Marco Blaauw from a 2011 Musikfabrik/Oper Koln production of LICHT-BILDER
No. 67 LICHT-RUF (Call from LIGHT)
for trumpet, basset-horn, trombone or other instruments/tape
1995 [at least 5 22" interval signals]
LICHT LICHT is Stockhausen's 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).
LICHT-RUF (Call from LIGHT)
The super-formula to LICHT is a 3-staff 19-measure piece with the formulas
for MICHAEL, EVA and
LUCIFER. These 3 formulas have many special articulations and kinds of
ornamentation, but are also expressed throughout LICHT in simplified
9-measure melodic phrases, sometimes referred to as "nuclear formulas". LICHT-RUF (Call from LIGHT) is a very brief piece which is essentially the first 3 measures of the LICHT nuclear formulas.
The 3 measures of LICHT-RUF (the first 3 measures above) are played by 3 instruments and repeated 5 times (or more) with pauses in between. This can be used a PA announcement signal to the audience to indicate that the opera is about to begin and that they should take their seats.
Sound Impressions LICHT-RUF would make a great ring-tone. Not much more to add there, it's a nice, brief Signal to LIGHT...
No. 66: WELT-PARLAMENT (World Parliament)
for choir (a cappella)
1st Scene of MITTWOCH AUS LICHT (WEDNESDAY FROM LIGHT)
1995 (~40 min.)
Introduction
WELT-PARLAMENT is the first Scene of
Stockhausen's dramatic music work MITTWOCH AUS LICHT (WEDNESDAY from LIGHT),
which was the 6th-composed entry of his 7-part, 29-hour opera
cycle LICHT (Light). In this Scene (set in a glass dome atop a skyscraper), members of a choral "world parliament" are called into a meeting by the "President" to discuss the important issues of the day, and more specifically, to debate the meaning of the word "love". The President is eventually replaced by a coloratura Soprano during the proceedings when it turns out that his car is getting towed...
LICHT, MITTWOCH, and WELT-PARLAMENT
LICHT is a work of monumental proportions 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).
MITTWOCH (Wednesday) is the Day of Cooperation and Reconciliation.
The scenes in MITTWOCH do not have a dramatic arc connecting them,
instead the theme of Cooperation and Reconciliation between the
characters is achieved
through
musical, visual, and spatial means. In WELT-PARLAMENT, the setting is atop a skyscraper,
and in the following Scenes the setting spreads farther and farther
away from the Earth until, in MICHAELION, it reaches deep space.
WELT-PARLAMENT begins with an introductory
entrance phase (cued by the President with a wooden gavel
and bells) based on single note aleatoric (free, irregular) rhythms and clicking metronomes. Following this is the
main fabric of the work, a sequence of different lyric, rhythmic and
dynamic combinations between 12 vocal groups (polyphonically-structured into 4 choral groups, SATB). Occasionally, soloists step forward and have a brief
exchange with the President (and sometimes a choral group). Near the end of the main section, a janitor interrupts the proceedings in order to have someone move their car. After the President leaves (it was his car), a Coloratura Soprano takes his role. At the end, the
vocal groups leave, again intoning on single pitches accompanied with metronomes.
12 Vocal Groups
There are 3 vocalists in each of 12 vocal groups, which are in turn arranged as 4 choral groups arranged from left to right as: Basses - Tenors - Altos - Sopranos (making a total of 36 vocalists). The score is notated as 12 vocal groups (layers) with additional staffs for soloists. Often there are group "solos" where one of the 4 choral groups (3 x 3 = 9 singers) is featured in a harmony, and the other 3 choral groups may drop out (or sing more
ambient material).
The main material used by the vocalists is rhythmically-subdivided
syllabic motifs which, for the most part, repeat over and over again in building ostinati patterns,
gradually morphing from one phonetic syllable or rhythm to another. The material within each one of the 4 choral groups (SATB) is generally similar in pitch and rhythm, but
can be layered or harmonized in different ways. For example, 3 Soprano groups may have the same text, melody and rhythm, but at times they may be polyphonically-layered to create different vocal densities.
Figures from the LICHT super-formula are used to generate melodic and rhythmic processes in the fabric of the vocal patterns. For example, in the beginning of the main body of the work (from Stockhausen Edition CD 51, track 6), the soprano melody starts as a short, small interval motif (rising/falling) and over the course of the work slowly grows longer (more notes are added) and wider in pitch range. The Basses, on the other hand, start out with overlapping rising/falling glissandi (a score excerpt is at the bottom of the page). At track 9, they change
to separated, swelling quarter notes, then fading quarter notes
(during track 10), then fast 8th-note triplets, etc... From track 10, the Altos begin an alternating vowel pattern, starting fast, slowing down and then eventually becoming 3 polyrhythmic layers (tracks 11-14).
