artifacts. Almost all of the recordings originally released on Deutsche Grammophon, Wergo, Nonesuch and other labels were reacquired by Stockhausen, and then remastered and repackaged under the Stockhausen Edition catalog. Under the control of the Stockhausen Foundation, Stockhausen's recorded works will never go "out of print", making all of them available to the public. The CD Editions are organized mostly in historical order, although some volumes are focused on particular categories of chamber works (flute, winds, synth, trumpet, percussion, etc...), some concentrate on different renditions of a single composition, and some are new recordings of older works. A detailed, linked listing follows with links to the relevant analysis pages on the main site. All performances conducted and mixed by Karlheinz Stockhausen unless otherwise indicated. All of these discs can be purchased online through the Stockhausen official store. For historical purposes, I'll also include relevant original LP covers from previous pressings.

The Stockhausen Complete Edition:

     Stockhausen Edition CDs 27 through 82 generally document the 29-hour, 7-part LICHT opera cycle. In addition to presenting premier recordings of each of the seven operas (one for each day of the week), these CDs also document "satellite" chamber works derived from LICHT scenes and material. In other words, these are parts of the musical fabric of the operas which can be presented independently as solo or chamber concert works (some of the CDs also present the electronic music layers as independent compositions). At this point, Stockhausen now had his own record label (and could put out anything he liked) so he also took this opportunity to issue additional CDs spotlighting his closest collaborators (for example, Markus, Simon, and Majella Stockhausen, Suzanne Stephens, Kathinka Pasveer, Michael Svoboda, Michael Vetter, etc). Only a few of these CDs (29, 30, 31, 34, 39) were previously released on LP or CD.

     This page covers CDs 27- 47, which include the first 4 operas:
  • DONNERSTAG AUS LICHT (THURSDAY FROM LIGHT, staged version on CD 30).
  • SAMSTAG AUS LICHT  (SATURDAY FROM LIGHT, staged version on CD 34).
  • MONTAG AUS LICHT  (MONDAY FROM LIGHT, staged version on CD 36).
  • DIENSTAG AUS LICHT  (TUESDAY FROM LIGHT, staged version on CD 40).
...as well as important premier recordings of new arrangements for some older pieces (HYMNEN with Orchestra and SOLO, most notably).

An overview of the LICHT opera cycle can be found at LICHT: Musical Forces, but this and the following chapters break down the chronological dissemination and representation of LICHT on CD.

27 features Suzanne Stephens performing three solo works for clarinet and basset-horn (alto clarinet). IN FREUNDSCHAFT (a 3-layer polyphony arranged for a single soloist) is a popular recital work, and has been arranged for many different instruments.
  • IN FREUNDSCHAFT (IN FRIENDSHIP) for clarinet, rec. April 1979.
  • TRAUM-FORMEL (DREAM-FORMULA, based on formulas from SAMSTAG AUS LICHT) for basset-horn, rec. Sept. 1983.
  • AMOUR for clarinet, rec. Mar 1980.
Original DG release on CD

28 features the artistry of Kathinka Pasveer on 2 CDs, performing solo works for flute, piccolo flute, and alto flute. In addition to the flute arrangements of AMOUR and IN FREUNDSCHAFT, it includes several solo arrangements of works from (or based on) the LICHT opera cycle. This set also notably includes the electro-acoustic version of KATHINKAs GESANG, a piece performed with percussionists in the opera SAMSTAG AUS LICHT, but here in a later version with electronic music created at Paris' IRCAM studio. There are no recording dates in the notes, but one can assume these performances were recorded between 1983 and 1991. This Edition is the earliest CD in the Stockhausen series containing "all-new material".
  • IN FREUNDSCHAFT (IN FRIENDSHIP) for flute (1977).
  • PICCOLO (from DER JAHRESLAUF) for piccolo flute (1977).
  • AMOUR for flute (1976/81).
  • SUSANIs ECHO (from MONTAG AUS LICHT, Act 3) for alto flute (1985).
  • Xi (from MONTAG AUS LICHT, Greeting) for flute (1986).
  • ZUNGENSPITZENTANZ (TIP-OF-THE-TONGUE-DANCE, from SAMSTAG AUS LICHT, Scene 3) for piccolo flute (1983).
  • FLAUTINA (from MONTAG AUS LICHT, Act 1) for flute with piccolo flute and alto flute (1989).
  • YPSILON (from MONTAG AUS LICHT, Farewell) for flute (1989).
  • KATHINKAs GESANG (KATHINKA’S CHANT, from SAMSTAG AUS LICHT, Scene 2) for flute and electronic music (electronic music created Dec 1983 and Aug. 1984).

