EVAs ZAUBER

MONTAG AUS LICHT
Greeting MONTAGs- GRUSS	Act 1 EVAs ERSTGEBURT	Act 2 EVAs ZWEITGEBURT	Act 3 EVAs ZAUBER	Farewell MONTAGs ABSCHIED

(©www.karlheinzstockhausen.org)

No. 58: EVAs ZAUBER (EVE's Magic) for basset horn, alto flute, piccolo flute, choir, children's choir, 3 synthesizers, percussion, and tape (Sound Scenes)

The Third Act of
MONTAG AUS LICHT (MONDAY from LIGHT)
1984-1986 [57 min]

Also:
No. 58 1/2 (ie 58.2): BOTSCHAFT (Message) for basset-horn, alto flute, tape with optional choir, synth, perc (1985) [27']
      No. 58 1/2 Ossia: AVE for basset-horn and alto flute, 1984 [23'30"]
      No. 58 1/2 Extract 1: EVAs SPIEGEL (EVE's Mirror) for basset-horn (1984) [4']
      No. 58 1/2 Extract 2: SUSANI for basset-horn (1984) [7']
      No. 58 1/2 Extract 3: SUSANI'S ECHO for alto flute (1985) [7']
No. 58 2/3 (ie 58.3): DER KINDERFÄNGER (The Pied-Piper) for alto flute, piccolo flute, children's choir, 3 synths, perc. and tape (1986) [30'30"]
      No. 58 2/3 Ossia: DER KINDERFÄNGER for alto flute, piccolo, tape with optional synth, perc (2000) [32']
      No. 58 2/3 Extract 1: ENTFÜHRUNG (Abduction) for piccolo flute [12']
      No. 58 2/3 Extract 2: ENTFÜHRUNG (Abduction) for soprano saxophone (with Sound Scenes and synth tape optional) [14']

Introduction
     EVAs ZAUBER (EVE's Magic) is the 3rd Scene of Stockhausen's dramatic music work MONTAG AUS LICHT (MONDAY from LIGHT), which was the 3rd-composed entry of his 7-part, 29-hour opera cycle LICHT (LIGHT).  LICHT is a work for acoustic and electronic operatic forces, divided into the 7 days of the week (one opera for each day).  This opera cycle revolves around 3 archetype characters, MICHAEL, EVE and LUCIFER, and over the 29 hours each of these characters are introduced, come into conflict, face temptation and finally come into union.  The music is almost entirely based on a "super-formula", which is a 3-layered melodic-thematic representation of the 3 characters.  These formula-themes are together and separately threaded throughout the opera's vocal and instrumental fabric.  Story-wise, actors and narrative can (and often do) change from scene to scene, and the libretto text is sometimes made up of non-traditional grammar (or even purely phonetic sounds).

     MONTAG (Monday) is EVE's Day and a celebration of birth and the rebirth of humanity.  The main element connected with MONTAG is water.  The 3 Acts in MONTAG AUS LICHT are EVAs ERSTGEBURT (EVE's First Birth-Giving), EVAs ZWEITGEBURT (EVE's Second Birth-Giving) and EVAs ZAUBER, and they are preceded and followed by MONTAG'S GRUSS (Monday Greeting) and MONTAG's ABSCHIED (Monday Farewell) respectively.  In EVAs ZAUBER's 1st Scene, BOTSCHAFT (Message), EVE as a basset horn player encounters her opposite, AVE, in the form of a flautist.  In the final 2 Scenes, DER KINDERFÄNGER (The Pied Piper) and ENTFÜHRUNG (Abduction), the children of EVE are entranced and then spirited away by AVE, who has become a Pied Piper figure.

EVAs ZAUBER Scenes:
1: BOTSCHAFT (Message), divided into 4 sections:

• EVA's SPIEGEL (EVE's Mirror)
• NACHRICHT (News)
• SUSANI (& SUSANI'S ECHO)
• AVE

2: DER KINDERFÄNGER (The Pied Piper)
3: ENTFÜHRUNG (Abduction)

     Instrumentally, Scene 1 features a basset horn and alto flute duo with choir accompaniment.  Scenes 2 and 3 focus on a solo flautist (with piccolo) and a children's choir interacting with concrete "Sound Scenes".  Throughout the Act, these taped Sound Scenes (brief quadrophonic field recordings of nature, human voices, environments, animals, historical broadcasts, etc..) either provide the sound effect for a stage action or comment on the proceedings, or both - usually to humorous effect.

Narrative:
      The stage production of EVAs ZAUBER (and for all of MONTAG AUS LICHT for that matter) is very elaborate, and a text synopsis really can't do justice to all of the many rich visual elements. The CD recording is an excellent studio representation of the opera's musical elements and so here I will mainly concentrate on that. The booklet (book, actually) that comes with the MONTAG AUS LICHT CD has much more detailed descriptions, photographs, libretto and score excerpts.  The narrative below contains excerpts of the libretto text translated from the original German.

      In the descriptions below I sometimes identify a structure as being based on the EVE, MICHAEL or LUCIFER formulas (or Nuclear formulas). These can be seen below.  The "Nuclear formulas" are simplified versions of the LICHT formulas without the ornamentation and articulations of the full formulas.  The "Nuclear tones" are the pitch rows used in each formula.  In this Act, like Act 1, the formulas are usually extremely ornamented or "stretched" in some way, so following the formulas is possibly not as rewarding as just enjoying the melodic and timbral figures as "dialogue".  However on repeated listenings, the formulas become more apparent and can add to the appreciation of the musical fabric.

     Additionally, when a formula is indicated, the melodic and dynamic elements of the wind instruments and choral parts are also articulated with the formula colorations, such as tongue-clicks, toneless blowing, breathing noises, microtonal bends, kissing noises, etc..., though there are no LUCIFER "counting" moments (that I could hear, anyways).

