CD 67-82: LICHT Part 3

Stockhausen 1991 (©www.karlheinzstockhausen.org)
The Stockhausen Edition
Complete CD Series
1-10
(1950-69)
Serial Music: Points to Groups 
Moment Form
Electronic & Tape Music
11-26
(1967-79)
Live Electronics
Intuitive Music
Formula Form
27-47
(1977-95)
LICHT Pt.1
48-66
(1991-2003)
LICHT Pt.2
67-82
(2002-05)
LICHT Pt.3
83-106
(2006-15)
KLANG (& Text CDs)

     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 Stockhausen Edition CDs 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.

     Brief descriptions of each CD follow 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 (which this site has no official affiliation with).

LICHT, Part 3

      Stockhausen Edition CDs 28 through 82 generally document the 29-hour LICHT opera cycle. In addition to premier recordings of each of the 7 operas (1 for each day of the week), these CDs also document "satellite" chamber works derived from LICHT scenes and material.

     This page covers CDs 67-82, which include the final stretch of Stockhausen Edition CDs documenting the LICHT opera cycle (see the links in the table above to navigate to the other CD guides, or go to the "complete listing"). The first installment of the final opera, SONNTAG aus LICHT (Sunday From Light), was presented in the chapter LICHT Part 2 (1991-2003) (CD 58), while CDs 67, 68, 69, 73 and 74 (described below) contain the remaining scenes. The sequence covered on this page also includes important premier recordings of new arrangements for some older pieces (most notably MOMENTE, TIERKREIS and PUNKTE). Below is a listing of the CDs covered on this section with quick-access links (some titles are descriptive, not "official").
67 - SONNTAG aus LICHT: ENGEL-PROZESSIONEN
68 - SONNTAG aus LICHT: LICHT-BILDER
69 - SONNTAG aus LICHT: DÜFTE – ZEICHEN
70 - SONNTAG aus LICHT: 9 DÜFTE DER WOCHE (Song Extracts)
71 - SONNTAG aus LICHT: Choir parts from HOCH-ZEITEN
72 - SONNTAG aus LICHT: Orchestra parts from HOCH-ZEITEN
73 - SONNTAG aus LICHT: HOCH-ZEITEN
74 - SONNTAG aus LICHT: SONNTAGS-ABSCHIED
75 - SONNTAG aus LICHT: STRAHLEN (from SONNTAGS-ABSCHIED)
76 - SIRIUS: Electronic Music
77 - Vocal and Synthesizer (with Trumpet), feat. Hubert Mayer & Antonio Pérez Abellán
78 - Saxophone Works feat. Julien Petit
79 - Chamber Works from LICHT, for Percussion and Synthesizer
80 - MOMENTE (1998 recording)
81 - PUNKTE (2004 recording)
82 - Chamber Works from LICHT, for Brass, Reeds, Percussion & Electronics



67 ENGEL-PROZESSIONEN (ANGEL PROCESSIONS, 2nd scene of SUNDAY from LIGHT) for choir groups (2000)

     The 1st disc (on this 2 CD set) contains the complete recording of ENGEL-PROZESSIONEN, the 2nd Scene from SONNTAG aus LICHT (Sunday from Light), performed by the Groot Omroepkoor (Netherlands Radio Choir), and featuring soloists Isolde Siebert, Janet Collins, Hubert Mayer and Andreas Fischer. This scene is structured as 56 short, polyphonic vocal pieces (between 20 seconds and 1½ minutes) performed by 7 separate vocal sextets, moving around in space (stereo). At the same time, non-featured "Angel Choir" members contribute supportive "aleatory" textures. A third layer is provided by quiet and distant long tones from a "tutti choir" (large background choir group). With the main vocal sextets, Stockhausen draws from an amazing variety of styles, from baroque/madrigal to "doo-wop" to gospel to "sound poetry".

     The 2nd disc is a recording of just the background tutti choir harmonies (without the Angel Choir foreground groups), which makes for a somewhat monastic, "ambient" experience. Recorded 2002.
  • ENGEL-PROZESSIONEN: Staged scene with all vocalists and choir groups.
  • TUTTI-Chor (TUTTI choir): Background choir layer only (volume increased).



68 LICHT-BILDER (LICHT PICTURES, 3rd scene of SUNDAY from LIGHT), for tenor vocalist and basset-horn, with ring-modulated flute and trumpet (2002/03).

     LICHT-BILDER is performed by a tenor soloist (Hubert Mayer), ring-modulated trumpet (Marco Blaauw), bassett-horn (Suzanne Stephens) and ring-modulated flute/alto-flute (Kathinka Pasveer), as they polyphonically explore variations on a "backwards" form of the LICHT super-formula theme. The ring modulation effect gives the trumpet and flute a "harmonizer-like" texture, while their melodic lines are designed as a kind of modulating, delayed "fun-house mirror" to the tenor and horn lines. The 2nd disc contains the same performance but without the ring-modulation effect (for comparison purposes, not the opera staging). Antonio Pérez Abéllan is also credited with synthesizer (ring-modulation guide) here. Rec. 2004.