29 features a pre-LICHT work, although this piece would later be reworked as the opening Act to the LICHT opera DIENSTAG AUS LICHT (on CD 40). Commissioned for Japanese Gagaku orchestra, DER JAHRESLAUF is essentially Stockhausen's take on the very slow-changing, web-like textures of this ancient ceremonial music form. As the Gagaku orchestra proceeds through various poly-textural wind and string arrangements, several "interruptions" arrive in the form of comic skits (usually presented aurally by tape).

The version recorded here is an adaptation for European instruments (3 harmoniums, 3 piccolo flutes, 3 soprano saxophones, harpsichord, guitar and percussion). The Gagaku version has yet to be released in any official form. Note that the 1993 recording of JAHRESLAUF on CD 40 is a revised and newly-recorded version for use in LICHT (and uses synthesizer/samplers for some parts), whereas this CD contains the 1979 premier version.
  • DER JAHRESLAUF (THE COURSE OF THE YEARS) for orchestra and tape (1977), rec. 1979.
Original DG release


30 contains the first-completed opera of the LICHT cycle, "Thursday From LIGHT". This opera is made up of a "GREETING" (a prelude of sorts), 3 Acts, and a "FAREWELL" brass quintet. Frankly, it's just too hard to describe any of these operas in just a brief paragraph, so please see the links below for more detailed remarks. Nonetheless, I can't help but mention that the first Scene of MICHAELS JUGEND is pretty tough going if you don't understand German (in my own experience, anyways), but Act 2 is one of Stockhausen's most entertaining set pieces. Also, the main character, MICHAEL, plays trumpet, so you can expect lots of amazing (and at times, even soulful) brass.

In general, these operas are totally uncompromising in approach, although not as texturally "harsh" as the late '60s/early '70s "plus-minus" pieces (KURZWELLEN, PROZESSION, SPIRAL, POLE, etc). Nonetheless, at least from a harmonic standpoint, Stockhausen at times expects the listener to do a little work to fully appreciate these things. However, if one puts the time into them, the attentive and thoughtful listener will always be rewarded with new treasures upon repeated listenings. The site articles here will hopefully help point out some of the most important scenery along the way.
  • DONNERSTAG aus LICHT (THURSDAY from LIGHT) (1978-80).
    • DONNERSTAGs-GRUSS (Thursday Greeting) for 8 brass, 3 percussionists, and piano (1978), rec. 11/1981.
    • MICHAELs JUGEND (Michael's Youth) for tenor, soprano, bass vocal soloists, trumpet, basset-horn, trombone, piano, elec. organ/synthesizer and tape (ie - UNSICHTBARE CHÖRE/Invisible Choirs - choir and instrument drones) (1979), rec. 5/1980.
    • MICHAELs REISE UM DIE ERDE (Michael's Journey Around the World) for trumpet, basset horn and double-bass soloists with orchestra, rec. 11/1980.
    • MICHAELs HEIMKEHR (Michael's Homecoming) for tenor, soprano, bass vocal soloists, trumpet, basset-horn, trombone, 2 soprano saxophones, elec. organ/synthesizer, choir, orchestra, and tape (UNSICHTBARE CHÖRE/Invisible Choirs) (1980), rec. 6/1980 and 10/1981.
    • DONNERSTAGs ABSCHIED (Thursday Farewell) for 5 trumpets (1980), rec. 1/1982.
This CD features vocal soloists Robert Gambill, Annette Meriweather, Matthias Hölle, and Paul Sperry. Instrumental soloists include Markus Stockhausen (trumpet), Suzanne Stephens (bassett horn), Mark Tezak (trombone), and Majella Stockhausen (piano). The opera ensemble is comprised of the WDR Cologne Choir, the Hilversum Radio Choir and Orchestra, Ensemble InterContemporain, Freies Blaser and Schlagzeugensemble. Peter Eötvös performs Hammond organ and conducts Act 3 (VISION).
Original DG release


