| Dienstag aus Licht | |
|---|---|
| Opera by Karlheinz Stockhausen | |
 Stockhausen, 7 March 2004 | |
| Librettist | Stockhausen |
| Language | German |
| Premiere | |
Dienstag aus Licht (Tuesday from Light) is an opera by Karlheinz Stockhausen in a greeting and two acts, with a farewell, and was the fourth of seven to be completed for the opera cycle Licht: Die sieben Tage der Woche (Light: The Seven Days of the Week). It was begun in 1977 and completed from 1988 to 1991, to a libretto by the composer.
Dienstag is an opera for 17 solo performers (three singers, 10 instrumentalists, 4 dancer-mimes), actors, mimes, choir, orchestra, and electronic music. Tuesday is the red day of conflict between Michael and Lucifer. [1]
As was the case for most of the operas in the Licht cycle, component sections of Dientag were commissioned and composed separately, and given seriatim premieres. The first component of this opera was in fact the first part of the entire Licht cycle to be composed: Jahreslauf (Course of the Years), which became the first act of Dienstag, was originally written in 1977 as an independent piece for gagaku ensemble. Stockhausen finished it in Kyoto in the fall of 1977, and it was premiered by the Imperial Gagaku Ensemble at the Tokyo National Theatre on 31 October. This version is dedicated to Jaynee Stephens. A concert version for European instruments, with the slightly different title Der Jahreslauf (The Course of the Years), was performed in the Large Broadcasting Hall of the WDR, Cologne, on 10 February 1979. The day before the premiere, a studio recording was made for commercial release, and the same musicians participated in five staged performances of this act produced by the Paris Opera at the Opéra-Comique from 20 to 24 November 1979. [2] It was while working on this piece in Japan that the idea occurred to him of composing a seven-part cycle of operas, all based on a single, multi-layered musical formula. [3] In the spring of 1991 Stockhausen added a narrative frame for Michael and Lucifer. [4]
The Dienstags-Gruß (Tuesday's Greeting) was commissioned by the University of Cologne for the celebration of the 600th anniversary of its founding in 1388. It was premiered under the title Willkommen mit Friedensgruß (Welcome with Peace Greeting) on 4 November 1988 in the Kölner Philharmonie, as part of the ceremony marking the anniversary. The performers were Annette Meriweather (soprano), the Collegium Musicum Vocale of the University of Cologne, and an ensemble of nine trumpets (rehearsed by Markus Stockhausen) and nine trombones (rehearsed by Michael Svoboda), with Michael Obst and Simon Stockhausen (synthesizers). Dieter Gutknecht, music director of the university, conducted. Willkommen opened the ceremony, followed by the rector's greeting, speeches by the mayor of Cologne, the governor of the state of North Rhine-Westphalia, and the president of Germany, and the conferring of honors by the rector. The Friedensgruß was then performed and, after a celebratory lecture, the final section was repeated as a "closing hymn". [5]
The second act, Invasion, was originally commissioned for the Ensemble InterContemporain by Michel Guy, director of the Festival d'Automne, on the occasion of the bicentenary of the French Revolution in 1989. However, the administration of the ensemble declined to perform it after being informed of the requirements. Consequently, the score was not worked out until 1990. [6] The solo synthesizer part together with the electronic music for the closing five scenes of this act ("Pietà", "Explosion", "Jenseits", "Synthi-Fou", and "Abschied") constitute Stockhausen's Klavierstück XV . [7] The score is dedicated to the composer's son, Simon Stockhausen, who gave the premiere performance at the Museum Ludwig in Cologne on 5 October 1992.