Tracks 26-28 feature a polyphonic structure in 3 Soprano layers, which is continued by the Altos in tracks 29 and 30. After the Coloratura Soprano solo (track 36), the Soprano and Alto groups join together and form a rhythmic figure opposing the Basses (track 37). These 2 layers gradually overlap and meld together, climaxing in an ensemble tutti (track 38). An example score page of this passage is at the bottom of the page.
Many other processes (including those involving dynamics and tempo modulations) also occur, some of which, like the above, are detailed in the WELT-PARLAMENT Composition Course Booklet (link at bottom, but in German, unfortunately, for English-only readers). For example, the dynamic processes of specific layers in WELT-PARLAMENT are based on the dynamic envelope shapes of the MICHAEL formula layer of the MITTWOCH-FORMEL.
During the main body of WELT-PARLAMENT, the vowel elements gradually change from the dark "[u]" and progress upwards towards the bright "[i]", using different
consonant partners. The progression was designed using a "vowel square" (above) which was also used in many other of Stockhausen's works (STIMMUNG, etc..). The vowels slowly progress as in the diagram above, starting from the bottom "u" and gradually adding higher vowels until "i" is reached. However each choir group (SATB) has a different rate of progression, and sometimes vowels fall back down before going back up. Again, more on this in the Composition Course book for WELT-PARLAMENT.
Form Structure and Narrative
The broad structural shape of WELT-PARLAMENT is based on the beginning of the MITTWOCH-FORMEL (Wednesday Formula), and it's melodic figures are derived from the LICHT super-formula, though in a less obvious way than in the earlier opera scenes of LICHT (once in a while some of the more recognizable formula phrases can be heard in the solo voices). For example, several bell strikes ring tones from the EVE formula, which also spell out the "central tones" used for those sections.
Scenically, the drama is set in the top floor of a glass skyscraper (or a floating glass dome - see top of page), looking down on clouds amidst a blue sky, sometimes with doves and helicopters flying past. The "Parliamentarians" arrive through a glass elevator as the President (a tenor in this case, but alternatively a baritone) announces "Wednesday from Light!"
Below, the columns for the 4 choral groups are arranged in the same
orientation as what is heard on the CD (stereo left to right).
The
exclamations from the President and the soloists are usually in the
center.
CD
Trk
Basses
(Far Left)
Tenors
(Center Left)
Altos
(Center Right)
Sopranos
(Far Right)
President (Tenor)
(Center)
Dur.
1
1st BELL: Members of 9 vocal groups (SAB) gradually enter, independently repeating (chanting) a different text on D, and holding ticking metronomes (each set to a different
tempo). Additionally, members of these groups
independently shout out"slogans". 3 Tenor groups, however, slowly intone
long syllables.
1:40
2
Group Solos: The President's gavel strikes cue 9 short "chanting solos" (3 Bass solos, 3 Alto solos, 3 Soprano solos). Tenors continue slow, quiet syllables as before in the background.
1:30
3
SAB Groups return to
continuous syllables, Tenors continue as before.
"Mittwoch aus
Licht"
0:22
4
2nd BELL: pitch rises
1 step. After the President's "Wednesday From Light", gavel blows again
signal featured layers, this time 3 groups (sometimes mixed) at a time.
"Wednesday From
Light"
1:30
5
Tutti returns (first
loud, then quiet), followed by the President's 3rd proclamation. The section ends with a crescendo and then fade out of the vocal/metronome
tutti.
"Mercoledi Da
Luce"
1:05
6
3rd BELL The 12 vocal groups begin variations on 4 main rhythms (in this beginning section fastest to slowest: A, S, B, T), repeating and developing syllables such as "hu", "liu", "to", "toroho", "melo", "keku", "zene", etc...
0:45
7
("kaku", "gede", "sho", etc...)
"World
Parliament - Love Is Our topic Here"
0:33
8
(micha...)
Altos: "Mi - Cha - El"
("roza", "no", "sho", etc...)
0:40
9
("hoe", "ruledu", etc...)
Altos: "Oe Oe Oe", etc...
("me-ne-strel...")
0:26
10
(etc...)
1st Soprano: "Love Is
loyalty, loyalty to talent-t-t-t"
0:55
11
(Sopranos:"talent...")
"But Talent Must
Serve Beauty!"
0:31
12
Basses: "Le Mo Ne Mo Ne
Mone Mo Ne Di", etc...
0:33
13
1st Bass: "Love Is
Forgiveness"
0:15
14
Tenors: "Ach so..." (But this...)
Not Always!"
0:23
15
4th BELL
1:09
Basses:
"Hathor..."
Sopranos: "Inana..."
16
1st Alto: "Love Is Helping
Without profit, there is always ascension." (rushing sounds)
0:31
17
(Tenors:"positive...")