31 features a tape piece made up of 16 layers of a cappella choir tracks (employing a variety of massed vocal approaches, including the use of percussive and whispered noises), joined by a couple brief, hypnotic multi-tracked clarinet sequences (employing circular breathing, I think). This tape is used as a "textural background" layer in Act 1 of the opera DONNERSTAG aus LICHT (CD 30). In Act 3 the same tape is reused, but with the channels "reversed". Although some of this material can be subtly heard on CD 30 (faded in and out during the opera itself), this release reveals the layered beauty of the isolated choir tape and clarinet parts.
  • UNSICHTBARE CHÖRE (INVISIBLE CHOIRS from DONNERSTAG aus LICHT, Acts 1 and 3), tape comprised of cappella choir (WDR Cologne choir) and multi-tracked clarinet (Suzanne Stephens), rec. 1979.
Original DG release


32 is a collection of works for clarinet, bass clarinet, and basset-horn featuring the artistry of Suzanne Stephens (also previously featured on CD 27). This 3 CD set includes recordings from 1989 to 1994 of compositions spanning 1974 through 1994. Many of these works are derived or arranged from LICHT (reduced for independent concert recital). 7 works are for solo basset-horn, with the remaining 8 selections being ensemble or electro-acoustic arrangements, with Stephens joined by Majella Stockhausen (pno), Markus Stockhausen (tpt), Simon Stockhausen (kb), Kathinka Pasveer (fl), Joachim Krist (vla) or Julian Pike (tn).

LAUB und REGEN is primarily a theatrical work, but this recording kind of works as an example of Stockhausen using the concept of "found objects sounds" (hammers, brooms, threshing, etc). In TIERKREIS for clarinet and piano, Stephens and pianist Majella Stockhausen create new chamber duet arrangements (and variations) based on the Zodiac melodies first presented in CD 24. Although this an unusually massive set devoted to just one primary performer, this collection delivers a great variety of compositional approaches (electro-acoustic, serial, microtonal, etc).
  • LAUB und REGEN (LEAVES and RAIN, from HERBSTMUSIK) for clarinet and viola (Joachim Krist) (1974), rec. 1994.
  • TIERKREIS (ZODIAC) 12 pieces arranged for clarinet and piano (Majella Stockhausen) (1975/81), rec. 1982.
  • LIBRA (from SIRIUS) for bass clarinet and electronic music (1977), rec. 1993.
  • IN FREUNDSCHAFT (IN FRIENDSHIP) for basset-horn (1977), rec. 1994.
  • TANZE LUZEFA! (DANCE LUCEFA!, from DONNERSTAG aus LICHT, Act 1) for basset-horn (1978), rec. 1994.
  • BIJOU (from DONNERSTAG aus LICHT, Act 1) vocal duet arr. for alto flute (Kathinka Pasveer), bass clarinet and UNSICHTBARE CHÖRE tape (1978/82), rec. 1993.
  • MONDEVA (MOON-EVE, from DONNERSTAG aus LICHT, Act 1) for tenor (Julian Pike) and basset-horn (1978), rec. 1993.
  • MISSION und HIMMELFAHRT (MISSION and ASCENSION, from DONNERSTAG aus LICHT, Act 2) for trumpet (Markus Stockhausen) and basset-horn (1978), rec. 1992.
  • Xi (derived from MONTAG AUS LICHT, Greeting) for melody instrument with micro-tones - ie - basset-horn (1986), rec. 1989.
  • WOCHENKREIS (CIRCLE OF THE WEEK, from MONTAG AUS LICHT, Act 2) for basset-horn and elec. keyboard (Simon Stockhausen) (1986/88), rec. 1993.
  • EVAs SPIEGEL (EVE’S MIRROR, from MONTAG AUS LICHT, Act 3) for basset-horn (1984), rec. 1989.
  • SUSANI (from MONTAG AUS LICHT, Act 3) for basset-horn (1984), rec. 1989.
  • YPSILON (derived from MONTAG AUS LICHT, Farewell) for melody instrument with micro-tones - ie - basset-horn (1986), rec. 1994.
  • SUKAT (related to DIENSTAG AUS LICHT, Greeting) for basset-horn and alto flute (Kathinka Pasveer) (1989), rec. 1993.
  • FREIA (from FREITAG AUS LICHT, Real Scene 9) for basset-horn (1991), rec. 1994.

