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.
No. 39: ATMEN GIBT DAS LEBEN (Breathing Gives Life)
Choir Opera with orchestra (live or tape)
1974/1977 (48-53 min.)
Development
ATMEN GIBT DAS LEBEN (Breathing Gives Life) is essentially written for a capella mixed choir, but Stockhausen also includes a somewhat secondary orchestra part (usually played as a tape accompaniment) which is used to "color" the unaccompanied choir. There are 2 sections to this work which were written almost 4 years apart from each other.
The first part (which has no orchestral accompaniment), was written in 1974 as part of a composition class. Stockhausen had received a request to write a piece for amateur choir, and in his class he asked the students to write short choral works using texts from Hazrat Inayat Khan's "The Bowl of Saki". The students never actually completed this assignment, but Stockhausen's own example composition became the basis for the first part of ATMEN GIBT DAS LEBEN. The second part (with orchestra background) was completed in 1977, and the entire work was premiered at the Marc Chagall Museum in Nice as part of Chagall's 90th birthday.
Besides using the text from Hazrat Inayat Khan in the first part, Stockhausen's libretto also uses six quotations from outside sources: three haiku (by Shiki, Buson, and Issa), and one sentence each from Socrates, the Gospel according to St. Thomas, and Meister Eckhart (the CD booklet includes the complete text in German and English, and gives the sources of the quotations). There is no "story" to this opera-like work (at least in the normal sense), and so the scenes could be possibly appreciated as "episodes" in a larger work with a common sensibility.
Structure and Narrative
The first part of ATMEN GIBT DAS LEBEN, titled "Atmen gibt das Leben" ("Breathing gives Life...") begins with a hummed choral harmony with vocal "interruptions". After a brief tenor solo ("doch erst das Singen gibt die Gestalt" ("...but only singing gives the form")) a soprano sings soloistically over a 4-part harmony using the previous tenor text.
The second part of ATMEN GIBT DAS LEBEN, "Sing ich für Dich, singst Du für mich" ("If I sing for thee, you will sing for me") uses the orchestra (or tape of an orchestra) as background coloration of the vocal forces. This part mainly features vocal solos and duets separated by a "refrain" (choral tuttis) based on canonic variations of the phrase "Das ist wahr, oh das ist schrecklich wahr" ("That is true, oh that is very true"). The vocal solos themselves are are often very accessible and perhaps somewhat "folk-like". In any case, these "arias" have a much more singable quality to them than, say, a strictly serial work, though Stockhausen's vocal compositions have always been relatively "tuneful" compared to his contemporaries, especially since the 1970's.
CD Trk
Bar
Choir
Dur.
Part I: "Atmen
gibt das Leben"
1
1-9
4 layers of
simultaneous activity:
slow harmony from the choir (with subtle ornamentation), hummed using exhaled and inhaled vocals
a periodic "breathing" consonant ("phhh")
a periodic "hk" (or "hk-hk") on every second breath
consonant
spoken text from a soprano and tenor soloist: "hai, EVA",
"och, ADAM", "HU!"
9:28
9.5-18
After a male vocalist sings
"atmen gibt das Leben...", choir begins singing on this text
(starting with male voices).Tenor and
bass have a brief solo phrase on top of the slower female vocal
harmony. Eventually a female vocalist shouts "atmen gibt das Leben...", followed by an aleatoric chant ("gibt das Leben") and a soloists'
exchange on "doch erste..."
(at 4:03)
19-22
A tenor solo ("doch erst das Singen gibt die Gestalt") is followed by more scattered "hk"'s and a choir
echo.
(from 8:21)
2
23-41
Soprano sings
soloistically over a 4-part melodic harmony sung by the full choir
1:58
(end)
Fade out on
"gibt des gestalt" (in free rhythm)
(from 1:18)
CD Trk
Section
Choir
Orchestra
Dur.
Part II: "Sing
ich für Dich, singst Du für mich"
3
Section 1 for Soprano 1
Soprano 1 solo: "Das Singen ja Singen ja Singen gibt die Gestalt...Sing ich für mich, singst Du für Dich..."
