No Jerry, I am talking score cut-and-paste here, which computerwise is easy peasy. We just need to distinguish original fixed material from subsequent link material, including the Fellini inspired "Komm' Doch Herein!" (KMD) intro. Since MOMENTE is a decision tree of "moments" each representing a state, changing the order by following an alternative Markov chain does not affect the content of a moment, though the altered sequence may change a listener's perception of it (as also for the order of parentheses in Boulez's beloved Mallarmé). Stockhausen's embrace of moment-form acknowledges Information Theory, and also structuralism in relation to Chomsky's internalized grammar and AI. The composer's treatment of structural relations from a humanistic and personal perspective is a new departure for him, and I am still waiting for confirmation on this site that in his conversion to benign hippiedom after the loss of Meyer-Eppler was driven by loyalty to Cage, his relationship with Mary B and the anthropological writings of Levi-Strauss, Malinowski, and others. Or is the citation of Malinowski in Momente entirely irrelevant?
Oh I see, Robin. I thought you intended a full-blown performance that could be revised at the push of a button. No, of course creating a graphics programme to incorporate the score of MOMENTE would be feasible, and it would probably be a lot easier to deal with than the paper score, when trying things out. I have to say I am a little uneasy still about the rules governing the inserts, which would certainly have to be thoroughly understood before any such automated system could be implemented.
James, please allow me a simple question with regard to the CDs of Stockhausen Verlag and Wergo because I am still confused. The Donaueschingen version is about 58 minutes long on BOTH editions. So they seem to be the same. Is this the case? If this is true, Wergo does not present anything new.
Other than the packaging and liners and the fact that the 3-disc Stockhausen Edition also includes the complete 1972 version, they are the same regarding the 1965 versions. Props to Wergo though for putting out a steady stream of quality KS releases, historical and new.
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!