MICHAEL formula

EVE formula

LUCIFER formula

(All photos on this page © www.karlheinzstockhausen.org) Scene 1 - BOTSCHAFT (Message)      In EVA's SPIEGEL, EVE as Coeur de Basset (from Act 2's EVAs ZWEITGEBURT) performs while regarding her reflection in a glass sculpture.  A group of men appear (the Boys of the Week from Act 2, now grown up) and sing:   "Mirror, mirror on the wall - who's the fairest of them of all?"      In NACHRICHT (News), a group of women arrive and report the appearance of a "musicus", with magic powers.  After the women have departed, EVE/Coeur plays seductively with the men who sing, "Susani..."  At the end, the glass sculpture bursts and a woman's voice cries out "OK!" During SUSANI, the men sing:  "Beloved of the Ceremonies, sacred service of musical celebrations:  Basset horn, magician among the instruments, instrument of the high and low, binds women and men, guardian of the mysterious forces which unite the separated...."  --- "...You collect the formula's limbs, distribute anew, heal the world through the unification of EVE's body-thirds with MICHAEL's soul-fourths, help the proper understanding of LIGHT."      During these first 3 subscenes, the sound of an alto flute can be heard in the background.  On stage, glimpses of AVE the flautist can sometimes be seen in the back.  In SUSANI, AVE's alto flute melodic figures begins to find common points with EVA's basset horn phrases.
CD36 Trk	Dur.	Section	Title	Basset Horn (EVE)	Alto Flute (AVE)	Choir/Synths	Sound Scene
1	3:03	EVAs SPIEGEL	"Eve's Mirror"	Slow, mirror version of EVE formula (inversion)	Microtonal drones, trills, parallel tremolos, ostinato figures based on inverted EVE Nuclear tones	Male choir sings longer durations mostly based on the alto flute EVE Nuclear tones
2	1:55	NACHRICHT	"News"	Long tremolo figures, brief melodic exchange with flute	Melody with trills, flutter-tongue, glissandi, overblowing, etc…	Female choir begins with sprechstimme, followed by harmony phrases with the flute and male choir
				Ends with bassett horn tremoli, bird-like flute figures, descending synth chords, and choir sprechstimme
3	0:30	SUSANI (prelude)	"AVE's Appearance"	Irregular falling figure ("dancing introduction")	Fast tremolo/ostinato figures, ending in falling scale	Male choir follows contour of the basset horn, synths play low drone	Sound Scene 32: Glass falls, breaks, woman: "OK!" (at 0:19)
4	7:56	SUSANI (Marked as Sections A - S)	SUSANI (basset horn) with SUSANI'S ECHO (alto flute)	Basset horn and Alto flute seductively dialogue in independent rhythm but with 25 synchronous "meeting points".  Since the 2 instruments create 5 simultaneous layers (see below), the texture is sometimes like a wind quintet.		Tenor and basses slowly sing layers from the EVE and LUCIFER formulas respectively: "Beloved of the Ceremonies..." Synths play low drones	Sound Scene 33: Woman: "Ha-Haii!", billiard balls (at 7:43)
				SUSANI: 3 simultaneous layers (high to low): MICHAEL formula (as "apparent mirror") EVE formula EVE formula (inverted)	SUSANI's ECHO: 2 simultaneous layers (high to low): EVE formula (inverted) EVE formula
AVE, a female flautist (dressed as a man, and of course AVE is EVA backwards) suddenly appears to the astonishment of the men and women.  EVE and AVE play a duet using "humour, charm and erotic allusion." The choir comments during their duet:  "Rushing, ravishing rushing - MONDAY's BRIGHT - Susani's echo - AVE flute player, silver green like EVA..." "Screaming shrill screaming - Quarrel...TUESDAY'S FIGHT - as red as blood..." "Singing unity singing - WEDNESDAY'S HEIGHT - friendliness, Wednesday yellow..." "Speaking harmonization relation - THURSDAY'S RIGHT - correct understanding of Thursday's clear blue..." "Yodeling seductive yodeling...flee the temptation - FRIDAY'S FLIGHT - orange evening sun..." "Weeping sounding, perception of finest steps, Farewell - SATURDAY'S NIGHT - black..." "Sighing and cheering in mystical union - SUNDAY'S LIGHT - gold, glowing gold, Sunday EVA - AVE..." The basset horn and flute players end entwined in a pose (a kiss on the hand and applause is heard).      In this scene, basset horn, alto flute and male/female choir groups elaborate on each Day's EVE formula segment. Basset horn and alto flute are much more rhythmically active than the choir groups due to rhythmic subdivision and trill/tremolo textures.  The horn and flute are at first rhythmically independent, but come closer and closer towards the last section.
5	1:51	AVE (Marked as Sections T - Z)	Montag (Monday)	Fast arpeggios, accented held notes with microtonal ornamentation, toneless blowing	High accented figures, microtonal falling phrases	Synths are very sparse/quiet, but Percussionist adds isolated textures and strikes, mostly metallic.
6	1:11		Dienstag (Tuesday)	Whispered: "AVE", slow toneless sounds with a falling and rising cry, falling cascade into (flutter-tongued) bends, kissing sounds in dialogue with flute	Reply: "EVA", flutter-tongue, short bending cries in dialogue with basset horn
7	1:07		Mittwoch (Wednesday)	Dialogue with rising/falling glissandi, tongue clicks, mordents, vocal blowing
8	2:06		Donnerstag (Thursday)	Trills broken by tongue clicks, then a few "yodeled" notes, toneless glissandi, falling/rising tremoli	Dancing, leaping accents, slow falling/rising microtonal figures broken by fast flutter-tongue glissandi, rhythmically accented tremolo harmonics, soft bends, toneless blowing
9	1:15		Freitag (Friday)	Toneless glissandi, breathing noises, various glissandi sometimes with yodeled pitch leaps	High trill figures, isolated flutter-tongued arc figures
10	1:46		Samstag (Saturday)	Isolated falling bends, slow microtonal falling figure, "laughing" outburst, falling/rising figures in dialogue w flute	Slow rising tremoli with mixture of pitched and toneless sounds, wide tremoli alternating with normal and toneless pitches, falling/rising figures in dialogue w basset horn
11	4:01		Sonntag (Sunday)	Melodic figures with rising and falling scalar figures, mixture of pitched and toneless sounds, both roughly in synchronous rhythm with differences in ornamentation (also inverted with each other sometimes).  Ends in unison pitches, followed by a kiss and applause.