69 DÜFTE – ZEICHEN (SCENTS – SIGNS, 4th scene of SUNDAY from LIGHT) for 7 vocalists, boy’s voice, synthesizer (2002).

     This Scene features six vocalists grouped as soloists, in duets, and in trios, supported and bracketed by rhythmically-free (aleatoric) background ensemble text and glassy synthesizer harmonies.  At the end are two additional songs featuring a youth "from the audience". The vocal texts (included in the booklet) describe the themes behind each of the seven days of LICHT. In a live performance, body gestures, visual props and burning incense add to the presentation, but naturally these are not conveyed on the CD. Nonetheless, the essence of each LICHT "day" is conveyed by the text and vocal ensembles.

     Feat. Isolde Siebert (high soprano), Ksenija Lukic (soprano), Susanne Otto (alto), Hubert Mayer (high tenor), Bernhard Gärtner (tenor), Jonathan de la Paz Zaens (baritone), Nicholas Isherwood (bass), Sebastian Kunz (boy’s voice), Antonio Pérez Abellán (synthesizer), rec. 2003.



70 9 DUFTE DER WOCHE (9 Scents of the Week, from DÜFTE – ZEICHEN) for 7 vocalists, boy’s voice, synthesizer (2002).

     This CD contains the nine songs from DÜFTE – ZEICHEN (SCENTS – SIGNS (2002), 4th scene of SUNDAY from LIGHT, on CD 69), but without the background ensemble vocals. In other words, each song is presented as an independently-performed vocal work, backed only by the synthesizer part.

     Feat. Isolde Siebert (high soprano), Ksenija Lukic (soprano), Susanne Otto (alto), Hubert Mayer (high tenor), Bernhard Gärtner (tenor), Jonathan de la Paz Zaens (baritone), Nicholas Isherwood (bass), Sebastian Kunz (boy’s voice), Antonio Pérez Abellán (synthesizer), rec. 2003.



71 HOCH-ZEITEN (HIGH-TIMES, 2001/02) for choir (5 individual groups and TUTTI for study purposes)

     This 3 CD set features each of the choral sub-groups from HOCH-ZEITEN (presented in its staged "normal" form on CD 73) as individual, isolated tracks. These tracks essentially allow the listener to hear the choral parts more clearly in smaller ensembles. A version for the complete ensemble (all together as a "tutti") is also included. Musically, each ensemble explores static harmonies but with a dynamic emphasis on polyphonic embellishment and articulation. Feat. the WDR Choir Cologne, rec. 2003.



72 HOCH-ZEITEN (HIGH-TIMES, 2001/02) for orchestra (5 individual groups and TUTTI for study purposes)

     This 3 CD set features each of the orchestral sub-groups from HOCH-ZEITEN (presented in its staged form on CD 73) as individual tracks. These tracks essentially allow the listener to hear the orchestral parts more clearly in smaller ensembles. Musically, each ensemble explores static harmonies but with a dynamic emphasis on polyphonic embellishment and articulation. A version for the complete ensemble (all together as a "tutti") is also included. Feat. the WDR Symphony Orchestra Cologne, rec. 2003.



73 HOCH-ZEITEN (HIGH-TIMES, 2001/02, 5th scene of SUNDAY from LIGHT) for orchestra and choir.

     The 5th scene of SONNTAG aus LICHT is actually a 2-part conception. One part is staged as an instrumental orchestral work, and the other is a simultaneous a cappella choral work performed in another room. However, sounds from the orchestral part are "piped into" the choral work, and vice-versa. This CD presents the orchestral "point of view" (WDR Symphony Orchestra Cologne), followed by that of the choral group (WDR Choir Cologne). Antonio Pérez Abéllan provides the subtle synthesizer elements.

     Musically, each ensemble explores static harmonies but with a dynamic emphasis on polyphonic embellishment and articulation. Additionally, several short "sub-scenes" are instrumentally recalled/re-interpreted from other major LICHT scenes. This is often a "dense listen", but CDs 71 and 72 break out the individual instrumental and choral sub-groups for closer inspection and further appreciation. Rec. 2003.



74 SONNTAGS-ABSCHIED (SUNDAY FAREWELL) Electronic Music with 5 synthesizers (2001/03)

    This CD contains the "exit music" for SONNTAG aus LICHT, programmed and performed by a synthesizer quintet. Harmonically, SONNTAGS ABSCHIED is an arrangement of the choral structure from HOCH-ZEITEN (CD 73 or 71). These dynamic, somewhat "vocally-articulated" layers are organized as slowly changing, static harmonies - but with very active "inner vibrations" (embellishments and melodic transitions).

