Stockhausen_The Timeless Power of the Divine_Conversations

THETIMELESSPOWEROFTHEDIVINE (StockhauseninconversationMar (StockhauseninconversationMarch1999byKe ch1999byKenHollings.Thearticle nHollings.Thearticleoriginally originally appearedinTheWireMagazine appearedinTheWireMagazine,issue#184June ,issue#184June1999.formo 1999.formoreinformationonThe reinformationonThe Wire,goto:www.dfuse.com/the-wire Wire,goto:www.dfuse.com/the-wire.) .) 'IhavedeterminedthewholemechanismofHarmonyinitssmallestdetails,fromthemethods ofitscentraladministrationdowntothemostminuteaspectsofitsdomesticrelations,which isdiametricallyopposedtoourown'-CharlesFourier,1803.

OutHere

CologneCathedralstandsatthecentreofitsowncollapsinguniverse.Liketheburnt-outcore ofsomeancientstar,itseemstogenerateapowerfulelectromagneticfield,pullingeverybody andeverythingintowardsit.Whatwasoncethecross-roadstotheNorthernChristianworld onthebanksoftheRheincontinuestodominatethecity.There'snoescape.Allthemain streetsseemtoconvergeonthepublicsquaredirectlybeneathitssmoke-blackenedtwin spires.Aclusterofsmallerchurchesandchapelsliedottedaroundtheimmediatevicinity, eachfollowingitsrespectivelonelyorbit.Furtheroutaretheglittering,moreethereal, structureswhichhouseWDRCologne,theWestGermanbroadcastingcomplexand,beyond that,thewidetrajectoryofmotorwaysandsideroadsthatwilltakeyoueast,towardssomeof themoredistantspiralarmsofthisparticulargalaxy. 'MyGod!'PhilipLeden,thephotographer,laughs,astheroadupaheadtwistsandturnsinto thedesolategreendistance.'We'vegonebeyondtheendoftheworld.' Itmustbemorethanthat.Thejourneyhasbecomeawindingtortuousroutethroughdense forests,mountainslopesandsparselyoccupiedvillages,pastlakesandsilentfarming communities.Outhere,thefieldsreek,andthesunsetturnsthelightpurpleandgold.People givedirectionsinanoticeableruralburr. 'Karlheinz,'Philiprepeatstohimselfwithaheavyemphasis.'That'sarealfarmer'sname.Old fashioned.' Well,whynot?KarlheinzStockhausen,oneofthemostoutstandingfiguresintwentiethcenturymusic,comesfromafamilyofpoorfarmers.BorninMödrath,nearCologne,in1928,

Stockhausenhaslivedforoverthirtyyearsinwoodedseclusion,justoutsidethelittlevillage ofKürten,whichisprovingextremelyhardtofind,evenwithadetailedmapdownloaded fromtheInternet.Hisfather,whostudiedtobecomeateacher,waskilledincombatduring theSecondWorldWar,whilehismother,institutionalisedfollowingaseverenervous breakdown,wasputtodeathbytheauthoritieswhenStockhausenwasjustthirteen.The settingsuntouchesthetree-linedhills,andthepassageoftimeistemporarilysuspended.This farout,thingsseemsochangelessandstill. Kürtenwon'tbetoohardtomiss,however.Thetownhallwillhaveamobilerecordingstudio pulledupoutsideofit.Infact,themassivepinktruckisvisiblelongbeforeyouevennotice themodestoutlinesofthemunicipalbuildingsstandingofftoonesideofthepublicspace whereitisparked.BelongingtoWDRpopstationEinsLive,thesemi-trailerwithitsLawo 48-trackdigitaldeskhasbeenapermanentfixturehereforthepastmonthwhileStockhausen mixesdownastudiorecordingoftheArdittiquartetperforminghisHELIKOPTER STREICHQUARTETT;originallypremieredovertherooftopsofAmsterdaminJune1995 withtheaidoffourAlouettehelicoptersfromtheRoyalDutchAirforce.Stockhausen, appointeddirectorofWDR'scelebratedStudioforElectronicMusicbackin1963,hasbeen workinginthismobileunitoutinthemiddleofnowherebecauseadigitalsuitewasn't availableforhiminCologneitself.Thiswasthesimplestsolution. Happythatthetaskisfinallycompleted,Stockhausensitssequesteredinthecontrolroom, listeningtoafinalplayback.Acoupleofkidsidlywheeltheirmountainbikesaroundthe neatlylaid-outparkingarea,whilealocalcitizenemptiesasackfullofglasscontainersintoa nearbybottlebank.Ifanyoneneedstousethebathroom,oneofthesoundengineershasakey totownhall'smainentrance.It'sthefirstoftwodoorsacrossthehall.High-endtechniquein theWestGermancountryside. Thetruckwillbegonetomorrow.Emblazonedacrossitssidesarethewords'funk','rock'and 'avant-garde'inlargepurpleandwhitelettering.Stockhausen,steppingoutintothelate afternoonair,commentscheerfullyonhowunusualitistofindsuchacandy-coloured monsterinaplacelikeKürten.'Havingthishere.It'ssuchanunusualsight.'He'skeentobe photographedstandinginfrontofthisfuturistic,popculturemirage.Asifamanindazzling whitejeans,embroideredcottonshirtandafluorescentorangecardiganisgoingtopass unnoticedinthemutedconfinesofthistinyroad-sideberg.