33 contains two long works featuring Markus and Majella Stockhausen (in separate performances). ARIES is essentially the "Spring" quadrant of SIRIUS (CD 26) with the electronic tape accompanied by only Markus Stockhausen's trumpet part (in effect a live electro-acoustic work). The other work is Majella Stockhausen's traversal of KLAVIERSTÜCK XIII, a solo piano work later adapted with vocal parts into Scene 1 from the opera SAMSTAG AUS LICHT (CD 34).
  • ARIES (from SIRIUS) for trumpet and electronic music (1975-77), feat. Markus Stockhausen, rec. 1983.
  • KLAVIERSTÜCK XIII (PIANO PIECE XIII, from Scene 1 of SAMSTAG AUS LICHT, LUCIFER’S DREAM), feat. Majella Stockhausen, rec. 1983.

34 is the second opera written for LICHT, SATURDAY from LIGHT. This is a darkly humorous 4 act opera on 4 CDs, featuring flute, piano, wind (jazz) band and male choir. The 3rd Scene is presented in both the "complete" version and as the aborted (staged) "strike" version. In the latter case, the performance is halted before its completion by a revolt from the wind band members (for playing past contracted working hours). If you only get one LICHT opera, this is the one I'd recommend (although, DONNERSTAG, DIENSTAG, hmm...).
  • SAMSTAG AUS LICHT (SATURDAY from LIGHT)
    • SAMSTAGs-GRUSS (Saturday Greeting/Lucifer's Greeting) for 26 brass instruments and 2 percussionists (1984), feat. members of the University of Michigan Symphony Band, rec. 1984.
    • Scene 1: LUZIFERs TRAUM (KLAVIERSTÜCK XIII)/(LUCIFER's Dream, or Piano Piece 13) for bass vocalist and piano (1981), feat. Majella Stockhausen (pno) and Matthias Hölle (bs), rec. 1981.
    • Scene 2: KATHINKAs GESANG als LUZIFERs REQUIEM (KATHINKA's Chant as LUCIFER's Requiem) for flute solo or with 6 percussionists (1982-83), feat. Kathinka Pasveer and the Kolberg Percussion Ensemble, rec. 1983.
    • Scene 3: LUZIFERs TANZ (LUCIFER'S DANCE) for symphonic/wind orchestra, with piccolo trumpet, piccolo flute and bass vocalist (1983), feat. Kathinka Pasveer, Markus Stockhausen, Matthias Hölle and the University of Michigan Symphony Band, rec. 1984.
    • Scene 4: LUZIFERs ABSCHIED (LUCIFER'S FAREWELL) for male chorus with chapel percussion, organ/synth, tam-tam and 7 trombones (live or tape) (1982), feat. the Cologne Handel Collegium and Michael Struck (tb), rec. 1984.
Original DG release