     This version features programmer/performers Marc Maes, Frank Gutschmidt, Fabrizio Rosso, Benjamin Kobler and Antonio Pérez Abellán. As a bonus, the voice-prompted "guide-track" is also included (featuring the voices of Stockhausen and Kathinka Pasveer), which makes for an interesting "minimalist" experience. Rec. 2004.



75 STRAHLEN (RAYS, 2002) for Vibraphone and Electronic Music.

     STRAHLEN is an arrangement of HOCH-ZEITEN's choir part for tuned percussion (manipulated through signal processing). In a live performance (presented here), a percussionist (vibraphone) performs to a tape containing the other 9 complementary layers. These effervescent layers are organized as slowly changing, static harmonies - but with very active "inner vibrations" (embellishments). This is a very "aurally-appealing" piece (from a more conservative viewpoint, perhaps), but its shimmering surface belies a complex fabric of melody and articulation.

     The electronic music (from Stockhausen's score) was created by ZKM (Center for Art and Media Karlsruhe), Institute for Music and Acoustics, with major contributions from Ludger Brümmer, Götz Dipper and Holger Stenschke. Vibraphone rec. 2009 with Laszlo Hudacek (Ласло Худачек),and sound mix by Kathinka Pasveer in 2010.



76 Electronic Music of SIRIUS (1975-77)

     This 8 CD set (!) contains 4 iterations of the electronic music from SIRIUS (ie - without the vocal and intrumental soloists as heard on CD 26), created from 1975 to 1977 with the EMS Synthi 100 synthesizer. There are 4 iterations here since the "seasonal" sections of the piece can be performed in 4 different sequences (SPRING Version, SUMMER Version, AUTUMN Version, WINTER Version). Ideally this would have been 4 separate releases, since I can't imagine very many people needing all 4 versions but, oh well...for completists I suppose. The best thing about this package is that it allows for deeper appreciation into how Stockhausen maximized the capabilities of the EMS Synthi 100 synthesizer/computer while trans-morphing his "Zodiac" melodies into polyphonic sound-strata.



77 Works for Vocal and Synthesizer (with Trumpet)

     This CD features three works (all recorded in 2005) featuring Hubert Mayer as tenor vocalist and Antonio Pérez Abellán on synthesizer (Marco Blaauw joins on trumpet for the third piece). This is notably the debut of the "Zodiac" pieces with sung lyrics. The texts for all three works are included in the booklet.
  • TIERKREIS (ZODIAC) Version 2003 for tenor and synthesizer (texts and music originally written in 1975).
  • DIE 7 LIEDER DER TAGE (THE 7 SONGS OF THE DAYS from EVAS LIED, Act 2 of MONTAG aus LICHT, 1986), version for tenor and synthesizer. These songs were also featured on CD 63 with Kathinka Pasveer on flute and voice.
  • VISION (from MICHAELs HEIMKEHR, Act 3 of DONNERSTAG aus LICHT, 1980) for tenor, trumpet, synthesizer and tape (UNSICHTBARE CHÖRE (INVISIBLE CHOIRS)).



78 Music for Saxophone

     This CD features the saxophone artistry of Julien Petit. Some of these works were originally written for other wind instruments from 1976 to 1986, but are here newly arranged for saxophone. The 2nd saxophone part of KNABENDUETT is played by Antonio Felippe Belijar, and some relatively minimal percussion was provided by Michael Pattmann and Kathinka Pasveer. Recorded 2004-05.
  • AMOUR arranged for saxophone (1976/2003).
  • SAXOPHONE (from DER JAHRESLAUF) for saxophone and bongo (1977).
  • PICCOLO (from DER JAHRESLAUF) originally for flute, here arranged for saxophone with geisha bell (1977/2004).
  • IN FREUNDSCHAFT (IN FRIENDSHIP) arranged for saxophone (1977).
  • KNABENDUETT (BOYS’ DUET from MICHAELs HEIMKEHR, Act 3 of DONNERSTAG aus LICHT)) for two soprano saxophones (1980). The 2nd saxophone part is played by Antonio Felippe Belijar.
  • ENTFÜHRUNG (ABDUCTION from Act 3 of MONTAG aus LICHT) arranged for saxophone, electronic and concrete music (1986/2004).