Scene 2 - DER KINDERFÄNGER  (The Pied Piper, or the Child Catcher)      Children have arrived and joined the men and women to observe.  AVE, now acting as a "pied-piper" character, begins to enchant the children, and the disappointed EVE/Coeur de Basset retreats into the giant EVE statue.  The men and women also gradually depart.      The Pied Piper uses Sound Scenes, alto flute and vocal exhortations to mesmerize the children.  The children learn to mimic the sounds of the Pied Piper.
CD36 Trk	Dur.	Sound  Scene		Text (excerpt) (sung by flute player)		Alto Flute, Synth 1	Children's Choir, Synths 2 & 3
12	1:00	34: Rooster cock crows, Muslim priest, whip crack		"A cock and a pastor: Come you little chicks!"		Alto flute doubles (interprets, or "translates") the Sound Scene and then plays several intermittent short phrases based on the MICHAEL formula and the inverted MICHAEL formula.  The text is sung inserted between/parallel with  flute phrases. Synth 1 uses EVE formula to create chords derived from clusters of adjacent EVE formula notes, as well as a LUCIFER formula note. Percussion adds isolated textures and strikes	Children imitate Sound Scenes, vocally.  In between, Children and Synth 2 answer the flute/vocal phrases with imitation phrases. Synth 3 plays "transformations" - an element from a Sound Scene is transformed into the following Sound Scene - ie bridged through improvisation-based textures.
13	0:44	35: Car races up, ghost train, man's scary laugh		"Hahaha, now don't be afraid…"
14	0:35	36: War plane, machine gun, lion, water pot crash, water splash		"Alive or dead: whizz…bamboozle wheeze!"
15	0:50	37: Railway warning siren, ghost train w children's voices, drunk laugh, train/metal bangs, sensuous female laugh, inhalations		"Ghost train, ghost man, witches scare… Prick up your ears.."
16	0:53	38: Fireworks, admiring shouts, explosion, whistling, goat bleats		"m m bitching fitching goat licker: off with his head!"
17	0:43	39: Machine gun, grenade, explosion, students laugh, applaud		"Bang and war - sound and victory, go home you little EVE-animals!"
18	1:09	40: Woman swears: "Maria Joseph!", train whistle, hisses, woman: "Isn’t that beautiful!"		"…Steaming whistling hissing clattering: up into the clouds…"
19	1:00	41: Woman: "Watch Out!", explosions, seal bleats		"Crack! Bang! Zang!"
20	0:41	42: Drill noise, parrot, woman: "Now what is that?"		"Darling on the street?  Parrot in the nose!"
21	0:38	43: Bridge collapse, parakeet speaks		"Tasty sugar baker - Heaven's licker!"
22	0:54	44: Woman: "You you you...", saw noises, wine bottle uncorking, wine poured		"Ritche ratsche plitsche platsche…"
23	0:47	45: Cows with cowbells, moos, woman:" Na?"		"11 times moo-oe blindman's buff, Grandmother's footsteps"
24	0:43	46: Rubber whistle, soldier: "Yes Sir, Sergeant!", "Eyes straight! Report to captain! Eyes right!", heels clicking, door creaks, bird chirps		"Eyes - Nose - Stu bis en dood!"
25	1:12	47: Train signal, hissing, rolling, parrot screeches, "You are great", woman: "I haven't the slightest idea!", parakeet shriek		"Catholical - piat…"
26	1:00	48: African singer w drums, yelling, stone thrown - glass breaking		"haei ka…EVA Suka Kathinka haha... 48, hei-ka..."
27	0:38	49: Bell, shattering glass, school children noises		"Gak gak gak…Janos Remenyi e e e Edit Timar"
28	0:38	50: Ambulance honk, Arabian orchestra, hen cackling, billiard balls		"Gok gok…"
29	0:58	51: Pinball machines, duck, tiger, bear, goose, etc…		"Schnat schnat schnat…"
30	0:49	52: Anvil hammered, parakeet: "a little kiss", computer gane rockets, child's voice, explosion, parrot laugh		"Hai-lo-ts…"
31	0:38	53: Shop door bell, door slam, soldier: "Attention! Right dress!",  weapons rattling, pig grunts		("Attention! Right dress!")
32	1:14	54: Typewriter, telephone, hens cackling

Scene 3 - ENTFÜHRUNG (Abduction)      The Pied Piper plays a song (the EVE Nuclear formula) to lure the children into the clouds.  The children throw their shoes into a huge pile and depart while singing the refrain: "MONDAY - Born from LIGHT... Ceremony and Magic"      Children and bird voices slowly fade away into the distance. Meanwhile, the giant EVE statue slowly transforms into a mountain, with white birds circling above it.  After awhile one of the departed children returns and retrieves his shoes, reporting: "It is very dirty outside!", and then runs away again (not heard on CD recording).
CD36 Trk	Dur.	Desc.	Piccolo Flute (DER KINDERFÄNGER)		Children's choir	Sound Scene	Synths
33	0:45	(tran- sition)	Trill ritard., then EVE Nuclear formula		Falling figures matching barrel organ somewhat	55: Railway signal, dumped containers, horse neighing, barrel-organ w percussion	EVE Nuclear formula (follows flute) plus inverted form
34-46	12:51 (13 tracks ~45 secs each)	13 Cycles	In each of 13 cycles, flute plays the EVE Nuclear formula, then a rhythmic and melodic elaboration (variation sometimes using MICHAEL formula and/or its inverted form).  The formula is pitch-transposed in an upward trend (as a spiral) in each of the 13 cycles.		EVE formula 26 times (twice each cycle) "MONDAY - Born from LIGHT... Ceremony and Magic"		Synths play a "starry firmament" (pointillistic metallic sparkling tones), later adding glissandi and high bird calls. Drones based on stretched out segments of the EVE and LUCIFER formulas are also present.