"Positive
Thinking, Yes!"
0:37
18
Basses: "Loe Ne
Moe Doe Ne... Mi Ci Ki", etc...
Altos: "Efa Inana Freija
aus Liebe"
0:46
19
Baritone: "Love Is GOD's
Light Universe ..."
(Altos tacet)
2nd Soprano: "Love From
Eve's Moon Love" (kissing noises)
0:42
20
(intermittent pauses, then a tutti chord)
"Love resounds
Only From Heaven music"
1:12
21
(Insert)
Tenor Group Solo: "Love
resounds In your voice..."
...Altos join...
...Sopranos and Basses join ("Musik"), ending on a tutti chord, "Liebe" ("Love...")
2:06
22
Basses: "helene"
Altos: "glück
--- mehr glück" ("more happiness")
Sopranos: "Worlds
Wednesday"
(Soprano vowels in high 4th voice begin)
0:47
23
(Basses sing in blocks)
1st Tenor: "Love Dies with
the many children."(rushing/clicking noises)
2nd Alto: "Love Lives in the children" (rushing/clicking noises)
Live Performance
MITTWOCH AUS LICHT had its premiere in 2012, hosted by the Birmingham Opera Company, with WELT-PARLAMENT naturally staged as its first Scene. This production had a kind of "community punk rock" design ethic, and so it uses a somewhat more "Earth-bound" factory warehouse setting, rather than a glass domed skyscraper. The choral groups are arranged on high yellow chairs left to right as in the table above, with the President seated in the center. Below is a rehearsal extract.
Sound Impressions
This work took a little while for me to appreciate, I think due to the monotonal opening section, which loses alot of its impact without the visual element. However, once the 12 polyphonic vocal groups begin their syllabic transformations, there is much to absorb and "get lost" in. The voices really weave a fantastic tapestry of voices which in some sections may be similar to some other choral works of this type (Tallis, Ligeti, etc...), however what makes WELT-PARLAMENT very unique is the clarity of each of the 12 layers. Instead of creating a "statistical" surface, this work really enables the careful listener to hear a vertical cross-section of harmony.
Because the rate of transformations follows the LICHT super-formula (Wednesday formula), the changes do not always occur in sectional "moments", which makes it harder to analyze, however the changing colors are interesting enough that it's really not that necessary to know the specific trends. Actually, there are so many processes going on at the same time it would probably be distracting to listen for every element. The best way that I've found to enjoy this work is to just follow the journey that the changing vocal figures and rhythmic patterns convey.
The "insert interruption" where the President is embarrassed to find that his car is being towed away is kind of a funny moment, and allows for a beautiful coloratura Soprano solo. However, after repeated listens, this part loses its impact, naturally, and I probably would have preferred an optional "clean version", such as was done with the "choir strike" in SAMSTAG AUS LICHT's LUZIFERs TANZ . I have similar feelings for the "stutterer" at the end... Nonetheless, it shows that Stockhausen never let the "4th wall" get in the way of a good joke.
LUZIKAMEL (misnamed "Horsehead Nebula" by Terrans)
Nr. 70: MICHAELION
for choir (w misc. whistles, noise-makers, toys), bass vocal soloist (with short-wave radio), flute, basset-horn, trumpet, trombone, synthesizer, tape, 2 dancers in a camel suit
4th Scene of MITTWOCH AUS LICHT (WEDNESDAY FROM LIGHT)
(1997) [ca. 60']
Also: Extract 1: THINKI for flute (~4:30) Extract 2: BASSETSU for basset-horn (~5:30) Extract 3: BASSETSU-TRIO for basset-horn, trumpet, trombone (~26:00) Extract 4: "MENSCHEN, HÖRT" (MANKIND, HEAR) for vocal sextet (2 S, A, T, 2 B) (~16:00) Extract 5: KAMEL-TANZ (CAMEL-DANCE) for bass, trombone, synthesizer/tape, 2 dancers (~5:00) Nr. 70 1/2: ROTARY Woodwind Quintet (~8:00)
Introduction and Brief Synopsis
MICHAELION is the final Scene of
Stockhausen's dramatic music work MITTWOCH AUS LICHT (WEDNESDAY from LIGHT),
which was the 6th-composed entry of his 7-part, 29-hour opera
cycle LICHT (Light). In this scene, set at the MICHAELION ("a galactic headquarters for delegates of the universe"), a meeting is held to decide on a new President, who will
also hopefully act as an OPERATOR (translator/mediator). A talking camel named LUCICAMEL
appears, and dispenses 7 large colored globes
representing the 7 Days of Licht. Some delegates proceed to playfully
shine LUCICAMEL's hooves. After getting drunk on champagne, LUCICAMEL
dances in different styles and engages in a playful bullfight with his
"Trombonut" assistant. After the fight, a surprising figure (LUCA) emerges out
of the camel's body. This person takes his position as President (and
more importantly, OPERATOR) and interprets signals from a shortwave radio for the
delegation. He then individually receives a procession of
11 delegates from different alien races speaking in 11 different
languages. Finally, 6 delegates (with 6 globes) go out into the
universe, spreading the message of MICHAEL.
lip whistle (or "mouth siren")
LICHT, MITTWOCH, and MICHAELION
LICHT is a work of monumental proportions 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).
