Two weeks ago, Christel Stockhausen was in a German tv quiz show which is called "Ich trage einen grossen Namen" (I have a famous name) and spoke with a lot of love and respect about her Dad. What a difference to the tv statements of Simon and Julika Stockhausen who spoke, on other occasions, very critical about her father. Or Majella Stockhausen Riegelbauer who claimed to give up the name Stockhausen after her Dad's reamrks about 9/11. It seems to me that only the two elder daughters Christel and Suja have remained in a friedly relationship to her father. And I wonder whether this comes from the fact that they weren't involved or - as Julika - weren't planned to be involved in Stockhausen's music projects (as far as I know).
Thank you for opening this thread. I already mentioned the film „Stockhausen und seine Kinder“ earlier on this blog. The famous german philologist Wapnewski was the man behind this documentation. Very interesting how the children spoke of their father in 1981. By the way, Julika was involved in his music, too. The main difference was due to the different mothers: the Bauermeister children were more critical. One cannot see the film anymore, I presume that the main reason is another frank remark of Stockhausen. The film is about the question whether Stockhausen is seen as a genius by his children and, last question of the film, by himself. And he answers this question, after defining what he understands as a genius, very honestly: Yes. This is one of Stockhausen's remarks which made his public life not easier.
I know this interesting film. Watching it you can see already "dawning" the coming frictions between Stockhausen and his kids Julika and Simon (though Simon later collaborated with him). But the big difference between the time of the film and the late years is that Markus and Majella are still very attached to their father. I never understood which was the reason for the rupture between Markus and his father because of all his children Markus seemed the closest to him (in the mentioned film Stockhausen says: "I can tell Markus to rent a car and bring the drums to Dublin. That's something I couln't other people ask for.") Was it, like in Simon's case, that Markus wanted to "make his own thing" (jazz for example) and Stockhausen couldn't tolerate this?
Speculations are always very near to gossip, and this is even more the case when speaking of family relations. Nevertheless, it is justified and interesting to look at these relations because Stockhausen "used" his children as helpers in a kind of family enterprise, and his "business" was music - and music´s the reason why we are writing here. The fact is that one day Markus Stockhausen stopped to be a teacher at the Kürten courses. The same for Ellen Corver, the same for a professor of percussion whose name I can´t remember now. The reason was always the same. In the BBC broadcast following Stockhausen´s death, Markus was interviewed and said something like this: He wanted to do other things which collided with the courses. Then his father answered that he does not want to know him further. And Markus expressed understanding for this attitude of complete commitment.
As Adorján said, this kind of discussion always will be on the verge of becoming unseemly. I do think it would be an important part of a biography, because his children were such an important part of his later music. I always think back to that quote which is so prominently featured on the title page of Jahreskreis: "My life is extremely one-sided: what counts are the works as scores, recordings, films, and books." No mention of children, wives, or friends. I think that tells us most of what we need to know about the pressures of being one of Stockhausen's children. It reminds me of the story about Moon Unit Zappa slipping a note under the door to her father's studio in order to communicate with him.
At the 2001 courses, Markus arranged a performance of his bass clarinet music in his teaching studio. It felt very confidential, as if we were somehow misbehaving by listening to Markus' music instead of his father's. There are, of course, many stories that we have all probably heard about how strained their relationships could be at times. I interviewed one of the original soloists in Licht, who described how there was a kind of class structure within the Stockhausen troupe. There were the people like him, who came to Stockhausen as students or other ways, and then there was the family. The non-family members of the troupe always felt outranked by the family.
We know how hard Stockhausen worked his collaborators, and it stands to reason that extra punishment would be meted out those who were actually related to him. But now, I have dipped a toe into gossip, and it's best to leave it at that, I think.
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!