Sustained strings
0:50
4
TUTTI for Section 1
Choir (1st refrain led by sopranos) sings aleatoric (free rhythm) canon in
German "Das ist wahr, oh das ist schrecklich wahr" ("That is
true, oh that is very true")
Sustained string chord on each
beat
0:54
5
Section 2 for Alto 1
Alto 1 solo: halting, out of
breath, but told "like a continuous tale", using a mixture of
pitched and unpitched syllables ("CHRIST was here, secret messenger...")
Sustained winds/brass, starting loud and becoming soft
1:05
6
TUTTI 2
1st 13 bars orchestra alone,
then tenors, then full choir joins in (aleatoric canon, this time in English)
Canonic variations
1:16
7
Section 3 for Tenor 1
Tenor 1 solo (based on a Shiki Haiku)
Sustained winds, subtle accents
1:02
8
TUTTI 3
Aleatoric canonic variations in
both German and English, starting with altos.The altos and choir also have individual and ensemble crescendi.
Sustained winds with accents on each beat, also crescendi
0:57
9
Section 4 for Soprano 2
Soprano 2 solo: in an "instructive, brilliant voice", using hand gestures ("A ray of muons shoots...")
Sustained strings, fading in and out
0:47
10
Section 5 for Bass 1
Bass 1 ("mysteriously, like
a magician") enters ("When the mesons..."). Soprano 2 mimics Bass 1, and tries to take over (sometimes yodeling). Bass 1, annoyed, stamps his feet, driving away Soprano 2.He continues with a comical solo, pausing when the female choir also begins to mimic him ("Mu--ons").
Sustained strings fade out for Bass solo
1:33
11
(Cont'd, Chord 5)
Bass 1 quiets the female choir with a shout, and then
continues his solo.
Strings and winds sustained
1:07
12
TUTTI for 4 & 5 (4 bars before)
Immediately after Bass 1's final handclaps follows thick, chaotic, canonic variations in German. In
this section the groups start together and then drift apart, finally fading
out one group at a time.
Contrapuntal melodies, strings legato and winds tongued
notes
1:19
13
Section 6 for Alto 2
Alto 2 solo: makes gestures indicating the
approach of an object from the sky ("HE came from the center of the
universe and Lucifer could not stop HIM") The choir repeats "Je-su-s" on single pitches
Soft layered brass
entrances (overlapping)
1:12
14
TUTTI 6
Canonic variations in German and
English, staggered entry (Sopranos, altos, tenors, then basses)
Soft layered brass
entrances, eventually becoming rhythmic accents
0:51
15
Section 7 for Alto 3
Alto 3 solo, with
"teaching" gestures, interspersed with different-pitched "pyps" ("Even ghostlier particles are neutrinos...").
Rhythmic brass accents fade out, replaced by sustained strings with subtle accents
2:11
16
TUTTI 7
Rhythmic variations on
"pyp" (canonical, but much more synchronous) as the choir (except for Soprano 1 and Bass 1) slowly leaves the stage (with gliding jerks of the feet).
Rhythmic pizzicato strings in 12/8, sometimes changing intensity
2:08
17
Duet
As the choir moves off backstage, Soprano 1 and Bass 1 greet and have a duet
("hai...EVA!", "och, Adam...").The two singers arrange a rendezvous
backstage and leave, after which Soprano 1 screams. She returns and sings "Not to mention neutrinos...", and then the full choir
(including the soloists) quickly returns in backwards motion (singing
"pyp") to where they were before they left the stage.
(tacet)
1:26
18
Sections 8 for Tenor 2 & Section 9 for Bass 2
Tenor 2 and Bass 2 have a brief
drama where Bass 2 mistakenly thought it was his turn (to sing an Issa Haiku). Tenor 2 proceeds but Bass 2 attempts to cut in.
Sustained brass
1:50
19
Section 10 for Soprano 3 (chord before)
Soprano 3 attempts to begin her turn (a Socrates quote), but Tenor 2 and Bass 2 are still trying to finish their own texts (Bass: "For Heaven's Sake, can't you let a person finish his phrase!"). Bass 2 is finally allowed to sing his part in peace.
Sustained winds
0:56
20
Trio
A temporary compromise is reached with a 3-part harmony from all 3 soloists, eventually becoming polyphonic (using parts of all 3 soloists' texts).
Sustained brass and strings
swell twice and then become accents on each bar
0:54
21
TUTTI for 8, 9, 10
4 choral/orchestral tutti blocks
(canonic variations inGerman and
English) halted by piano and metal percussion strikes
4 choral/orchestral tutti blocks
(1 layer of sustained strings with bar accents, and 1 layer of melodic
strings and brass) halted by piano and metal percussion strikes.