Score

Page 1 of EVAs ZAUBER: BOTSCHAFT 
(© www.karlheinzstockhausen.org)

ENTFÜHRUNG : 1 cycle of the children's choir part derived from EVE nuclear formula.
(from MONTAG AUS LICHT CD booklet © www.karlheinzstockhausen.org)

Other Versions:
DER KINDERFÄNGER (The Pied-Piper) for alto flute, piccolo, tape with optional synth, perc 
No. 58 2/3 Ossia (2000) [32']
      This version of "The Pied Piper" (Stockhausen Edition CD 63) also includes ENTFÜHRUNG ("Abduction"). The children's choir is replaced by a synthesizer, and the synth part for the "transformations" (fragments bridging one Sound Scene to the next, here scored instead of improvised) can be pre-taped. A new twist is that the other live synth actually plays the EVE Nuclear formula variations from ENTFÜHRUNG as part of its "imitation" response. However, in ENTFÜHRUNG itself, during the "pointillistic" part, the synths insert "time windows" (a favorite Stockhausen technique used as far back as MIKROPHONIE II) of material from DER KINDERFÄNGER.  The synth players actually vocalize at times as well, and play bells near the end.  The flautist also reacts to or with the Sound Scenes (for example, acting frightened by the collapsing bridge, or moving like a locomotive, laying an egg, falling down after an explosion, etc...).

      The synths used for the original version of DER KINDERFÄNGER were Yamaha DX 7s, Oberheims, PPG and Prophet synths. For the 2001 recording, Antonio Perez Abellan used a Kurzweill K 2600 X synth, an Akai S-2000 sampler, and a Yamaha FS 1R synth module, and Benjamin Kobler used a Kurzweill K 2500 X synth. Each of the synth timbres are a blend of a flute sound and a synthesizer sound to varying degrees. The synths also use programmed "tongue-click" or "finger-snap" timbres.  The sounds of water drops (actually sounds a little like ping-pong balls to me) permeate this version as well.

Sound Impressions
     One of the most impressive things about BOTSCHAFT is the exploration of microtonal wind textures, especially in a duet setting.  The LICHT super-formula includes some elements of microtones (specifically in the EVE formula's Saturday and Sunday limbs, bars 15 and 17) but in this final Monday Act, Stockhausen worked exhaustively with basset horn player Suzanne Stephens and flautist Kathinka Pasveer to discover new fingerings for their instruments, finding up to 26 steps within a major 3rd (micro-intervals discovered for MONTAG AUS LICHT's Greeting).  These effects give the dialogue between EVA and AVE a more vocal, lyrical feel than would otherwise be possible.  The beauty of BOTSCHAFT lies in hearing how these two single-line instruments intertwine, moving closer, then apart, and then back again.  AVE further explores the layered sung/played frequency beating of microtonal scales and timbres from Xi and YPSILON, and adds additional colored tones, percussive tongue clicks and pitched kissing sounds to create a mirror-dialogue.  On Stockhausen Edition CD 35, the duo version of AVE (without choir and electronics) displays this quality a bit more clearly than on the recording for the opera, and Stockhausen's intention to explore new relationships between two interpreters is somewhat more intimate.   In SUSANI/SUSANI's ECHO, because the basset horn plays 3 simultaneous layers and the flute 2 layers, it sounds almost like a wind quintet at times.  However, the choir part for AVE is pretty fantastic, and would be interesting to hear on its own as well.

     DER KINDERFÄNGER further showcases the flute family, as well as a veritable torrent of Sound Scenes (musique concrete/field recordings).  The alto flute part here is extremely vibrant and includes some brilliant vocal writing as well, which makes it a good balance to the "obscene" male vocal parts in LUZIFERs ZORN.  The breath control required for this Scene must be quite staggering.  The Sound Scenes here have an even more humorous tinge to them than ever before, and reflect Stockhausen's composition of "trans-real" environments - that is, situations which typically don't happen in real life and take on new meaning when juxtaposed.  Each of the elements of the Sound Scenes actually have their own trajectory in space, which makes their effect even more hallucinatory.

     ENTFÜHRUNG features the EVE Nuclear formula, probably my favorite of all of the versions of the LICHT melodies.  It's quite fitting that this melody is used to spirit away the children of EVE, since it has a very simple and catchy nature.  The theme and variation structure of ENTFÜHRUNG also makes this Scene a very accessible one, and provides a splendid showcase of piccolo flute expertise.  It's pretty easy to find oneself singing along with the children, as they disappear into the unknown...