Accustomedtomanualworkataveryearlyage,Stockhausenhasthesturdybuildofafarm labourer,livelyblueeyesandfeaturesmorenaturallyinclinedtosmilingthanmany photographsofhimmightatfirstsuggest.It'salsoclearthathegenuinelyenjoystheattention ofothers.Heseemsenergisedbytheirpresence.Philipclicksaway.Heshouldalsotake picturesofthetwoengineers,ReinerKühlandJürgenKönigsfeld,plustheflautistandlongtermStockhausencollaboratorKathinkaPasveer.Then,there'sthemixingdeskitself.Philip's cameratakesitallin.Acardooropensafewyardsaway,andsoundofheavyraprhythms echoesbrieflyacrossthesquare.Unreal. TheElectronicChild

RadiohasalwayshadasignificantpresenceinStockhausen'slife.Backintheearly1930s,at agesix,hewouldoftenamazepeoplebysittingatthepianoandplayingbacktunesafter hearingthembroadcastonlyonce;withalltherightharmonies.It'sanaspectofhisearly developmenttowhichhestillrespondswithconsiderablewarmth.'Aha!'Stockhausen'svoice, asoftmelodiousbass,fillstheformal,neatly-arrangedspaceofhismusicroom,locatedinthe gatehouseatthefootofawinding,tree-linedpath.Anoldanatomist'scharthangsonone wall,showingthedetailedinnerworkingsofthehumanearinfleshy,sculptedsections.'My veryfirstmemorystemsfromthetimewhenIwasaboutthree-and-a-halfyearsold.Myfather wasaschoolteacherandhehadboughtasmallradio...Icanstillseethatboxinfrontofme ...andmymotherlikedsingingsoshelikedtolistentothissmallradio.'Thestressesand rhythmsofhisspeechareallcarefullymodulated. 'Itwasoneofthefirstradiosin1931or'32.Andshewouldthentalktothespeakerofthe radioandwhenshedidn'tgetananswershebecameveryfurious.Shecouldn'tunderstandthat thiswasaone-waybox,aone-waymessage,andthatshehadnochancetotalktothisvoice.I haveneverforgottenthat.Ithinkshewasright:thattheradio,fromthestartisaninvention whichisincomplete,andifsomeonetalkstome,Ishouldhaveachancetotalkback. Theremin,theRussianscientist,triedtohelpthisveryprimitivesituationandheinventeda devicewhichwasused,asamatteroffact,bypeople.IhaveexperiencedtheTheremindevice myselfinAmerica.Itwasasifhehadinventedaradiowhichyoucaninfluencewithyour handssoyoucouldshapethemusicwhichyouhear.' EventhoughtheshelvesarestackedwithexoticpercussioninstrumentswhichStockhausen

hascollectedfromallovertheworld,andamulti-channelmixingdeskstandsnearthecentre ofthefloor,it'shardnottonoticethattheroomisdominatedbythreeelectronickeyboards. 'WhenIwasabout6yearsold,'herecalls,'whenIhadmyfirstpianolessons,Ilistenedtothe radioinordertolearnnewtunes.WhenIwas8or9yearsold,myfathertookmesometimes toasmallrestaurantwherewelivedinAltenberg.Thepeoplewouldcomeanddrink something,eatsomething,atweekendsinparticular;cake,coffee,chocolate,whateveritwas. AndIwasaskedbymyfathertogotothepiano,andtheownerofthisrestaurantwasmy pianoteacherandalsotheorganistinthevillage,MrKloth,andasIwasabletoplayfolk songsandwhatwecalltheSchlagerinGerman,thehitswhichwereinfashion.Thepeople wouldregularlysingalongwithwhatIwasplaying.ThenIgotsomemoneyandIgotcake andchocolateandsoIunderstoodthatwhenIwouldbeabletoplayalotofsongs,thenI wouldbesuccessful.'Stockhausen'seyesgleam,asifhehasjustletslipthesecretofhis success.'Thisismymorecreativerelationshipwiththeradio.' AndtheTheremininAmerica? 'Thatwasin1958.ItwasintheprivatehomeofKarlHauser,themanwhohadarrangedan Americantourforme.Later,intheearly70s,ImetanAustraliandancer,andshecamehere. Nearbyisabarnwherewegaveconcertsregularly,andshebroughtaTheremindevicefrom UtrechtinHolland,whichmeantyouhadanelectro-magneticfieldaroundaplateofmetal, andwhereveryoumovedyoucouldinfluencesound,iftheplateiswiredwithasynthesizer. Andinthesynthesizeryoucanpre-planthedifferentparameters,whichmeantyoucan influencethedynamiclevelsofwhatitproducesbutalso,withcertainmovements,you changethepitchandeventimbreifyougettheelectro-magneticfieldtoactinathreedimensionalway.Itwasquiteinterestingtoseehowadancercanshapesoundsandproducea simplesortofmusic,butthereispotentialinthisinvention.' StockhausenhascriticisedPopularMusicforbecomingincreasinglyreliantupontechnical deviceswhileatthesametimechastisingcomposersandinterpretersofwhathecalls'Art Music'fortheirreactionaryattitudestowardsthemusicalexplorationofmoderntechnology. Istherestillhopefortheelectronicchildofthetwentiethcentury? 'Ihavebeenworkinginthestudiofortheproductionofsoundsandforthecombinationof