MITTWOCH (Wednesday) is the Day of Cooperation and Reconciliation.
The scenes in MITTWOCH do not have a dramatic arc connecting them,
instead the theme of Cooperation and Reconciliation between the characters is achieved
through
musical, visual, and spatial means. MICHAELION, as the final Scene of MITTWOCH, reflects the natural progression of a premise that was begun in Scene 1, WELT-PARLAMENT. In that work, the setting was a skyscraper, and in the following Scenes the setting spreads farther and farther away from the Earth until in MICHAELION, it reaches deep space. Due to its setting, MICHAELION could be considered a science fiction story, in a similar vein as the earlier science fiction-based work, SIRIUS, though its message is, like that work, very much directed towards our current world. Like WELT-PARLAMENT, it also features a meeting of various characters from different locales, and here the end result is a consensus leading to the transmission of a message to the universe .
CASIO PT-88
Electronic Layers
The 3 layers of the MITTWOCH-FORMEL (Wednesday Formula) are played live by a
synthesizer player as one of the electronic
background layers to MICHAELION. This triple-layer electronic part is the same material as the electronic work MITTWOCHS-GRUSS, though with a different spatial organization (and played live). The other electronic element in this
work is the "signal tape", which is used only in the PRESIDENCY section. This tape is made up of short electronic melody fragments (from the LICHT formulas) which provide a kind of "fanfare" for the entrance of soloists and choir groups, and generally help to synchronize the various forces. After PRESIDENCY, this element is not heard again.
Shortwaves (Kurzwellen)
In the PRESIDENCY and the OPERATOR sections, a shortwave radio (SWR) is used
to allow the "President" to receive and translate transmissions from other worlds (using "plus-minus" notation from KURZWELLEN). The President-to-be first appears about 4 minutes into PRESIDENCY, and innocuously imitates and transforms radio noise and signals independently from the other performers. He
disappears during LUCICAMEL (since he is inside LUCICAMEL), but from just before OPERATOR onwards he
again reacts to the shortwave radio, and then later also to the delegates
beseeching him.
rosin stick with string attached
to resonating drum head
("waldteufel")
Structure
MICHAELION is divided into 3 main sections, with the 2nd and 3rd section having sub-scenes:
PRESIDENCY (PRÄSIDIUM)
In this opening section, vocal soloists, choir groups and instrumental soloists perform in various layers of polyphony, creating solos, duos, trios, etc... This section also features constant movement from the performers, who move on and off stage (conveying the feeling of a busy intersection of different groups of people). An integral part are the electronic melodies ("signals") which announce the entry of each musical element. A Bass also adds an independent layer as he interacts with a shortwave radio during several stretches.
LUCICAMEL (LUZIKAMEL)
This section features a camel who sings/talks with a Bass voice (from the previous section). The Bass is essentially the main soloist, and a trombone is it's main accompaniment. The choir groups interact with the Bass/trombone duo. The section is divided into 5 sub-sections:
OPERATOR
In this section the Bass interacts with his shortwave radio receiver, but also engages in dialogues with 11 vocal soloists who use unique "toys" to complement their dialects. After this procession, an instrumental "BASSETSU" trio is featured, during which 6 vocal soloists (Space Sextet) are sent to positions in the auditorium. The ending is an arrangement of the 3-layer LICHT super-formula for the Space Sextet. OPERATOR is divided into 3 sub-sections:
Narrative The stage production of MICHAELION (and for all of MITTWOCH
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. For
example, the performers in this scene constantly move around and behind
several partitions, and the changing density of vocalists and
instrumental soloists visible to the audience is difficult to describe,
and is obviously lost in a CD recording. The CD recording is an
excellent studio representation of the scene's musical elements and so
here I will mainly concentrate on that. The booklet (book, actually)
that comes with the MICHAELION CD has detailed descriptions and
photographs, and a complete (I think) libretto. The text itself is very humorous and playful, and it's recommended to get the CD to enjoy reading the German and English translations.
CD Trk Dur.