Stockhausen Edition CD cover of MONTAG AUS LICHT (© www.karlheinzstockhausen.org)

Links

Sound samples and CD ordering

• MONTAG AUS LICHT (complete opera, contains EVAs ZAUBER)
• AVE (basset horn, flute)
• EVAs SPIEGEL, SUSANI (basset horn)
• SUSANIs ECHO (flute)
• DER KINDERFÄNGER, ENTFÜHRUNG (flt, synths, tape, perc.)
• ENTFÜHRUNG (flute)
• ENTFÜHRUNG (sax, tape)

Purchase the Score
Transcript of Stockhausen's Composition Course 2002 for DER KINDERFÄNGER (excerpt)
DER KINDERFÄNGER Composition Course 2002 book (Facsimile edition with sketches)
MONTAG AUS LICHT Wiki
FREMDE SCHÖNHEIT (ALIEN BEAUTY) DVD featuring Xi, YPSILON, AVE
LICHTWERKE DVD
LICHTWERKE DVD English Transcript (PDF)
LICHTWERKE Youtube version
Stockhausen on Opera (Interview with Jerome Kohl) 
Sonoloco rundown of MONTAG AUS LICHT
Albrecht Moritz on MONTAG AUS LICHT
AVE Youtube clip (Stephens/Pasveer) 
SUSANI Youtube clip (Michele Marelli)
ENTFÜHRUNG for Soprano Sax (live Youtube clip, Alexander Magg)
ENTFÜHRUNG for Soprano Sax with tape (Jeff Heisler)

EVAs ZWEITGEBURT

MONTAG AUS LICHT
Greeting MONTAGs- GRUSS	Act 1 EVAs ERSTGEBURT	Act 2 EVAs ZWEITGEBURT	Act 3 EVAs ZAUBER	Farewell MONTAGs ABSCHIED

Act 1's Budgerigar-Boy (now a man) plays a "Conception" piano solo into EVE's womb.
(All photos on this page© www.karlheinzstockhausen.org)

No. 57: EVAs ZWEITGEBURT
(EVE's Second Birth-Giving) for girls' choir, piano, 7 solo boy singers, 3 basset-horns, 1 singing basset horn, choir (live or tape), 3 synthesizers, percussion, and tape (Sound Scenes), staged with 21 actresses

The Second Act of
MONTAG AUS LICHT (MONDAY from LIGHT)
1984-1987 [66 min]

Also:
No. 57 Extract 1: MÄDCHENPROZESSION (Girls' Procession) version for girls' choir and piano [19']
No. 57 1/2, 2/3 (ie 57.2, 57.3): MÄDCHENPROZESSION, BEFRUCHTUNG mit KLAVIERSTÜCK - WIEDERGEBURT 
     (Girls' Procession, Conception with Piano Piece / Re-Birth) for girls' choir, piano, synth, perc., tape [27']
     No. 57 2/3 Extract 1: KLAVIERSTÜCK XIV (BIRTHDAY-FORMULA of MONDAY from LIGHT) for piano, 1984 [6']
No. 57 3/4 (ie 57.4): EVAs LIED (EVE's Song) for 7 boy soloists, bassett horns, synth, perc., tape [48'30"]
     No. 57 3/4 Extract 1: DIE 7 LIEDER DER TAGE (The 7 Songs of the Days) for soloist and chordal instrument (voice w. piano, etc...) [9']
     No. 57 3/4 Extract 2: WOCHENKREIS (Circle of the Week) for basset-horn and synthesizer [25'30"] 

Introduction
     EVAs ZWEITGEBURT (EVE's Second Birth-Giving) is the 2nd Scene of Stockhausen's dramatic music work MONTAG AUS LICHT (MONDAY from LIGHT), which was the 3rd-composed entry of his 7-part, 29-hour opera cycle LICHT (LIGHT).  LICHT is a work for acoustic and electronic operatic forces, divided into the 7 days of the week (one opera for each day).  This opera cycle revolves around 3 archetype characters, MICHAEL, EVE and LUCIFER, and over the 29 hours each of these characters are introduced, come into conflict, face temptation and finally come into union.  The music is almost entirely based on a "super-formula", which is a 3-layered melodic-thematic representation of the 3 characters.  These formula-themes are together and separately threaded throughout the opera's vocal and instrumental fabric.  Story-wise, actors and narrative can (and often do) change from scene to scene, and the libretto text is sometimes made up of non-traditional grammar (or even purely phonetic sounds).

     MONTAG (Monday) is EVE's Day and a celebration of birth and the rebirth of humanity.  The main element connected with MONTAG is water.  The 3 Acts in MONTAG AUS LICHT are EVAs ERSTGEBURT (EVE's First Birth-Giving), EVAs ZWEITGEBURT and EVAs ZAUBER (EVE's Magic), and they are preceded and followed by MONTAG'S GRUSS (Monday Greeting) and MONTAG's ABSCHIED (Monday Farewell) respectively.  In EVAs ZWEITGEBURT, a candle-lit girls' procession praises EVE as the Budgerigar-Boy from Act 1 returns to impregnate the giant EVE statue with a piano solo.  Afterwards, during "Re-Birth", 7 boys are born.  Soon, a "Couer de Basset" appears and with some other soloists seduce the newly arrived boys.
This Act has 4 Scenes:

1. MÄDCHENPROZESSION (Girls' Procession)
2. BEFRUCHTUNG mit KLAVIERSTÜCK (Conception with Piano Piece)
3. WIEDERGEBURT (Re-Birth)
4. EVAs LIED (EVE's Song) 

EVAs LIED is further divided into 4 sub-scenes

• COEUR DE BASSET
• WOCHENKREIS (Circle of the Week)
• BASSETTINEN (Basset Teases)
• INITIATION

     In Scenes 1, 2 and 3 the main element is the girls' choir with a brief (but important!) piano solo.  Scene 4 features the basset horn (mostly solo, but then becoming a trio with a female vocal soloist), 7 boy soloists and synthesizers.  In a stage production, some scenes have brief male and female choral parts projected from tape.  Throughout the Act, 16 taped "Sound Scenes" (brief quadrophonic field recordings of nature, human voices, environments, animals, historical broadcasts, etc..) also surface which either provide the sound effect for a stage action, or comment on the proceedings, or both - usually to humorous effect.

