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.
I feel that it could be useful to have a discussion-forum on the music of Stockhausen. There are so many people from all over the world, young and old, learned and eager to get into contact with this musical world: musicologists, composers, musicians, music lovers; people who plan concerts - who write books or have to give lectures and so on. So there should be much stuff, many ideas that we can share. And when we have open questions, there may be people who studied just that and could give a hint or a stimulus.
A problem might be the English language, but i feel that is the only possibility that many people who are interested can participate. And we can exercise tolerance to mistakes!