79 Chamber Works from LICHT, for Percussion and Synthesizer

      This CD highlights three different percussionists (Michael Pattmann, Andreas Boettger, and Stuart Gerber), as well as the synthesizer of Antonio Pérez Abellán. KLAVIERSTÜCK XVIII and MITTWOCH-FORMEL are two arrangements of the LICHT super-formula (theme) on synthesizer and percussion trio, respectively. KOMET (for a solo percussionist) is accompanied by a unique tape piece where the voice of Kathinka Pasveer takes on the two children's chorus parts from KINDERKRIEG) (1995). This piece has an indeterminate score and requires the percussionist to come up with a couple dozen "toy war sounds". A solo synthesizer version of KOMET is on CD 57, and the tape-only version is on CD 64. Another percussion rendition (by Stuart Gerber) can be found on CD 82.
  • VIBRA-ELUFA (derived from FREITAG aus LICHT's ELUFA scene) for vibraphone (2003), feat. Michael Pattmann, rec. 2005.
  • KOMET (COMET, derived from KINDERKRIEG (Childrens War) from FREITAG aus LICHT), version for a percussionist, electronic and concrete music (1994/99), feat. Andreas Boettger, rec. 2000.
  • NASENFLÜGELTANZ (WINGS-OF-THE-NOSE-DANCE, from SAMSTAG aus LICHT, Scene 3) (1983/88) for a percussionist (Stuart Gerber) and a synthesizer player (Antonio Pérez Abellán), rec. 2005.
  • KLAVIERSTÜCK XVIII (Piano Piece 18, based on the Wednesday Formula, from MITTWOCH aus LICHT) for electronic keyboard (synthesizer) (2004), feat. Antonio Pérez Abellán, rec. 2005.
  • MITTWOCH-FORMEL (based on the Wednesday Formula, from MITTWOCH aus LICHT) for 3 percussionists (metal, wood and skin) (2004), feat. Michael Pattmann, Oleg Dziewanowski and Stuart Gerber, rec. 2005.



80 MOMENTE (MOMENTS) for solo soprano, 4 choir groups and 13 instrumentalists (1962-64/69, recorded 1998)

     This is a 2 CD presentation of a new recording of MOMENTE from 1998. MOMENTE has a "mobile-form", which means that the individual segments can be rearranged from performance to performance (typically pre-arranged at the conductor's discretion). Therefore this version is again unique from the 1965 and 1972 versions of MOMENTE found on CD 7. Like the 1965 version, it does start with the "clapping" sequence, but in this performance the transition from "audience applause" to "performer applause" is more organic (the 1972 version started with the "processional" sequence).

     This modern recording features soprano soloist Angela Tunstall, the WDR Cologne choir, Antonio Pérez Abellán and Massimiliano Viel (synths) and members of MusikFabrik, conducted by Rupert Huber.



81 PUNKTE (POINTS) for orchestra (1994 version, recorded 2004)

     PUNKTE was presented in an earlier form on CD 2 (1966 version, rec. 1977). This version, recorded in 2004 with the WDR Symphony Orchestra Cologne under Péter Eötvös (and using modern high fidelity), is a version of PUNKTE revised in 1994. The CD includes an introduction by Stockhausen (in German and English).



82 Chamber Works from LICHT, for Brass, Reeds, Percussion & Electronics
  • MICHAELS-RUF, MICHAEL’S CALL, from DONNERSTAG aus LICHT, version for 4 trumpets: Marcus Stockhausen, Marco Blaauw, Achim Gorsch and Andreas Adam (1978/94), rec. 1995.
  • BASSETSU from MICHAELION,4th Scene of MITTWOCH aus LICHT, for basset-horn (Suzanne Stephens) (1997), rec. 2005.
  • SYNTHI-FOU, PIANO PIECE XV from DIENSTAG aus LICHT, for a player of electronic keyboard instruments (Antonio Pérez Abellán) and electronic music (OKTOPHONIE) (1991), rec. 2004. The original rendition by Simon Stockhausen can be found on CD 42.
  • QUITT, derived from MONTAGs-ABSCHIED, MONTAG aus LICHT for alto flute (Kathinka Pasveer), clarinet (Suzanne Stephens) and piccolo trumpet (Marco Blaauw) (1989), rec. 2005. The cover of the CD essentially shows the score to QUITT. 
  • KOMET, COMET, derived from KINDERKRIEG (Childrens War) from FREITAG aus LICHT, version for a percussionist (Stuart Gerber), electronic and concrete music (1994/99), rec. 2005. The percussionist is accompanied by a unique tape piece where the voice of Kathinka Pasveer takes on the two children's chorus parts from KINDERKRIEG) (1995). This piece has an indeterminate score and requires the percussionist to come up with a couple dozen "toy war sounds". A synthesizer version of KOMET is on CD 57, and the tape-only version is on CD 64. Another percussion rendition (by Andreas Boettger) can be found on CD 79.
  • TRUMPETENT, derived from the MITTWOCH-FORMEL of MITTWOCH aus LICHT) for 4 trumpeters (Marcus Stockhausen, Marco Blaauw, Achim Gorsch and Andreas Adam) (1995), rec. 1997.


To CD 83-106: KLANG (2006-15)

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