Music
Stage Action
1
(10:40)
PRÄSIDIUM (w Signal tape)
0:10 – EM begins (elongated synthesizer arrangement of Wednesday Formula)
1:07 - Signal tape begins cueing in various elements: descending (high) Bass, held/oscillating/buzzing Sopr/Fl and Alto/Bhn lines
1:54 - Signal tape prompts isolated Tenr/Tpt melody fragments
4:12 - OPERATOR/SWR passages begin (entries at 4:12, 5:45, 6:24, 6:56,
8:36)
4:17 - Sopr ens. phrase w. Bass humming, brief Alto fragment, then Sopr solo w. slow staccato Tbn melody
5:58 - Sopr/Fl and Alto/Bhn ensemble joining Tbn and Bass (OPERATOR continues)
8:29 - Sopr (Coloratura) solo w. high tones on Signal tape and "murmuring" on synth layer (OPERATOR soon quietly leaves)
9:20 - STB trio (Bass is hoarse/humorous)
9:40 - A polyphonic ens. section (Basses sing in 4 languages: Fr., It., Russ., Jap.). SoonBass/Tpt dialogues w SAT/Fl and Bhn, ending in final swelling chord
A Bass (later to be revealed as the OPERATOR) sits in the front row of the auditorium and transforms signals from a shortwave radio (SWR).
A "Trombonut" (Tbn player) dressed in black enters.
The vocalists and instrumental soloists move in front of, between and behind several partitions, sometimes "acting out" the text (for example, pretending to talk on the telephone while singing "Hallo?")
2
(2:03)
LUZIKAMEL
0:00 - After opening ens. phrases, Sopr & Tenr duo w. supporting Fl/Bhn/Tbn (also Bass and SWR).
0:58 - LUCICAMEL enters with "HU!", and then entersin dialogue with the choir groups
1:26 - Tbn joins LUCICAMEL
LUCICAMEL (a talking camel) slowly enters with Trombonut (who has changed into a white costume), and interacts with the delegates.
3
(1:27)
KAKABEL
0:00 - LUCICAMEL grunts out the globes, soloists announce them ("KAKABEL!"), background ens. sings held/bending
tones
0:39 - LUCICAMEL names the globes and the soloists echo
LUCICAMEL discharges out of its rump 7 large colored globes, which are each distributed to 7 soloists (SATB):
S: Green T: Blue B: Black A: Orange A: Golden T: Red T: Yellow
As each globe appears, the vocalists cry "KAKABEL!" (meaning "Star of God, a powerful angel of folklore in charge of the stars and constellations").
4
(2:55)
SHOE-SHINE SERENADE
0:00 - LUCICAMEL cries out 13 appreciative words as ensemble sings in syncopated rhythm 10/9 proportion (Sopr vs ATB)
0:39 - After a brief tremolo phrase, increasingly rhythmic, acceleration (LUCICAMEL cries out 20 more appreciative words)
1:15 - Tbn phrase precedes a Tenr section, a LUCICAMEL/Tbn phrase and a giggling Sopr/Alto moment, ending w. a final Tenr phrase
2:08 - Frozen Electronic moment, then a "point-like" aleatoric ending
Tenors shoe-shine LUCICAMEL's left foreleg, and the delegates sway back and forth with the shoe-shiners. The hooves change from black to gold.
LUCICAMEL cries out 13 appreciative words. His left hindleg is also polished and he cries out 20 more times in pleasure and makes front and back counter-movements. Tenors give champagne to LUCICAMEL from a huge bottle. LUCICAMEL sticks his foot in a side pocket, and tries to leave.
5
(4:05)
KAMEL-TANZ
0:00 - Polyrhythmic
0:25 - Sopr w. LUCICAMEL and Tbn trio
1:19 - Fl ostinato enters briefly
1:52 - After a brief pause, Alto joins (quartet)
3:16 - Bass enters and creates 3-part choral polyphony (SAB), LUCICAMEL pauses and Tbn joins Bass
LUCICAMEL is lured back, and engages in an "artful dance" with Trombonut, singing and dancing in severalstyles (ballerina, "robot", etc...).
6
(3:39)
STIERKAMPF
0:00 - Tbn and LUCICAMEL duo, w. handclaps
0:50 - sounds of amazement and humor
2:15 - (OPERATOR emerges)
2:39 - The OPERATOR has Trombonut play a melodic signal combining the head-motives of the 3 formulas (the delegates call out "Trombonut!").
3:10 - OPERATOR begins interpreting SWR (short-wave radio) using notation from SPIRAL and KURZWELLEN
LUCICAMEL and Trombonut engage in a playful "bullfight", with the delegates (as their audience) providing light hand-clapping accompaniment. After the bullfight, LUCICAMEL sits on top of Trombonut as everyone freezes and then laughs (sounds of amazement and humor).
Afterwards, LUCICAMEL is "unzipped", and the Bass from PRÄSIDIUM emerges ("Luca", wearing a cape like a Zen monk). Trombonut has also changed into a costume of red, blue and green triangles. Luca is brought to a podium where he is adorned with a yellow costume (robe, eye mask and pointed hat with the Wednesday sign on it). The delegates greet Luca as the new President and OPERATOR. The OPERATOR signals Trombonut to play a melodic signal.