soundswiththehelpoftechnicalmeanssince1952.Thatmakesnow47years.Inthe beginning,thisworkwasextremelyhardbecauseIhadtodecidethedurationofeverysound bymeasuringthemwitharulerandcuttingthetapewithscissorsandthenglueingpiecesof tapetogether.Veryslowly,duringthese47years,thismethodhasbecomemoreflexible. TodayIworked8hoursinthestudiowithProToolsandIcaninfluencethedynamiccurves of8channelssimultaneouslyorverysmoothlywithoutphysicallycuttingsomethingor physicallyputtingittogether.Alltheindividualchannelscanbeshapeddynamicallywith devicesthatareinvisible,purelyelectrical.Thatmeansthatmymusicalitycanbeusedmore directlyinformingthemusicandthesameapplies,ifIwantalso,tootherparameters.So thereishopethatthecontactbetweenthemusicalpersonandthesoundwhichthepersonis shapingcanbecomemoredirectandthisisasmatteroffactaresultofalongevolutionandit willimprove.' Willsuchelectronicinstrumentsexistinpeople'shomesinthesamewaythepianooncedid? 'Oh,Yes!'Stockhausenanswersquickly.'Theydoalready!Hereyouare,inaprivateroom. Thereareseveralsynthesizers.Thereisamixingconsole,asimpleone,butnevertheless,this isasmallstudio,andIcanmakeawholecompositionofelectronicmusicherewitha collaboratorwhoknowshowtoprogrammethesynthesisers.ThisyearIwillworkherethe wholemonthofAugustforelectronicmusicwhichwillbeplayedtogetherwiththeorchestra andthetwosoloistsformynewwork,LICHTER-WASSER.' DeepSpace

'Inthefinaldecadeofthe21stCentury,'avoiceconfidentlyannouncesatthestartofthe1956 sciencefictionclassicForbiddenPlanetasashimmeringgalaxyofstarsfillsthescreen,'men andwomeninrocketshipslandedontheMoon.By2200AD,theyhadreachedtheother planetsintheSolarSystem.Almostatonce,therefollowedthediscoveryofHyper-Drive throughwhichthespeedoflightwasfirstattainedandthengreatlysurpassed.'Adisc-shaped spacecruiserslidessmoothlyinandoutofframetoanaccompanimentof'electronic tonalities'createdbyLouisandBebeBarronutilizingcyberneticsystemsfirstformulatedby NorbertWeinerintheearly1950s.Itepitomisedanepochinwhicheveryhomewastobe transformedintoamazeofelectricalcircuitry,andtelevisionshowssuchas'OutOfThis World'mixedlecturesonsciencewithdramatisedaccountsofvacationsontheMoon.Asa