1:48
22
Section 11 for Bass 3
After introductory orchestra accents, Bass 3 has a solo, "The stomach retires - the heart does overtime" (and regards his stomach and heart).
Winds, piano and metal perc. play accent chords on bar accents (winds with falling tail glissandi), and then sustain
0:43
23
TUTTI 11
Canonic variations (busy, chaotic) in German and
English, unison entries, but gradually becoming displaced.
After a rhythmic winds and drums beginning, winds sustain chords with accents on downbeats
1:08
24
Section 12 for Tenor 3
Tenor 3's solo (text from Gospel according to Saint Thomas, sung on a single pitch).The choir repeats "Je-su-s" on
held single pitches
Sustained brass
1:00
25
TUTTI 12
Canonic variations in German and
English
Pulsing brass harmony rhythm
1:27
26
Section 13 for Male Choir (2nd bar)
Tenor and Bass choir groups sing a
harmony melody (using a Buson Haiku text, followed by a quote from Meister Eckhart)
Winds, then strings, then brass
(sustained chords with long individual pauses )
1:18
27
TUTTI 13
Full choir (in English) starts
as individual voices, but in harmony (staggered entrances, but in rhythm).After 13 refrains, the voices gradually
shift into independent layers, reducing tempo. After a brief choir pause (at 2:26), the singers resume the refrains (faster and then
slowing down, changing intensity), and also adding individually shouted personal "calls" (in
the style of a yodel, American Indian call, African dance yell, or Gospel
singer cry). The singers individually exit the stage (fading out and reducing tempo). Outside, the choir seems to regain energy once again...
Full orchestra starts as
individual voices (flute leads), but in harmony (staggered entrances), after
3 refrains gradually shifting into independent layers, and reducing
tempo. Tuba and contrabass play only on downbeats, providing a constant downbeat pulse.
Live Performance
In a live performance, the vocalists have specific physical attitudes which reflect either the text, the music, or both. At times the vocal soloists may demonstrate text with gestures, have and "argument" with another soloist, "seduce" another soloist, herald the arrival of Jesus, etc... Much of the drama comes from tension arising when a new singer's "turn" is up, and the previous singer doesn't want to leave. This creates situations where the singers "bunch up", such as in Sections 8, 9 and 10, where the confusion is settled by a trio. At one point, the choir slowly tiptoes off stage, but after a featured vocal duet, they return in "film-running-backwards" motion. Some of these visual elements are described in the narrative above, but the CD sadly cannot impart the sometimes very comical visual aspects of this work.
Sound Impressions The 2 parts of ATMEN GIBT DAS LEBEN were written several years apart, and frankly they are indeed quite different, though they share a common sensibility I suppose. The first part, "Atmen gibt das Leben", comes across to me as stark and subdued, with the "hiccups" being a kind of time-marker of sorts. The most fascinating part of this section is the way the layers of choral voices navigate around each other in semi-heterophonic phrases. When the choir falls into the ending 4-part harmony phrase, it's a beautiful moment, almost as if air were being let into the static environment created by the slow, droney vocals of the preceding section.
The second part of ATMEN GIBT DAS LEBEN, "Sing ich für Dich, singst Du für mich", is very fascinating for the way Stockhausen writes for small and large groups of choral forces. Each of the solos, duos and trio have their own "situation" and mood, and since the melodic material is very accessible (ie - not 'obviously' serial) these solos are very evocative and expressive. The other really interesting element here is how Stockhausen uses the same Tutti refrain over and over again (in essentially the same canonic structure), but finds ways of making each one unique-sounding through vocal mixtures, layering sequences, dynamic envelopes, coloration from the orchestral forces, etc... All of this is incorporated into a somewhat satirical stage drama disrupted by scored moments of "misunderstandings", and all using a vocal text consisting of Japanese Haiku, the writings of Socrates, St. Thomas and, Meister Eckhart, and something about Jesus, Satan and particle physics...
Far in the future, Stockhausen would revisit some of the basic structural ideas of ATMEN GIBT DAS LEBEN in his LICHT opera cycle, especially in the works UNSICHTBARE CHÖRE and DÜFTE - ZEICHEN.