7
(11:15)
OPERATOR (& THINKI): 11 vocal soloists with toys (rattles, sirens, whistles, horns, etc…) petition the OPERATOR. At the end of each of the 10 solos, the already-heard petitioners briefly join in as a chorus:
0:00 - After electronic prelude, OPERATOR begins a cont. dialogue w. SWR, ens. harmony phrase
0:27 - Bass with BULB HORN: w. some Tbn fragments. Sopr/Alto sing quiet, irregular text cycles.
0:52 - Sopr w. RATCHET (rotating noisemaker): 3-part polyphony w. Tenr/Tpt ens., Tbn (HORN joins at end, see above)
1:26 - Alto w. METAL WHISTLE supported by ens. and Bhn, w. S/T/Tpt harmony & Tbn, (HORN and RATCHET joins at end)
2:03 - Tenr w Good Friday CHURCH CLAPPER supported by ens. and Tpt, w. Alto harm. & Tbn, (HORN, RATCHET, WHISTLE joins at end)
2:45 - Bass GARGLINGand spitting WATER, Alto harm./Bhn. and Tenr/Tpt dialogue, Tbn, others join at end, etc…
4:06 - Sopr w. MASS BELLS, Sopr/Fl slow gliss. melody, Alto /Bhn/Tenr/Bass/Tbn harm.
4:52 - Tenr w Munyo RUBBER WHISTLE (kazoo-like) trio w coloratura Sopr and Tpt ("7 shots"), ens. slow harm., (in this solo, no toys chorus at end)
5:58 - Alto w. MOUTH SIREN (whizzing glissandi) dialogues w. Flute (THINKI) supported by Sopr and Sopr ens. (slow harm.). The Alto soloist eventually leaves (making flying gestures w. her arms), as THINKI continues.
As the Operator interprets and transforms signals from the SWR, the vocalists form around the Operator. As he hears petitions from a procession of 11 delegates (each of whom have a special toy-assisted dialect), he finds a new SW event to transform for each, and responds to both the SW and the delegates (at first separately, but with increasingly blurred distinctions). During this, the Trombonut plays various notes and phrases, teasing and mingling among all of the delegates (and also sometimes rising and flying into the air).
During the Tenor/CASIO delegate's petition, the OPERATOR becomes annoyed, and the Tenor is driven away by the other delegates, who are in turn dismissed by the OPERATOR.
8
(10:11)
BASSETSU TRIO (KARUSSEL)
0:00 - Bassetsu Trio 1st position: Bassetsu Trio (Tpt/Bhn/Tbn) rotate elaborated fragments (generously ornamented with grace-notes) from the 3 layers of the LICHT super- formula, vocals and Fl quietly accompany aleatorically (breathy sounds and overtones)
1:40 - Bassetsu Trio 2nd position. Basses and OPERATOR quietly begin speak-singing a sequence of 15 languages (Kabuki, Noh (Kyogen), American, Russian, Swedish, Cologne, Italian, French, Zulu, Bavarian, Greek, Dutch, N. German, Chinese)
2:44 - Bassetsu Trio 3rd position
3:29 - Bassetsu Trio 4th position, Space Sextet selection begins (Noh, Amer., Russ., Swed., Col…. See at right)
4:20 - Bassetsu Trio 5th position
5:26 - Bassetsu Trio play slow harmony melody, ending in isolated chords and then a final ascending scale
8:34 - Sopr (singing about images from ORCHESTER-FINALISTEN) supported by Fl, Bassetsu Trio cont. sparse chords
9:28 – Sopr/Fl cont., Tenrs begin quietly intoning the text from LITANEI (individually, w. held and gliss. shapes). This part was later re-appropriated for LITANEI 97.
The Bassetsu Trio (Bhn, Tpt, and Tbn) rotate around the OPERATOR w. stylized movements, changing direction for each new musical Cycle. The OPERATOR integrates melodies of the Bassetsu Trio into his SW transformations. At the 2nd Cycle, the Bass delegates begin moving onto a Carousel which has risen from the ground. During the 4th Cycle, Altos (humming) begin moving onto the Carousel as well (Tbn counts to 13). Much later, Tenors and Sopranos (holding pretzels) also in turn mount the Carousel.
Also at the 4th Cycle, a secondary sequence begins where 6 vocal soloists ("Space Sextet") take a dialect from the OPERATOR and then take a position in the hall holding a globe:
Bass: Japanese Noh Sopr. (w. a Pretzel symbol): American Tenor (w. a Book): Russian Alto: Swedish Bass: Cologne dialect Soprano: (see below)
At the end, the Soprano soloist sings a song about ORCHESTER-FINALISTEN while spinning on a stool in front of the OPERATOR.