socialexperimentinwhichvisionsofthefuturewererefractedthroughtheprevailingnotions ofwhatcouldbeexpectedfromdailylife,thosedaysnowseemlonggone.Listeningto Stockhausendescribinghislatestcomposition,however,it'sclearthatinthiscornerofthe universetheymayneverhaveended. 'AtthemomentIamcomposingaworkwhichiscalledLICHTER-WASSER.'Stockhausen speakswiththecalm,deliberatelucidityofsomeonestillpreparedtobesurprisedandexcited bythings.'Iamstudyingverycarefullynowallthemoonsofoursolarsystem,theirnames. AndIhaveasopranosinginginthisworkwhodescribeswhatsheofferstoMichael,whoisa tenorinthisnewpiece.Theyareinthesamehallwherethemusicianswillbe.Sheoffersto preparethesemoons,andalsotheotherplanetswhichseemtobeatthemoment uninhabitable,forhumanbeingswhowilltravelthereinthefutureandwhowillcertainly somedaytrytotransformthesesatellitesoftheotherplanetsandofourSunintobeautiful places.' The1950ssawanexpansionofinterestincosmicmatters.TheEarthnolongerexistedasan isolatedentity,buthadbecomeapartofsomethingfarlarger.InChicago,atthestartofthe decade,theUrantiaFoundationwascreatedtodistributeTheUrantiaBook,which reconfiguredtheBibleinvastcosmologicalterms.'Themyriad'sofplanetarysystems,'one chapterstates,'wereallmadetobeeventuallyinhabitedbymanydifferenttypesofintelligent beings,whocouldknowGod,receivethedivineaffectionandlovehiminreturn.'Ourown world,knownsimplyasUrantia,ispartofalocaluniversewhosesovereignisMichael,'the sonofGodandthesonofMan,knownonthisworldasJesusofNazareth.'OtherCentraland Superuniversesalsoexist. Deepspacebecametheacknowledgedhometoahigherspiritualorder.IntheCalifornian desert,GeorgeAdamskimadecontactwithavisitingVenusianwhospokeof'theGreat Creator';andtheUnariusFoundationwassetupbyRuthNorman,alsoknownasthe ArchangelUriel,topreparehumanityforthecomingofthe'GalacticFederation'.George KingfoundedtheAetheriusSocietyafterbeinginformedbyadisembodiedvoicethathe wouldhenceforthbespeakingfor'theInterplanetaryParliament.'TheSpaceBrothershad arrived.'Theseindividuals,'WilliamBurroughslatercommented,'maybetuningin,with faultyradios,toauniversalmessage:wemustbereadyatanytimetomaketheleapinto Space.'

WasStockhausen,whosemassiveweek-longoperacycle,LICHT,developsspiritualideas fromTheUrantiaBook,awareofsuchthingsinthe1950s? 'Yes,Idid,naturallyinadifferentformbecause,youknow,Germanrocketspecialistslike VonBraun,whohademigratedtoAmerica,plannedtogototheMoon,anditwasclearfor mewhenIwasstudyingthatthiswasnowpartofthecomingdevelopmentnotonlyof astronomybutalsoofspacetravel.ThepublicationatthattimeofbooksbyHeisenbergand EinsteinallhadtodowithacompletenewconsciousnessabouttheCosmos.Yes,thatwas verymuchintheairwhenIwasfinishingmystudies.MyfirstpianopiecesImyselfhave calledStarMusic.OnepiecebyMessiaenforpianoIhavealsocalledStarMusic.Anditis truethatinmanyletterswhichIexchangedatthattime1952whenIwaslivinginPariswitha friendofmine,IhavewrittenthatIwouldliketomakemusicwhichisconcentratingonthe stars,andthewaythestarsarecomposedisamodelformymusic.' HarmondieunderPluramon

ThegatehousecontainingStockhausen'smusicroomisamodularAladdin'sCaveofmusical materialstoredbehindlargewindows,openhatchwaysandmirror-backeddoors.Costumes fromLICHTarearrangedonheadlessmannequinsalongtheupstairslanding.Ontheground floor,printedcopiesofhisscoresarestackedinbrownpaperpackagesoncarefully-ordered steelshelvingunits.Theeffect,glimpsedfromadownstairswindow,isreminiscentofan elementaryschoolstockroom.Itisfromhere,however,thatStockhausenVerlagdistributes notonlythelargemajorityofhisscores,butover80hoursofStockhausen'smusiconCD. OftenaccompaniedbyabookletcontainingStockhausen'sdetailedprogrammenotesand performancespecificationsaswellasaselectionofrelevantdiagramsandphotographs,each releasefeaturesacoverillustrationbyStockhausenhimself.Itisauniqueachievementin modernmusicforacomposertoexercisesomuchcontroloverthepresentationofhis recordedwork,fromtheoveralldesignoftheseriesrightdowntotheserialnumbers. Stockhausendoesnotneedtoberemindedofearlyworks.Heremindsyou.Compositions fromover40yearsagoarebroughtupanddiscussedaspartofanestablishedcannon.Allof hismusicremainscurrent,oftenexistinginmultipleforms.KONTAKTE,adazzling electronicexplorationoftempirealisedonmagnetictapeatWDRColognebetween1959and 1960,laterincorporatedpianoandpercussionforliveperformancesandwasthentransformed

