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uatu Offline

Posts: 161

Tue Feb 24, 2015 3:34 am

EVAs ZWEITGEBURT (EVE's Second Birth-Giving)
for girls' choir, piano, 7 solo boy singers, 3 basset-horns, 1 singing basset horn, choir (live or tape), 3 synthesizers, percussion, and tape (Sound Scenes), staged with 21 actresses

More beautiful, more bawdy! Not only that but the Songs in Wochenkreis are pretty awesome - they should be teaching all kids these songs.

In the second Act of MONTAG AUS LICHT, a sudden return to primitivism seems to occur when the electricity goes out and the stage is lit only with candles, as a ritualistic procession moves up the aisles. The girls' choir is yet another beautiful choral work in MONTAG, and the 3 against 4 nature of the rhythms continues a structural concept from the opposing shapes of the previous act's Boy's Hullabaloo. The "conception" piano solo is a fine melding of unique textures, as there are not very many works for piano and children's choir. It has some structural similarity to KLAVIERSTÜCK XIII "LUCIFER's Dream", but is much more concise and gets "down to business" so to speak.

WOCHENKREIS generates a new set of lively songs which I think have as much life as independent songs as TIERKREIS does away from MUSIK IM BAUCH. The 7 songs are each lots of fun and are perfectly fit for children to sing. INITIATION features an alluring vocal for soprano which has many fascinating colorations and is a wonderful showcase for Kathinka Pasveer's singing skills. At this point in MONTAG, the synthesizers also take on a more prominent role, and I would someday be curious to hear some sections of EVE's Song as electronic parts separate from the opera (perhaps as study tracks for 3 keyboardists). The interaction between the 4 incarnations of EVE as COEUR, BUSI, BUSA and MUSCHI are weaved together in a fascinating layering of wind and voice instruments. In the final section of EVE's Song, the forces become quite entangled, but yet still imply a certain kind of harmoniousness. Just as in Act 1's First Birth-Giving, there is alot of humor laced throughout these acts, but in a somewhat more innocent, child-like way than in the earlier Act.

The score also describes very precise hand gestures for each of the boy soloists, as well as many descriptions of color and lighting changes which unfortunately can't be experienced on an audio recording. The stage set is also decorated with many additional glass "chemistry lab" vials and tubes, which are used to collect water from the boiling steam and use it to grow a beautiful grass lawn by the end of the Act.

Full post here:

OK I do have lots of questions about this work regarding the melodic construction. Can anyone tell me how the melodic material for Girls Procession works? Also I wonder how the parts for Synths 1 and 2 work in Basset-Teases and Initiation? Synth 3 is the Lucifer formula, that's easy to see (but not hear), but I'm not really seeing Michael and Eve in Synth 1 and 2 like I would have expected....

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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