35 contains a trio of chamber works recorded in the mid-80s by an ensemble featuring the core Stockhausen trio of Markus Stockhausen, Suzanne Stephens and Kathinka Pasveer.
  • OBERLIPPENTANZ (UPPER-LIP-DANCE/PROTEST from Scene 3 of SAMSTAG AUS LICHT) for piccolo trumpet, 4 horns and 2 percussionists (1983), feat. Markus Stockhausen (trumpet) and Michael Svoboda (euphonium), rec. 1985.
  • AVE (derived from Act 3 of MONTAG AUS LICHT) for basset-horn and alto flute (1984/85), feat. Suzanne Stephens and Kathinka Pasveer.
  • TIERKREIS (ZODIAC) Trio Version arr. 1983 for clarinet (Suzanne Stephens), flute and piccolo flute (Kathinka Pasveer), trumpet and piano (Markus Stockhausen) (1975/83).

36 is the 5 CD, fully-staged version of the 3rd LICHT opera, MONTAG AUS LICHT (MONDAY from LIGHT). This massive work is comprised of 3 Acts and framed by 2 electro-acoustic "installation" pieces ("Greeting" and "Farewell"). In contrast to SAMSTAG AUS LICHT (which was highly instrumental in nature), this opera is structured around mixed vocal combos and choir groups. The work features vocalist Nicholas Isherwood, pianist Pierre-Laurent Aimard, the WDR Cologne Choir, the Radio Budapest Children's Choir, Zaans Cantatekoor (Holland), Suzanne Stephens (woodwinds), Kathinka Pasveer (flutes), Simon Stockhausen (electronics) and others.
  • MONTAG AUS LICHT (MONDAY from LIGHT)
    • MONTAGs-GRUSS (EVA-GRUSS)/Monday Greeting (EVE's Greeting) for basset-horn (Suzanne Stephens) and tape (composed/created 1986/1988).
    • Act 1: EVAs ERSTGEBURT (EVE's First Birth-Giving) for 3 sopranos, 3 tenors, bass, vocal actor, choir, boys’ choir, 3 synthesizers, percussion and musique concrète tape, rec. 1988.
    • Act 2: EVAs ZWEITGEBURT (EVE's Second Birth-Giving) for girls' choir, piano, 7 solo boy singers, 3 basset-horns, 1 singing basset horn, choir, 3 synthesizers, percussion, and musique concrète tape (1984-1987), rec. 1986/88.
    • Act 3: EVAs ZAUBER (EVE's Magic) for basset horn, alto flute, piccolo flute, choir, children's choir, 3 synthesizers, percussion, and musique concrète tape (1984-1986), rec. 1986/88.
    • MONTAGs-ABSCHIED Monday Farewell (EVE's Farewell) - Tape piece for speed-manipulated piccolo flute, soprano voices and bird samples (composed/created 1986/1988), feat. Kathinka Pasveer.

37 presents the mixed choir layer of the entire first Act of the opera MONTAG AUS LICHT (with some embedded musique concrète elements). This a cappella version, the "Festival of Birth", allows the listener to experience a specific (although still complex) facet of the opera without the soloists. Waves of choral voices can be heard, layered in various renditions/atomizations of the LICHT super-formula.
  • GEBURTSFEST (FESTIVAL OF BIRTH of MONDAY from LIGHT, Version of EVE's First Birth-Giving for choir and tape), feat. the WDR Cologne Choir, rec. 1988.

