Thank you for the link! On organ! I´d like to add to the discussion about timbres etc that I spoke to Stockhausen about ASCENSION after having seen the film at Kürten and I told him: "Die Orgel ist ein tolles Instrument." He looked at me very surprised and asked: "Wirklich? So viele Obertöne!" I understood that he objected not to be able to control the overtones which should be easier with the sythesizer. The synthi version sounds sterile to me, even the many timbres make only didactic sense to me. For me, alas, Adorno´s ironic dictum applies: Most people hear the organ and immediately think: Ah, religion! In this case, however, Pawlow´s reflex is appropriate. It is this fitting combination of instrumental and compositional "meaning" that gives ASCENSION its power and charm.

I think "religion" if the organ is playing major 3rds, p5ths. I think Captain Nemo and Dracula if it's minor 3rds and 2nds :)

Depends possibly not only on maior or minor 3rds :) but on the size of the organ and the performance location. Those terrible organs which were used in silent movies etc should not be used for this piece. Let us wait for more performances.

Why not? This is a very intriguing question of performance practice.

If the composer doesn't want overtones in his organ timbres, shouldn't he specify it? Stockhausen left timbre decisions up to the performer in some of his synth music. I say, let them choose and convince that their choice is valid!