furtherstillintoORIGINALE,apieceof'musicaltheatre'involvingactors,techniciansanda streetmusician.StockhausenhassaidofHYMNENthatitis'composedinsuchawaythat differentscenariosorlibrettiforfilms,opera,balletscouldbewrittentothemusic.'Isthere everafixedpointforsuchawork,ordoesitsimplybecomehistoricallycomplete? 'Thatisdifferentforseveralworks,'Stockhausenbeginscarefully.'KONTAKTEisopen.The endwhichexistsnowcouldhavebeendifferent,andtheplanoftheworkislonger.GESANG DERJÜNGLINGEisthesame.ButPUNKTE,forexample,whichIwrotein1952is complete.GRUPPENiscomplete.MaybeIcouldhavemadeafewmoreinsertsin GRUPPENbecausethesearenotdeterminedbythefirstformplan,butthatwasdeterminedI thinkbythetimingofthefirstperformanceasGESANGDERJÜNGLINGE.HYMNENis certainlyopenbecauseIhavealreadyrealisedseverallongerpartsofHYMNENwhicharein thestudio,butfinallyIdecidedtostopattwoandahalfhours.Also,becausetheperformance wasplannedalongtimebefore,Iwantedtoreachthatagreement.TheworkswhichIhave composedinLichtcouldnaturallybelongerbutnotmuchlongerbecausethere'saformplan 22yearsoldwhichdeterminesallthepartsofLICHTintosevendaysoftheweekandtheir sections.ButwhenIcomposenow,forexample,LICHTER-WASSERIhavealreadyfeltthe needtocompose6bridgesbetweenthepartsofLICHTER-WASSERwhichformpartofthe superformulawhichIuse.SoIalwaysfindabackdoortogointotheforest,andthisismy personalfreedominrelationshipwithmyself.SoImakeformyselfsomesortofan architecture,abuilding,butthenwithalotofdoorsandwindows.' Soyoucangetoutside? 'Exactly.' Pastworksdonotexistinhistoricaltime,butbecomeexpressionsofthetechnologywhich producedthem.TheshortwavevoicesandsignalsatthebeginningofHYMNEN,originally recordedbetween1966and1967,soundtodaylikefragmentsleftoverfromanepochthatno longerexists.There'sastrangesadnessaboutthem,asifsomevastapocalypsehasoccurred. Stockhausendisagrees. 'Ihearitdifferently.Ihearitasifalotoftransmissionsweresuperimposedandthatcauses anothersortofchaoswhichisnotanendingbutisthesituationonourplanetbecauseyou

havetolistentosomanytransmissionsatthesametime.That'showIdidHYMNEN.But thereissecretlyalwaysthatstrangehymnunderneathwhenthisishappening:'The Internationale',thecommunistanthem,duringallthismishmashandallthischaosofdifferent shortwaveprogrammes.Anditleadsveryslowlyinto'TheMarseillaise'adirectionsecretly audibleinspiteoftheapparentchaoticsituation.' HYMNEN'sreworkingoftheworld'santhems,includingthoseforFrance,Germany,America andSpain,aswellasseveralAfricanones,isanextensionoftheintricatelymodulatedworld musicofTELEMUSIK,realisedbyStockhausenintheelectronicmusicstudioofNHK Tokyoin1966.ThisuniversalityisgivenmoreconcreteforminHYMNEN'sfourth'region'in whichthelastchordoftheSwissanthemisextendedandtransformedintoahymnto Pluramon.DescribedbyStockhausenas'asymbioticbeingcombiningaspectsofapluralist andamonist',PluramonistherulerofHarmondie,autopiancombinationofharmonyand 'mundus'.Morerecently,1995'sWELT-PARLAMENTforacappellachoir,thefirstsceneof Stockhausen'sMITTWOCHausLICHT,isdedicated'tothefirstworldparliament.' Suchconcernsprimarilyreflectnotionsofspiritual,ratherthansocial,evolution.Thetextsfor AUSDENSIEBENTAGEN,aseriesofextendedexplorationsofintuitivemusicfor instrumentalensemble,werewrittenoveraseven-dayperiodofintenseseclusioninMay, 1968.WasStockhausenawareofeventsinParisatthattime? 'Youmeantheprotestsandallthat?Ihaven'tseenthat.' Lookingback,it'shardnottobeintriguedbyaperiodwhenmassiveupheavalsareunderway inParis,whichincludedartistsaswellasstudentstakingovertheconcerthalls,andthereis Stockhausen,withdrawing... 'Notwithdrawing!'Hiscorrectionisfirmbutgood-natured.'Iwasworking!Butallmywork iswithdrawal,ifyoulike.MywholelifeisworkandIamachildofthewarandIhave learnednottopaytoomuchattentionwhenotherpeoplelosetheirtimeingoingonthestreets andprotestingandthrowingstonesandthatallthat.Yousee,Iwanttocontinueworkingand nottobeinvolvedtoomuchinthesepublicaffairs.' Stockhausenpausesforamoment.