38 mostly contains excerpted "highlight" scenes from the 1st and 2nd Acts of the opera MONTAG AUS LICHT, with some additional arrangements for a cappella girls' choir and solo piano. The first 16 tracks are the two "Birth Arias" (Act 1, Scene 3, also found on CD 36b). Tracks 34-53 contain the "Girl's Procession", "Conception with Piano Piece", and "Rebirth" scenes from Act 2 (found on the first half of CD 36c). In between these two selections from MONTAG AUS LICHT is a previously-unreleased version of the "Girl's Procession", "Conception with Piano Piece", and "Rebirth" sequence featuring just the girls' choir and solo piano (featuring Pierre Laurent Aimard). I suppose this disc is aimed at those that are interested in mostly vocal highlights from MONTAG AUS LICHT.
  • GEBURTS-ARIEN (BIRTH -ARIAS, from Act 1 of MONDAY from LIGHT for 3 sopranos (inc. Annette Meriweather), 3 tenors (inc. Julian Pike), choir (WDR), children’s voices (Radio Budapest), synths/electronics (Simon Stockhausen, Michael Obst, Michael Svoboda), and percussion (Andreas Boettger), rec. 1988. 
  • MÄDCHENPROZESSION (GIRLS’ PROCESSION, 3 Scenes from Act 2 of MONDAY from LIGHT), rec. 1988. 
    • 1st version for girls’ choir (the Girls' Choir of Radio Budapest) and piano soloist (Pierre Laurent Aimard).
    • 2nd version - same as 1st version but with choir (WDR Cologne), synth/percussion (as above), and sound scenes (FX tape).
 Around this time Stockhausen began calling his electro-acoustic instrumental groups "modern orchestras". For most consumers this is a pretty confusing distinction, so I will simply be listing them here as "percussion and synth/electronics". He also started using another naming convention for the musique concrète sound effects tapes employed in the operas, generally calling them "Sound Scenes".

39 (2 CDs) contains 3 concertos from the classical repertoire, featuring Stockhausen's primary soloists performing new cadenzas written by Stockhausen himself (between 1978 and 1985). Markus Stockhausen, Kathinka Pasveer and Suzanne Stephens are backed by the Berlin Radio Symphony Orchestra (conducted by Stockhausen), rec. 1985/86. Stockhausen's cadenzas are largely idiomatic, although sometimes approached with a more pensive "new music" perspective.
  • Stockhausen conducts Haydn and Mozart:
    • Haydn: Trumpet Concerto in E flat (1796), feat. Markus Stockhausen.
    • Mozart: Flute Concerto in G, KV 313 (1778), feat. Kathinka Pasveer.
    • Mozart: Clarinet Concerto, KV 622 (1791), feat. Suzanne Stephens (previously unreleased).
Orig. Acanta release.


40 (2 CDs) is the complete staged 4th opera of the LICHT cycle, DIENSTAG aus LICHT (TUESDAY from LIGHT). This opera has a prelude GREETING, followed by two Acts. The first is a new arrangement and recording of DER JAHRESLAUF (CD 29). Besides being newly-arranged for Stockhausen's 2nd generation electro-acoustic ensemble, this version also has additional opening and closing "character" sequences to put it in context of the LICHT narrative.

Act 2, "INVASION - EXPLOSION with Farewell" is dominated by opposing vocal, brass and electronics "troops", and also features the "3D" electronic work "Octophony" as a textural layer. It also contains an interlude titled PIETÀ, which is a soprano (Annette Meriweather) and flugelhorn (Markus Stockhausen) duet backed by subtle electronic textures.The ending sequence, "SYNTHI-FOU/Farewell", is essentially a concerto for a "mad" synthesizer player, utilizing over 131 synth patches, played in somewhat humorous combinations (and including several "free improvisation windows"). Rec. 1993.
  • DIENSTAG aus LICHT (TUESDAY from LIGHT)
    • DIENSTAGs-GRUSS (Tuesday Greeting, Welcome with Peace Greeting) for soprano (Annette Meriweather), 9 trumpets (inc. Markus Stockhausen), 9 trombones (inc. Michael Svoboda), 2 synthesizers (Simon Stockhausen & Massimiliano Viel), and 2 choirs (Choir of the Musical Comedy, Leipzig Vocal Ensemble).  
    • Act 1: JAHRESLAUF (Course of the Years) for tenor, bass, piccolo flutes, soprano saxophones, guitar, percussion, electronics, tape. Synthesizer/samplers replace the harmoniums and harpsichord from the DER JAHRESLAUF version on CD 29.
    • Act 2: INVASION - EXPLOSION with FAREWELL, for soprano (Annette Meriweather) , tenor (Julian Pike), bass (Nicholas Isherwood), 3 trumpets (inc. Markus Stockhausen), 3 trombones (inc. Michael Svoboda), 4 synthesizer/samplers/electronic percussionists (Simon Stockhausen, Massimiliano Viel, Andreas Boettger, and Renee Jonker), tape (OKTOPHONIE). BEYOND - SYNTHI-FOU - FAREWELL features Simon Stockhausen as synthesizer soloist backed by the WDR choir.