Narrative:
       The stage production of EVAs ZWEITGEBURT (and for all of MONTAG AUS LICHT for that matter) is very elaborate, and a text synopsis really can't do justice to all of the many rich visual elements.  The CD recording is an excellent studio representation of the opera's musical elements and so here I will mainly concentrate on that.  The booklet (book, actually) that comes with the MONTAG AUS LICHT CD has much more detailed descriptions, photographs, libretto and score excerpts.
      
     In the descriptions below I sometimes identify a structure as being based on the EVE, MICHAEL or LUCIFER formulas (or Nuclear formulas).  These can be seen below.

MICHAEL formula

EVE formula

LUCIFER formula

(© www.karlheinzstockhausen.org) Scene 1 - MÄDCHEN PROZESSION (Girls' Procession)      On a frozen shore, women are hacking at ice blocks.  Suddenly the lights go out in a power failure.  3 groups of girls approach the stage in lily blossom costumes, lighting the stage with their hand-held candles.  They sing a song of praise and thanks to EVE, and ask her to give birth to more musical human beings. Text excerpts:      "EVE Mother we your children jubilate: Wonderful is the creator of women...the painter of her colors...the sculptor of her forms...  MONDAY from LIGHT:  Ceremony for Thanksgiving to God...a musical celebration for EVE who, in our universe, for our Earth, is the loving helper for the rebirth of mankind....  We sing to move you, to continue to help us, to procreate healthier, more beautiful, more musical human beings.  Deliver, give birth EVE, found a new paradise of children."
Trk	Dur.	Title	Girls' choir	3 Synthesizers, Percussion	Tape
1	1:47	"Luna - meer - Samudra.."		Synths play drone textures	Mixed Choir: SA: 2-part melody, TB: overtone drones Lights go out, confused  crew calls out "Main switch!  Where’s the flashlight?" (not on CD)
2	1:21	"EVE mother, we your children jubilate."	(Girls' choir enters with candles) 9-part girls' choir sings rhythms in 3/4 against 4/4 (actually triple meter against duple meter) throughout Scenes 1 - 3.   Includes tongue clicks, whispered tones	Synths independently play sets of 6-7 pitches as "sparkling points", as well as a low drone on G Percussion plays intermittently with girls' choir	female choir groups sing continuous drone (E, Bb, F#)
3	0:54	"the artist of her organs..."	Includes accented drones, rolled vowels, "wet" consonant sounds
4	0:48	"MONDAY from LIGHT"	Includes voiceless colored noise (aleatory rhythm), combination timbre of tongue clicks, kissing noises, whispers, toneless voice with a rising/falling gliss figure
5	1:09	"Ceremony of admiration for the woman"	Includes sequences of rising/falling noise glissandi, modulating vowel-drones
6	1:01	"Who in our Universe..."	Includes combination timbres of whispering-whistled notes, breathing rhythms, half-voiced (mysteriously), ending in a rising accent gliss, "EVA, akka, esa, jana"
7	1:00	"We sing to you EVE"	Head voice/mouth closed -  increasing density (staccato/legato sub-division)
8	2:20	"EVA, MONDEVA, INANNA"	More complex individual group sub-divisions (layering, solos, etc…), dynamic modulation, ending on rolled vowels

(© www.karlheinzstockhausen.org) Scene 2 - BEFRUCHTUNG mit KLAVIERSTÜCK (Conception with Piano Piece)      The women call forth the now-grown Budgerigar-Boy from the first Act, who arrives playing a stretched-out grand piano and parks it between the giant EVE's legs.  The pianist plays a solo accompanied by the humming of the lily blossom girls. The piano part can be performed independently as KLAVIERSTÜCK XIV (GEBURTSTAGS-FORMEL).
Trk	Dur.	Title	Girls' choir in 9 parts	Piano, 3 Synthesizers	Tape
9	1:17	"Come, Aimard!"	Come Amant! ("lover" in French, or "Aimard", the pianist's name in the recording)  Fertilize EVE for the 2nd Birth-giving!	Synths 2 & 3 drone on G, F# throughout	Sound Scene 16: Zoo birdhouse, parakeet, audience laughter, band (at 0:34)
10	4:59	Klavierstück (Piano piece)	Girls' choir and Synth 1 elaborate on the MICHAEL formula using wordless text.	Pianist ("penist"?) performs (sometimes with voice or playing piano strings) an elaboration on the EVE, MICHAEL and LUCIFER formulas (some E/L fragments are inverted).  "1, 2, 3, 4, 5, sex!"

Scene 3 - WIEDERGEBURT (Re-Birth)      The bird-pianist drives away and the women begin boiling water.  7 boys are born, each named for a day of the week (Monday-boy, Tuesday-boy, etc...) Text excerpts:      "EVE mother, we your children entreat: give us a Monday-boy...(etc..)."      "Thank you Mother of the World for the second birth from LIGHT."
Trk	Dur.	Title	Girls' choir in 9 parts	3 Synthesizers	Tape
11	0:44	Baby - "Lun mun dun..."	Girls' and taped female choir (and Synth 1) sing lively harmony in rhythm with Indian drums	Synths 2, 3 drone on G, F# throughout	Sound Scene 17: baby gurgle, laughter, Indian drum dance
12	0:30	Synthesizer Prelude	Female laughter	Synths play drone and then brief harmony figure
13	0:29	Monday Boy	Repetition of beginning of Trk 2 ("Eve mother, we your children jubilate") with some additional vocal colorations (A boy is born at the end of each section.)	Synth 1 shadows the girls' choir Synths 2 and 3 play supportive held chords, sometimes with glissandi
14	0:11	Tuesday Boy	Repetition of beginning of Trk 3 with ending shouts
15	0:13	Wednesday Boy	Repetition of beginning of Trk 4 with ending hummed glissandi harmony
16	0:34	Thursday Boy	Repetition of beginning and ending of Trk 5 with some variations
17	0:19	Friday Boy	Harmony with some "yodeled" leaps
18	0:31	Saturday Boy	Repetition of 2nd half of Trk 7 with some rhythmic sub-division
19	1:25	"...procreate...Sunday children..."	Repetition of Trk 8  ("Eva, Mondeva, Inanna")
20	0:47	"Thank you Mother of the World"	Girls' choir and synths are united in a harmony figure

EVA's LIED features the LICHT super-formula with its 19 measures divided into 7 sections, one for each day of the week.   