'Thoughithasveryfunnyaspects,'hecontinues.'WhenIwasinParis,oneofmyFrench friends,MauriceFleuret,whoisdeadnow,butwhowasMinisterofCultureandthenlater becametheDirectorofFranceMusique,helikedveryniceshoesandclothesetc.,andhewas sortofawfullyexcitedbytheseuproarsofstudents.Hehadafriendwhowasanaristocratand hewouldgooutonthestreetsinhisniceclothesandthencomebackwhenIwasthereand wasvery,veryexcitedandoutofbreath.Hesaid:"No,no,noHenriLouis,youwon'tbelieve itbutIjustthrewastone!Ithrewastone!"Andhereplied:'Oh,youarebrave,Maurice.That isfantastic.'SoIthinktherewasalotofthishumourinthewholesituation.NaturallyDe Gaulleseemedtobeatank,whohadtobeattacked,buttherewasnopossibilitytoattackthis tankbecausehewasageneralandFrancebelievedthatDeGaullewasalmostaTsarist himselfsoIthinkitdidn'treallychangethesituation. HencethetranslationinHYMNENfrom'TheInternationale'to'TheMarseillaise'? 'Yes,exactly,becausethatwassuccessful,andthen'TheMarseillaise'wastransformed,as youknow,intowildgeeseandfinallytoboysshoutingintheschoolyard.Then,beforethe Germananthemcomes,itbecomesvery,veryslowandblack.Imean,Brucknershouldpack histhingsandgohome.HehasnoideahowslowanddarkandblackIcouldgo.Nottotalkof Mahler...' AUSDENSIEBENTAGENreachesitsowndarkintensities.Preparationfortheseworks committhethemusicianstotherigorouscontemplationofextremelyabstractconcepts.'Play avibrationintherhythmofdreaming,'readsoneoftheinstructionstoNACHTMUSIK, suggestingthestartingpointtoaFluxusartriotratherthanamusicalmeditation.Extreme physicaldisciplinesarealsoinvolved,includingprolongedfasting,periodsofisolation, withoutsleep,andenergeticphysicalactivities.Stockhausenandtheotherperformersoften appearsullenandself-absorbedinphotographstakenatthetimeofthefirstperformances.An almostpalpabletensionhangsintheair.DuringtheopeningmomentsofABWÄRTS, StockhausensoundsasifheisscourginghimselfwhileinvokingGod'sname,tryingtowill himselfintoahigherstatewhereothersmaynotwishtofollow. 'ButIamnotreflectingaboutpeople,'Stockhausenstatescalmly.'Icanreachecstatic momentswhenIamnolongerawareofmyself,thiscanhappensometimes.'

InKOMMUNION,thisprocessultimatelyledtowhatStockhausenhasdescribedas'asense ofdeathlyannihilation,whichisthemostecstaticIhaveeverheard';astatementwhich appearstogobeyondanytraditionalscaleofvalues. 'Yes,that'struebecauseallarepossibilitiestogetoutoftheprisonofthebody,ofthesenses, ofthemind.Alltheseareprisons.Andtoexpressourcosmicnaturewhichisunlimitedand onlyforthelifeasahumanbeing,imprisoned.Butthedeepestdesireistogetoutofthis prison.Allmodelsandallsystemsandalllimitsdefinedbyhumanbeingsarepracticalto makethismachineworkonthisplanetandtomakesocietywork.Buttheyareonlyvalidfora certaintime.Theyarenotabsolute.' AUSDENSIEBENTAGENconcludeswithonefinaltext:'WhenIbegantofastandto withdrawintomyself,Ihadareason.NowInolongerhavethisonereason,butratherALL thereasons.May111968.' StarSystems

Forsixmonthsin1970,fromMarch14toSeptember15,seatedwithinaspeciallydesigned sphericalauditoriumintheGermanPavillionattheOsakaWorldExposition,upto5500 listenersperdayheardperformancesofStockhausen'swork.Playedbackover50 loudspeakerssurroundingtheaudience,soundsmovedthroughspace,underStockhausen's control,indiagonalsandspirals,circlesandlines.BythetimeExpo'70foldeditstentsthat autumn,approximately1,000,000peoplehadlistenedtohismusicinthismanner. Photographstakeninsidetheglitteringdomeshowageometricgridofstarsreminiscentofset designsdrawnupbyutopianthinkerCharlesFourier,inthewakeoftheFrenchRevolution, forMozart'sMagicFlute.Thesamesenseofcelestialharmonyprevails. 'TheGermanarchitectwhobuiltthesphere,accordingtomyproposals,hadusedthe techniqueofBuckminsterFuller'sgeodesicdomewithallthesewonderfulconnections.Asa matteroffactthewholeskinofthisdomewasthisplasticmaterialandacousticallyitwas verysuccessful.Wehadaverygoodacousticsound.Andthestars-yousee,thesemany, manysmallbulbscouldbedimmedatdifferentdegrees,particularlywhenpeoplecameinand satandyoucouldshutdownallthelightsandgetdark,onlyverysmalllightsremaining.And thisbelongstomymusic.Iprefereventoplay,ifpossible,outdoorswiththestarslikeIdoin