9
(13:16)
"MENSCHEN, HÖRT" (RAUM
SEXTETT): The LICHT super-formula (MICHAEL, EVE and LUCIFER formulas) is traversed by a vocal sextet 4 times, starting from a simplified "Nuclear formula" version, and expanding to its "fully elaborated" version in the 4th cycle. Each cycle ends in a held fermata, with the 4th cycle ending in "HU!" In the 1st Cycle, one Sopr sings a solo (marked as "s" below), but she joins the other Sopr starting from the 2nd Cycle. The remaining choir members sing monotone textures, and the instrumental soloists play aleatoric pitches. Tenors continue intoning LITANEI (with slow glissandi and pitch transpositions) until Cycle 4, at which point they sing a slow melody.
Time
Cycle 1 0:00
Cycle 2 1:15
Cycle 3 2:44
Cycle 4 4:22
2 Sopr
(s), M
L
E
M
Alto/Tenor
E
M
L
E
2 Bass
L
E
M
L
At 7:28, the Space Sextet repeats from the beginning, but singing parts independently, spreading outwards into space (synthesizer swells).
As the Space Sextet sings along the walls of the hall, the OPERATOR conducts the movements of the delegates in circular shapes. Eventually the Flute goes into flight, circling above and then away, playing freely from 5 notes. At the same time the Bhn plays 7 notes free, Tpt 9 notes free, and Tbn 6 notes free. The Bassetsu Trio continues to move in rotations around the OPERATOR. At the same time, the Space Sextet out in the hall rotates during the fermatas between each Cycle . After the 3rd Cycle, the Carousel gradually stops and then changes direction.
Eventually the stage becomes dark and light beams in from 6 doorways, through which everyone slowly exits. The Space Sextet exits the hall out into the corridors/foyer, singing the 4 Cycles again, but independently. The OPERATOR stands up, continues transforming the SWR and vanishes.
The EVE, MICHAEL and LUCIFER formulas found in "MENSCHEN, HÖRT" (most clearly in the 4th Cycle) can be seen in the LICHT super-formula below (click to enlarge).
One of the important aspects of MICHAELION which cannot be appreciated from a recording is that the vocalists and instrumental soloists move on and off stage (or behind a partition). Sometimes a soloist continues playing while unseen, which contributes to the atmosphere of being in a conference, where sounds from other rooms may penetrate, or members may mingle between rooms. Additionally, during the Carousel portion, the circular movements of the various stage elements also unfortunately cannot be seen (though so far no performance has actually included a carousel yet, that I know of). And of course, LUZICAMEL’s actions are really something that needs to be seen!
A concert version of MICHAELION was premiered in 1998 in Munich, and a video of this is available as a DVD from the Stockhausen website. This version features all of the stage movements (I think), but has a fairly conservative design aesthetic as far as costumes go (though LUCICAMEL looks quite good). The 2012 Birmingham production of MITTWOCH AUS LICHT included the MICHAELION scene of course, but the design aesthetic there was a bit more like communal “punk rock” than what I would imagine an intergalactic conference to look like (I'm thinking "Babylon 5"...). In this production there were no real partitions, so the feeling of delegates moving in and out of a conference space is unfortunately lost. The musical portion however is well-recorded and the Stockhausen Edition CD of MICHAELION (CD54) was recorded during the dress rehearsals.
Other Works/Extracts Extract 1: THINKI for flute (~4:30)
THINKI is a slightly modified version of the flute solo from the later stages of the sub-scene OPERATOR. It features flutter-tongue, “rushing noises”, kissing noises, key slapping, tandem vocalizing and microtonal bending. Besides using alternating motifs from the LICHT super-formula as the basis for elaboration, some of the phrases from THINKI act as “remembrances” or “time-windows” of passages from previous flute works featured in the LICHT opera cycle. Also, some formula melodies are interpreted (“intermodulated”) with the rhythm of a different formula.
Extract 2: BASSETSU for basset-horn (~5:30)
Essentially, this piece is the basset horn part of BASSETSU-TRIO (starting with the final basset horn solo from OPERATOR). It features flutter-tongue, single-note tremolos on alternate fingering, microtonal scales, rushing noises, etc… The score color-codes fragments of the LICHT formula layers in 3 colors, and these are used to indicate what direction to play in, corresponding to the formula layers (M, E, L: left, rotating, right).