41 contains OKTOPHONIE (OCTOPHONY), the Electronic Music of DIENSTAG aus LICHT (TUESDAY from LIGHT). This is a massive electronic work built on 8 layers, with textures essentially generated by Simon Stockhausen from synthesizer/samplers. Although meant to be a 3-dimensional work in a live presentation, here the work is, of course, presented in stereo. Stockhausen however claims that he was still able to create a sense of 3-dimensional movement (even through just stereo speakers) by way of various filtering/phasing techniques ("You will be amazed!").
  • OKTOPHONIE (1990/91) (the following structural sequences can be mapped to the staged presentation on CD 40).
    • OPENING
    • 1st INVASION
    • 2st INVASION
    • PIETÀ
    • 3rd INVASION
    • JENSEITS (Beyond)
    • SYNTHI-FOU
    • ABSCHIED (Farewell)

42 (2 CDs) features Simon Stockhausen in the "synthesizer/sampler concerto" SYNTHI-FOU, found at the end of the opera DIENSTAG aus LICHT (TUESDAY from LIGHT). This "electronics cadenza" (utilizing over 131 combination patches/textures created from Yamaha, Roland, Casio, Akai and Oberheim synth modules) begins with the background chords for JENSEITS (Beyond), continues through the SYNTHI-FOU solo, and ends in DIENSTAGS-ABSCHIED (Farewell). The opening solo synthesizer version presented on this disc is not actually meant to be "performed live" as an unaccompanied solo, but is offered more as a "study aid" to the electronic music specialist.

After this "isolated track" presentation, the BEYOND - SYNTHI-FOU - FAREWELL sequence is repeated, but this time with the background electronic music from OKTOPHONIE. Finally, Simon Stockhausen's part is presented a 3rd time in its "full" context mixed with the electronic and choral textures from the staged version of DIENSTAG AUS LICHT (this sequence is extracted from CD 40b).

This release is also the first Stockhausen Edition CD to offer an accompanying "demonstration disc", where Simon goes through and explains each synth patch employed, one by one. Recorded 1993. A later rendition from 2004 by Antonio Pérez Abellán can be found on CD 82.
  • SYNTHI-FOU (or KLAVIERSTÜCK XV), synthesizer/sampler solo for study purpose.
  • SYNTHI-FOU (or KLAVIERSTÜCK XV), synthesizer/sampler with electronic music (OKTOPHONIE), as heard in the opera, but without choir.
  • DIENSTAGS-ABSCHIED (TUESDAY FAREWELL) for synthesizer/sampler, choir (WDR Cologne choir) and electronic music (OKTOPHONIE), as heard in the opera.
  • Sounds of BEYOND - SYNTHI-FOU - FAREWELL (Simon demonstrates his sound patches).

43 (2 CDs) features Markus Stockhausen performing LICHT-related chamber works highlighting trumpet, piccolo trumpet, and flugelhorn. This CD also includes tracks created for a newly-recorded television broadcast presentation of EXAMEN (from Act 1 of DONNERSTAG aus LICHT).
  • EINGANG und FORMEL (ENTRANCE and FORMULA from DONNERSTAG aus LICHT, Act 2, 1978), for trumpet, rec. 1992.
  • EXAMEN (EXAMINATION from DONNERSTAG aus LICHT, Act 1, 1979), for tenor (Julian Pike), trumpet (Markus Stockhausen), basset-horn (Suzanne Stephens), piano (Majella Stockhausen), soprano (Annette Meriweather), bass (Nicholas Isherwood), 2 speaker-mimes (Elizabeth Clarke, Alain Louafi), rec. 1990 for a television broadcast.
  • DRACHENKAMPF (DRAGON FIGHT from DONNERSTAG aus LICHT, Act 3, 1980/87), for trumpet, trombone (Michael Svoboda), percussion (Andreas Boettger) and a synthesizer player (Simon Stockhausen), rec. 1993.
  • OBERLIPPENTANZ (UPPER-LIP-DANCE from SAMSTAG aus LICHT, Scene 3, 1983), for piccolo trumpet, rec. 1993 (an earlier recording was made for the 1985 Mozart/Haydn LP (German pressing)).
  • PIETÀ (from DIENSTAG aus LICHT, Act 2, 1990), solo for flugelhorn and electronic music (OKTOPHONIE), rec. 1993.
  • PIETÀ (from DIENSTAG aus LICHT, Act 2, 1990), duo for flugelhorn, soprano (Annette Meriweather) and electronic music (OKTOPHONIE), rec. 1993.