STERNKLANGwhenyoulookatthestars.STERNKLANGshouldbeperformedinthe summeronafull-moonnight,aswealwaysdidasamatteroffact.Andthenthesebulbsstart toglow.' Wasthereamomentwhenhewishedhecouldtakethewholeauditoriumbackhomewith him? 'Yes,IhavesuggestedthisevenduringthetimewhenIwastheretoseveralrepresentativesof theGermanculturewhocametoOsaka.'Thedipinhisvoiceindicateshowhighly Stockhausenthinksofsuchindividuals.'IsaidoneofthebiggercitiesinGermanyshoulduse thissphere.Thetransportofthespherewitheverythinginsidewouldevennothavecost anything.SeveralcitieslikeCologne,orEssen,Hamburg,Munichwerecontacted,butnone ofthemwantedthissphere.Theystartedimmediatelycalculatingtheyearlycostsforthe personnelbecauseitistruethatthesphereinOsakadidn'thaveanyheatinginthewintertime soitwassometimes,youknow,verycold.Nobodyobjectedtothis.Butasapermanent auditorium,itwouldhaveneededimprovementthatwouldhavecostedanotherfewmillion. Andstrangelyenoughtherepresentatives,theresponsiblepeople,whowereaskeddidn'twant itsoitwasdestroyed.' WhiletheystartconstructingthenextWorldExpo. 'Yes,ofcourse,itisalwaysthecase.Ireadyesterdaythatsomeasteroidsalmostcrashedinto thisplanetafewyearsago.Therewasadangerthatthiscouldhappen,andthewholeplanet wouldbesmashedtopieces.Sowewouldhavetostartsomewhereelse.' ExceptthatthehistoricaltrajectorytowardsspaceinitiatedbyVonBraunseemsunattainable now. 'No,it'sabsolutelyclear.'Stockhausenretortswithanenthusiasmthatseemstowellupfrom deepwithin.'Idon'tknowifyouknowthenewbooksfromtheHubbletelescope,publications fromNASA,butit'sabsolutelyclearthattheywillbeonMarsin2012andthatitwillcost 800billiondollars.Iknowtheyaregoingtogoveryquicknowintothesolarsystem.Itwill take,Iwouldsay,notmorethan100yearsuntiltheyhavegoneeventoPluto.Yousee, mankindwillnotstopnowdiscoveringthesolarsystemandallthemoonsbecause

Stockhausenhascomposedaworkin1999whichsaysthatitshouldgoontoallthemoons. AsIsaid,thelastfewdaysIhavediscoveredmyselfalltherotation,velocitiesanddiameters ofthe60moonsofJupiter,andtomorrowIwillcontinuetostudymorecarefullyallthe moonsofSaturn,whichisevenmoreworktodo.ButIamveryinterestedinalltherotations andrhythmsoftheseglobesbecausethesearemodelsforcompositions.Ifyoucomparethe speedsandthesizesandtherotationsaroundtheSunandtherotationaroundthemselvesand youtrytomakesensewhyfourofthem,ofthemoonsofJupiterturnbackwards,theystartin thewestandriseandthentheydescendintheeast,whereasalltheothersdotheopposite.So thisisafantasticschoolofteachingthatyoucanuseasacomposer,tothinkhowaremy rhythms?Myspeeds?Mytempi?AndIamdoingnowapieceforalargehallwhichis40by 40metres.Theworldpremierwilltakeplaceinsuchahall,asportgymnasium,inOctoberof thisyear.Themusiciansstandplacedinasquareanddiagonallinesandacross,29musicians indifferentplaces.Thesoundsaremovingfromonemusiciantothenextwithdifferent speeds.Iamalwaysnowmakingdesignshowtomakethesemovementsofsoundsinthat givenspace,andthescoredescribesexactlyhowthisstringofpitches,ofmelodyoftimbres, etc,isdevelopingintwolanessimultaneouslyintheworkandthespeedschangealways.But that'swhyIamsointerestednowincomparingwhatIamdoingwiththespeedsof-howdo yousay?-space...'Stockhausenpausesforasecond,tryingtocapturetheword. Satellites? 'Yes,exactly.' SetSailfortheSun