rubber "fart" whistle
(similar to "Munyo rubber whistle")
Extract 3: BASSETSU-TRIO for basset-horn, trumpet, trombone (~26:00)
This concert version of the instrumental trio from OPERATOR includes the final basset horn solo from OPERATOR, the trio from BASSETSU-TRIO, and an instrumental trio arrangement of vocal sextet "MENSCHEN, HÖRT". In BASSETSU-TRIO, elaborated fragments of all 3 LICHT formulas (MICHAEL, EVE, LUCIFER) are rotated among the 3 soloists. For example, the basset horn part starts with m. 17 from the EVE formula, followed by m. 18 from the LUCIFER formula, m. 18 of the MICHAEL formula, m. 18 of EVE, etc… At the same time the trumpet plays from MICHAEL m. 18, EVE m. 18, etc.. (the switching from fragment to fragment is not in unison so many layers of similarity and dissimilarity occur). The soloists move in an orbit around a central point, as well as spinning slowly (planetary spin!). When the soloists are playing different formula layers, they spin in place, but when 2 soloists are playing a fragment from the same formula (though often somewhat counter-pointed) they face each other while moving backwards/forwards in the circle. When all 3 are playing from the same formula fragment, they all face the center. Finally, when a player changes from one formula layer to another, his/her own spin changes direction. These visual aids might help a listener follow the permutations of the LICHT super-formula.
During the "MENSCHEN, HÖRT" section, the 3 soloists move out into the hall and rotate 4 times through 4 hall positions, just as the 6 vocalists do (for 6 positions) in the original arrangement from MICHAELION. The 4 Cycles in this section are arranged as follows:
Cycle
1
2
3
4
Trumpet
M
L
E
M
Basset-Horn
E
M
L
E
Trombone
L
E
M
L
Extract 5: KAMEL-TANZ (CAMEL-DANCE) for bass, trombone, synthesizer/tape, 2 dancers (~5:00)
This independent version for bass and trombone (with synth/tape) covers the sub-scenes KAMEL-TANZ and STIERKAMPF (Bullfight). The recording on Stockhausen Edition CD 105 starts with electronic music, then some aleatoric pitches from the trombone and Bass, and then KAMEL-TANZ from about 1:34. At around 5:38, STIERKAMPF begins. After LUCIKAMEL and the trombone finish, the background electronics eventually fade out. The recording on CD 105 features a chamber version of the bass and trombone part without any clapping, etc...
Nr. 70 1/2: ROTARY Woodwind Quintet (~8:00)
This quintet for flute, oboe, clarinet, horn and bassoon is also an arrangement of the 4 Cycles of "MENSCHEN, HÖRT", with the 5 soloists arranged in 6 positions around the hall in 4 formations. The LICHT super-formula (MICHAEL, EVE and LUCIFER formulas) is traversed 4 times, starting from a simplified "Nuclear formula" version, and expanding to its "fully elaborated" version in the 4th cycle. Each cycle ends in a held fermata. The table below shows the cycles, formulas, timings and instrument orientations from Stockhausen Edition CD 105.
Cycle 1 (Nuclear formula)
(0:08-1:19)
Cycle 2
(1:19-2:50)
Cycle 3
(2:50-4:26)
Cycle 4 (Super-formula)
(4:26-9:45)
Oboe (M)
Flute (L)
Flute/Oboe (E)
Flute Oboe (M)
Horn (E)
Clarinet (M)
Clarinet (L)
Clarinet Bassoon (E)
Bassoon (L)
Horn (E)
Horn/Bassoon (M)
Horn (L)
Sound Impressions
wood noise-maker ("ratchet")
MICHAELION's opening section is really amazing for how it manages to create shifting layers of vocal, instrumental and electronic textures. At any given moment there are several layers in motion, including droney background textures, foreground solo combinations and shortwave "swarm" sounds. The use of the "signal tape" to provide entrance cues for new musical elements is very welcome, just as the percussion "samples" in TELEMUSIK were a helpful aid to follow the sequence of "moments" in that work. The entrance of LUCICAMEL then brings in a level of sheer absurdity, which may or may not put a satirical spin on the idea of "committees". Later, the BULLFIGHT provides a kind of "remembrance" of the DRAGON-FIGHT in DONNERSTAG AUS LICHT, though with a lighter touch. When the OPERATOR communicates with the 11 alien delegations, the use of toys to "enhance" the alien dialects is great fun, and is perhaps an echo of the supplementary percussion used by the choir in MOMENTE. These combinations of vocals and noise-makers act as yet another way to intermodulate two distinct sound forms, this time entirely without electronics.
Aside from the amazing musical craftsmanship and organization of the numerous vocal, instrumental and electronic forces, MICHAELION also has a very fascinating movement scheme which is unlike anything Stockhausen had done before. The way the performers thread their way among the stage partitions is kind of funny, and almost brings to mind one of those Marx Brothers routines where characters are chasing each other through doors in a corridor.
The final section, "MENSCHEN, HÖRT", provides a magical ending to a wonderfully bizarre science fiction opera, as the Space Sextet messengers disperse out into the universe, sharing a message in praise of God, love, light, music, and the cosmos.
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