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Ulrich Offline

Posts: 152

Thu Apr 24, 2014 1:47 pm

Since the first time I heard this beautiful work, I am puzzled because of the theological titles of the scenes CRUCIFIXION and MISSION, both very solemn and meaningful terms full of traditional references; especially crucifixion very strongly connected to Jesus Christ. Has anybody an idea why KS used these titles here? For what happens in the scenes is not able to fulfill what the titles suggest.

Joe Offline

Posts: 103

Fri Apr 25, 2014 1:24 am

The score is clear that Michael is being crucified by the music. I think the most telling explanation comes from the passage where he is discussing the Unsichtbare Chöre texts with Recha Freier. She suggests all these texts about the suffering of the Jews, but he explains that he was not interested in this subject.

After all, how many times have you seen the crucifixion depicted literally on the opera stage? It's not a very good subject for opera. The "crucifixion" label allows Stockhausen to link Michael's story with Jesus without having to actually depict the Passion. It's clear that was a weightier agenda than he was interested in.

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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