The LICHT Super-formula segments for each day. Click to enlarge.
(© www.karlheinzstockhausen.org)

(© www.karlheinzstockhausen.org) SCENE 4 - EVAs LIED (EVE's Song)      A Coeur de Bassett (basset horn player) in the shape of a heart emerges from the giant EVE's chest.  She teaches each boy a song (each day of the week has it's own song). 3 more versions of EVE's basset horn players emerge from the giant EVE statue (from each breast and its womb).  They are named Busi, Busa and Muschi.  The play with the boys seductively.  At the same time a giant, standing EVE-spirit begins to light up.  During INITIATION the standing EVE figure begins to dance.  Eventually the 7 boys, the basset horn players and the giant EVE-spirit all disappear behind the sitting EVE statue, as playful erotic noises fade away. Text sample from WOCHENKREIS songs: "MONDAY - moonlight (hot is the start of the week...) - EVE-day - birth of the Children...rushing, courage, green silver-green - Soprano - water - smelling...Ceremony and Magic" "TUESDAY - Mars-light (bang! bang!) Day of War LUCIFER-MICHAEL - Yelling, bravery, Red - Trumpet and Trombone...(etc...)"
Trk	Dur.	Title	Boy Soloists, basset horns, soprano soloist (with basset horn)	3 Synthesizers	Tape
21	3:44	COEUR DE BASSET	After Sound Scene 18, and a synthesizer overture, "Coeur", a basset horn figure, plays EVE nuclear tones (mostly head motif) using microtonal interval scales and intermittent "yodeled" leaps	Synths 1 & 2 play polyphonic material derived from the LICHT super-formula, sometimes with bubbling or sizzling timbres. Synth 3 plays varying "dreamy" drone timbres and a few subtle figures (intermittent percussion strikes)	Sound Scene 18: "Oh EVE!", ship's horn, clock-chime
22	0:41	WOCHENKREIS (DIE 7 LIEDER DER TAGE):  Monday Prelude	In the Preludes, songs and interludes, Coeur plays measures from the EVE, MICHAEL and LUCIFER formulas assigned to that day, but in different sequences for each day.  For example, in Monday Song 1, the sequence is EVE's 1st 3 measures, then MICHAEL'S 1st 3 measures, and then LUCIFER's 1st 3 measures.  In the Tuesday group, the order in Song 1 is MICHAEL's 4th & 5th measures, LUCIFER's 4th & 5th measures, and then EVE's 4th & 5th measures.  The other Songs for each Day follow suit.  In the 2nd Song of each Day, a boy soloist "learns" the basset horn's part, and the basset horn takes on a supportive role. In this process, the Coeur de Basset traverses all 3 layers the LICHT super-formula, and each boy learns his day's super-formula layers.		Sound Scene 19: Baby, whistle, explosion, cuckoo clock
23	0:45	Monday Song 1			During Preludes, female choir chords (tape) surface from time to time
24	0:44	Monday Song 2
25	0:41	Tuesday Prelude
26	0:34	Tuesday Song 1
27	0:14	Tuesday Interlude			Sound Scene 20: man shouts, shots, woman laughs
28	0:32	Tuesday Song 2
29	0:50	Wednesday Prelude
30	0:37	Wednesday Song 1
31	0:42	Wednesday Song 2
32	0:34	Thursday Prelude			Sound Scene 21: Cuckoo Clock (5 strikes), car race, door slam, seal bark
33	0:43	Thursday Song 1
34	0:38	Thursday Song 2
35	0:28	Friday Prelude
36	0:48	Friday Song 1
37	0:51	Friday Interlude
38	0:49	Friday Song 2
39	0:15	Saturday Prelude
40	0:44	Saturday Song 1
41	0:22	Saturday Interlude
42	0:42	Saturday Song 2
43	0:41	Sunday Prelude			Sound Scene 22: Car, "Take seven", "Well, well", heartbeats (at 0:23)
44	1:03	Sunday Song 1
45	1:14	Sunday Interlude
46	1:08	Sunday Song 2
47	1:29	BASSETTINEN (Basset-Teases)	As Coeur navigates through the formulas (sometimes with inverted and/or backwards fragments), each boy sings a brief figure from their song (from Monday to Sunday), with Sunday having all 7 boys contribute.  Coeur intermittently plays synchronously with the boy soloist.		Sound Scene 23: Dog howls, plates, dog bark, barrel-organ
48	1:26	Busi Arrives	"Busi", another basset horn arrives and plays in parallel with Coeur.  Mon thru Friday boys sing and then together: "BUSI!...".
49	3:03	Busa Arrives	"Busa", another basset horn plays in parallel with Busi and Coeur (and then duo with Coeur).  Monday thru Thursday boys sing and then together: "BUSA!...", then after Sound Scene 24, Mon-Wed, then again in harmony, sometimes clapping.		Sound Scene 24: 2 train toots, explosion, fairground music (at 1:23)
50	3:34	Muschi Appears	"Muschi" arrives, who sings (sometimes using her basset horn as a resonating tube) with Coeur and Busi, and then later Busa joining.  The boys greet "MUSCHI!..."
51	1:46	INITIATION	The basset horns (with Muschi singing through her basset horn), 7 boys and Synths 1 & 2 play a harmony phrase structure.   Synth 3 elaborates on the LUCIFER formula in a low, vocal timbre.		Sound Scene 25: Orchestrion (orchestral pipe organ), sea lion, water splashing, duck, baby crying, sheep
52	0:39	Monday Dance	Each Song of the Week is reinterpreted as a layered harmony featuring Muschi in the lead voice (supported by the basset horns) and the 7 boys singing longer figures. The Sunday Dance features fragmented conversation between Busi, Busa, Muschi as Coeur and the boys sing longer held tones.  The scene ends with playful "erotic" sounds  (Muschi: "You little piglet!", Boy: "Turn off the lights!") and a slowing horn tremolo.	Synths 1 and 2 play a variety of figures and structures (probably from the EVE and/or MICHAEL formulas). Synth 3 continues the LUCIFER formula, forwards, then (semi-) backwards, then forwards, etc…, at the same time playing an extremely slow rising gliss.	Sound Scene 26: pig squeals, woman laughs (at 0:16)
53	0:44	Tuesday Dance
54	0:38	Wednesday Dance
55	0:49	Thursday Dance			Sound Scene 27: Man & woman erotic gasps, fairground bell
56	1:23	Friday Dance			Sound Scene 28: steel scythe is sharpened, woman calls Sound Scene 29: woman laughs, car door slams, ignition, car brakes screech, (pigs squeal) (at 0:48)
57	1:16	Saturday Dance			Sound Scene 30: Man & woman erotic moan, pneumatic drill, explosion, "Good God!"  (at 0:51)
58	5:52	Sunday Dance			Sound Scene 31: electronic sound with parrot, parrot laughs, thunder, "Oh my, oh my!" (at 1:10)