44 features three chamber works spotlighting Michael Svoboda on trombone and euphonium. SIGNALS to INVASION is a work for trombone and tape, where all of the brass and vocal figures from DIENSTAG aus LICHT's Act 2 INVASION have been condensed into one convoluted trombone part ("Signals"). KINNTANZ is a new electro-acoustic trio arrangement of a theme found in "Lucifer's Dance" (SAMSTAG aus LICHT, Scene 3). Rec. 1995.
  • IN FREUNDSCHAFT (IN FRIENDSHIP, 1977, 1982) for solo trombone. Versions of IN FREUNDSCHAFT for winds and other instruments can be found on other Stockhausen CDs (such as 27, 28, etc.).
  • SIGNALS to INVASION (from , Act 2, 1992) for solo trombone and electronic music (OKTOPHONIE). 
  • KINNTANZ (CHIN-DANCE from SAMSTAG aus LICHT, Scene 3, 1983/89) for euphonium, percussionist (Andreas Boettger), synthesizer player (Simon Stockhausen).

45 includes new recordings of vintage-era variable-form solo chamber works involving shortwave radio or delay processing. A unique version of SOLO (accompanied by excerpts from HYMNEN Region 2) was previously recorded by trombonist Vinko Globokar for Deutsche-Grammaphon, but this is its first "proper" appearance on the Stockhausen label. Earlier electro-acoustic "noise" versions of SPIRAL can be found on CD 15. Both of these works feature an element of performer improvisation (in reaction to the score elements). Created/rec. 1994/95.
  • SOLO (form scheme V) for a melody instrument with feedback delay processing (1966): Version for flute (Dietmar Wiesner), rec. 1995.
  • SOLO (form scheme V) for a melody instrument with feedback (1966): Version for synthesizer/electronics (Simon Stockhausen). This version is unique in that Simon created a 8-track, spatialized electronic backing tape, instead of employing live delay processing.
  • SPIRAL for a soloist with shortwave radio (1968): Version for oboe, voice and didjeridoo (Cathy Milliken), rec. 1995.
Alternate version of SOLO recorded by Vinko Globokar on DG (so far not reissued in digital).

46 is a double CD containing the first complete ("Integral") recording of SPIRAL, featuring Michael Vetter in an epic voice vs. shortwave radio performance. The booklet also includes an essay by Vetter describing his experiences with the piece. Earlier versions of SPIRAL for electro-acoustic performers can be found on CD 15.
  • SPIRAL for a soloist with short-wave receiver (1968), rec. 1995.

47 is the premier recording of a specially-adapted version of the 3rd Region of the massive electronic/tape work HYMNEN. Commissioned for a 1971 concert with the New York Philharmonic, Stockhausen scored a new orchestral accompaniment to this particular "quadrant" (the other 3 Regions were accompanied in this concert by the electro-acoustic Stockhausen Group, employing "intuitive" strategies). This orchestra and tape version also includes a "solo" portion for the orchestra (based on open/variable forms), and is here presented in two traversals (rec. 1994, feat. the Gürzenich Orchestra Cologne).
Continue to CD 48...

No comments:

Post a Comment