It'sgrowingdarkoutside.Farawayfromthelight-pollutedskiesoverCologne,Stockhausen lovestowatchthestarsatnight.Therevolvingstellarmapsoftheplanetariumhaveprovedin thepasttobeenanidealvenueforhisworks. 'TheworldpremiereofSIRIUStookplaceintheEinsteinSpaceariuminWashington,'he explains,'whichisaverymodernplanetariumwiththemostmodern-sizedprojector.Ialso presentedSIRIUSinBerlin,awholeseriesofperformances,andnotsolongagoIperformed theelectronicmusicfromFREITAGausLICHT,whichiscalledOUTERSPACE,atthe Amsterdamplanetarium.AndlastyearIworkedawholeweekinthePlanetariuminParisand

performedmyelectronicmusicthere.WhatwasinterestinginPariswasthatIcoulddecide thespeedofthefirmamentrotatingsoforTELEMUSIKthedurationofonerotationofthe firmamentwas18minutes,butforHYMNEN113!minutes.Theycouldplanthiswiththe computer,andIlikedthatverymuch.' Doaudiencesstillsurprisehimwiththeirreactionstohismusic? 'Everytime.Ithinkmankindisnotastaticcombinationofspirits.Alwaysnewspiritsenter, othersleave,soitisunpredictable,andthefreshnessofunusualworksremainstheconstant, permanentfactor,notonlywhenyougotocountrieswhereyouhaveneverbeenbefore. YesterdayIhadaninvitationtoTurkeyforthefirsttimetogiveconcertsinTurkey.Ican'tgo thereinSeptemberbutIwillgolater.IhaveperformedinRussiaforthefirsttimefollowing thechangeofpoliticalsystemin1990,wewentthereforfivefantasticconcerts,oneofthe bestaudiencesofmylife,becauseitwasallfreshandnewtothem.ButitisalsotruewhenI giveaconcertinCologne,weperformedOrchestraFinalistslastyearformy70thbirthday, andformostofthepeopleitwascompletelynew.Theyhadneverheardorseenitbeforeand thereactionwasaccordinglyveryalive,mixed...bothforitandagainstit.Sothereare alwayspeoplewhoareunpreparedandotherswhoareknowledgeable,specialistsandfans.' Arethereanyspecificproblemstopresentingelectronically-generatedmusicinalivesetting? 'Therearetwoaspects.Oneaspectisthatallliveperformances,soloists,aretransmittedinto hallsbytransmitters.Itneedsasoundprojectionistwhositsinthemiddleofthehallata mixingconsoleandcontrolsandshapesthedynamicsofwhatthesoloistsareperforming whiletheyaremovingaroundonstage.Inmyworks,theyusuallyperformfrommemory. Theydon'tsitasintraditionalmusic,wheretheirgesturesandthemovementsareconducted. TheotheraspectisthatIusemusicwhichisprogrammedbeforetheperformance.Many electronicworksofmineexistonlyontape,mostofthemmulti-channel,andthismusicthen isprojectedintothehallfromtapemachines.Tobringthesetwothingstogetherisahistorical processwhichisimprovingmoreandmore.Ithinkinthefuturethatwhatispre-formed,what isprogrammed,doesnotnecessarilyneedtobeonlyontapeoronaharddiscorsomething likethat.Itcanalsobeshaped,influencedbyspecialperformerswhoareplayingthesenew electronickeyboardinstruments,keyboardsthatarenothingbutdeviceswhichtriggersounds andsequences.Thismakesforaveryflexibleperformancecombiningthemusicofvoicesand

certaininstrumentswhichwillcertainlyexistinthefuture.' Andwillthatmeanpenandpapernolongerplayapartinthecomposingprocess? 'Well,Iwouldn'trecommendthat,'herepliesgravely,'becausewhenworking,it'snot importantifit'spaperorascreenwhereyouhavealightpenorsomethinglikethat.Whatis importantisspendingtime,unlimitedtime,oncomposing.Evenifyoudon'tusepaper,oryou useamonitorwhichisfedbyacomputerorwhatever,itisnecessarythatthespiritofthe composercanconcentrateonwhatheseessothathiseyescanhelporganisesymbolswhich areusedforotherhumanbeingstoproducethesound.Evenifheishisowninterpreter,likeI aminmanycases,Ineedthatprocess.WhatIwrotelastnightIhavechangedthismorning becauseduringthenightIhavewokenupandchangedsomething.Sothiscompressionof unlimitedtimeintothetimeofaperformancegivesaqualitywhichIthinkwewillnever achievebecausewhenwelookattheuniverse,wecanseethatittakesalotoftimetodevelop asolarsystemorplanet.Itisessentialthatthecreativeprocessusesthismethod.Idon'tknow exactlywhatthepaperofGodisandwhatHisplanis,butIamsureHeneedsalsotimetogo atwhatmustbeanindescribablyfastertimethanmyown,whichisdeterminedbymybody andmybrain.Nevertheless,IthinkHemakesHisplansandHisgoals.' AsWilliamBlakeoncewrote:'Theroaringoflions,thehowlingofwolves,theragingofthe stormysea,andthedestructivesword,areportionsofeternity,toogreatfortheeyeofman.' Stockhausennodshisheadthoughtfully. 'Toogreatfortheeyeofman,'herepeatsslowly.'Yes,butthatisverycreativeisn'tit? Becausethelimitationcausesprogressandinvention,andthatisthewholemeaningofthe universe.'

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