Score

MÄDCHEN PROZESSION Pg 1, featuring 9 parts for girls' choir and Synth 2 and 3 parts.
The girls' choir is organized in 3 groups, Right, Middle, Left (1, 2, 3). (my coloring, not original)
(score© www.karlheinzstockhausen.org)

"Monday Song" for High voice and piano (or other chordal instrument)
(score© www.karlheinzstockhausen.org)

Notes on some extracts:

DIE 7 LIEDER DER TAGE (The 7 Songs of the Days) No. 57 3/4 Extract 1 for soloist and chordal instrument [9']

WOCHENKREIS (Circle of the Week) No. 57 3/4 Extract 2 for basset-horn and synthesizer [25'30"] 

     DIE 7 LIEDER DER TAGE includes the 7 songs of the week only.  WOCHENKREIS includes all sections from the beginning of EVAs LIED to before BASSETTINEN, and adds an exit section.

Sound Impressions

     In the second Act of MONTAG AUS LICHT, a sudden return to primitivism seems to occur when the electricity goes out and the stage is lit only with candles, as a ritualistic procession moves up the aisles.  The girls' choir is yet another beautiful choral work in MONTAG, and the 3 against 4 nature of the rhythms continues a structural concept from the opposing shapes of the previous act's Boy's Hullabaloo.  The "conception" piano solo is a fine melding of unique textures, as there are not very many works for piano and children's choir.  It has some structural similarity to KLAVIERSTÜCK XIII "LUCIFER's Dream", but is much more concise and gets "down to business" so to speak.  

     WOCHENKREIS generates a new set of lively songs which I think have as much life as independent songs as TIERKREIS does away from MUSIK IM BAUCH.  The 7 songs are each lots of fun and are perfectly fit for children to sing.  INITIATION features an alluring vocal for soprano which has many fascinating colorations and is a wonderful showcase for Kathinka Pasveer's singing skills.  At this point in MONTAG, the synthesizers also take on a more prominent role, and I would someday be curious to hear some sections of EVE's Song as electronic parts separate from the opera (perhaps as study tracks for 3 keyboardists).  The interaction between the 4 incarnations of EVE as COEUR, BUSI, BUSA and MUSCHI are weaved together in a fascinating layering of wind and voice instruments.  In the final section of EVE's Song, the forces become quite entangled, but yet still imply a certain kind of harmoniousness. Just as in Act 1's First Birth-Giving, there is alot of humor laced throughout these acts, but in a somewhat more innocent, child-like way than in the earlier Act.

     The score also describes very precise hand gestures for each of the boy soloists, as well as many descriptions of color and lighting changes which unfortunately can't be experienced on an audio recording.  The stage set is also decorated with many additional glass "chemistry lab" vials and tubes, which are used to collect water from the boiling steam and use it to grow a beautiful grass lawn by the end of the Act.  "Stockhausen - Lichtwerke", a color documentary on the making of MONTAG AUS LICHT (available on DVD) has many scene excerpts from EVAs ZWEITGEBURT (and the other Acts as well).  A lower quality, slightly edited version is also on YouTube.

Links

Sound samples and CD ordering

• MONTAG AUS LICHT (complete opera, contains EVAs ZWEITGEBURT)
• MÄDCHEN PROZESSION
• KLAVIERSTÜCK XIV (Ellen Corver)
• DIE 7 LIEDER DER TAGE (2 versions: female voice & synth and flute & synth)
• DIE 7 LIEDER DER TAGE (male voice & synth)
• WOCHENKREIS (basset horn and synth)

Purchase the Score
MONTAG AUS LICHT Wiki
LICHTWERKE DVD
LICHTWERKE DVD English Transcript (PDF)
LICHTWERKE Youtube version
Stockhausen on Opera (Interview with Jerome Kohl) 
Sonoloco rundown of MONTAG AUS LICHT
Albrecht Moritz on MONTAG AUS LICHT
Albrecht Moritz on WOCHENKREIS