Boulez also said that with IRCAM for instance there is a kind-of community established amoungst composers, but KS didn't want to be apart of that. And also KS developed all of his activities outside of the general institution of classical music whereas Boulez tried to make changes from within.
Though individual coups de theatre abound in Stockhausen’s Licht (“Light”) cycle of seven operas, those works are also built on a largely daft cosmology. When I spoke to Braxton about the clear influence of Licht on the Trillium cycle, he professed his love for Stockhausen’s operas—even as he acknowledged some of their flaws. “I love the music—but listening to the CDs, I don’t get a sense of the real storyline,” he said. “And for me this aspect of Stockhausen’s Light is… complex. I have found it difficult to listen to one opera from beginning to end, in CD form. And the difficulty for me involves not being able to understand the poetic intent of the operas.… And so what I’ve tried to do in responding to the Light operas is to first create a fantasy story base, and from there, I can open it up and perform it in a classical way, later change the instrumentations, later, bring two and three Trilliums and put them together. This kind of thing.… But I always learn from Stockhausen.”
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!
Thomas Ulrich
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