Dienstag as a whole was originally commissioned by the Teatro alla Scala, Milan, but on 7 May 1991 the new Sovrintendente of La Scala, Carlo Fontana, wrote Stockhausen to say cuts to government support of La Scala had forced cancellation of the premiere there in 1992 as planned, and subsequent correspondence led to the release of rights for the premiere. [8] Dienstag was given its staged premiere on 28 May 1993 by the Leipzig Opera. Subsequent performances were on 29 and 30 May. The stage realisation was by Uwe Wand, Henryk Tomaszewski, and Johannes Conen. Karlheinz Stockhausen was the music director and sound projectionist. The actor-mimes were members of the Tomaszewski Pantomime Theater, Wrocław.
| Role | Performer | Premiere cast |
|---|---|---|
| Eve | soprano | Annette Meriweather |
| Michael | tenor | Julian Pike |
| Lucifer | bass | Nicholas Isherwood |
| Michael | trumpets and flugelhorn | Markus Stockhausen, Andreas Adam, Achim Gorsch |
| Lucifer | trombones | Michael Svoboda, Timo Bäuerle, Iven Hausmann |
| Synthi-Fou | synthesizers | Simon Stockhausen |
| synthesizer | Massimiliano Viel | |
| percussion | Andreas Boettger, Renee Jonker | |
| Millenium Runner | dancer | Tadeusz Dylawerski |
| Century Runner | dancer | Jerzy Reterski |
| Decade Runner | dancer | Marek Oleksy |
| Year runner | dancer | Artur Borkowski |
| Little Girl | actor | Katja Mittag / Manuela Fritz |
| Three Applauders | actors | Zbigniew Szymczyk, Krzysztof Antkowiak, Maciej Prusak |
| Cook | actor | Aleksander Sobiszewski |
| Three Waiters | actors | Zdzisław Zaleziński, Krzysztof Antkowiak, Artur Grochowiecki |
| Lion | actor | Maciej Prusak |
| Car Driver (Ape) | actor | Aleksander Sobiszewski |
| Beautiful Woman | actor | Anja Hanisch |
| Four Thunderstorm Acrobats | actors | Krzysztof Antkowiak, Artur Grochowiecki, Maciej Prusak, Aleksander Sobiszewski |
| Michael and Lucifer Choirs / Those from the Beyond | choir | Chor der Musikalischen Komödie, Extrachor der Musikalischen Komödie, Leipziger Vocal-Ensemble |
A "Welcome" fanfare from a choir of trumpets and trombones with synthesizers is followed by a "Peace Greeting", in which a Michael choir of sopranos and tenors opposes a Lucifer choir of altos and basses from opposite sides of the hall in a musical dispute. A soprano (Eve) intervenes four times in an attempt to mediate—first appearing at the right side of the audience, then at the back, and a third time at the left, before finally walking out on to the stage in front where she remains, singing to both groups until the end, when both parties agree, "We want peace, freedom", but with a remaining difference, "in/without God!". [9]
The first act, The Course of the Years, is performed as a ballet, accompanied by a tenor, bass, actor-singers, modern orchestra, tape and sound projectionist. Lucifer challenges Michael to a contest, a race of the years. He, Lucifer, will attempt to stop the flow of time, and Michael shall try to set it going again. Four dancers personify the years, the decades, the centuries, and the millennia, while four groups of musicians play music in four corresponding temporal layers. Lucifer stops the race four times with temptations, and each time Michael finds incitements to get it going again. [10]
With irony, Lucifer congratulates Michael on winning the contest, but darkly warns: "MIKA, brace yourself for a much tougher fight!". [11]
Eight-channel electronic music (called Oktophonie when performed separately) is projected from the corners of a cube surrounding the audience throughout Act 2. The act is divided into three large sections, together containing eleven scenes, though they run continuously without a break. [12]
The stage is filled with a rocky precipice, covered with vines, moss, shrubs, and bushes. At the front there is a raised, rocky ledge, which slopes down to the ground at the left and right. Night is falling, and the sky is overcast. [13]
Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, having been called the "father of electronic music", for introducing controlled chance into serial composition, and for musical spatialization.
Gesang der Jünglinge is an electronic music work by Karlheinz Stockhausen. It was realized in 1955–56 at the Westdeutscher Rundfunk studio in Cologne and is Work Number 8 in the composer's catalog. The vocal parts were supplied by 12-year-old Josef Protschka. It is exactly 13 minutes, 14 seconds long.
Licht (Light), subtitled "Die sieben Tage der Woche", is a cycle of seven operas composed by Karlheinz Stockhausen between 1977 and 2003. The composer described the work as an "eternal spiral" because "there is neither end nor beginning to the week." Licht consists of 29 hours of music.
The Helikopter-Streichquartett is one of Karlheinz Stockhausen's best-known pieces, and one of the most complex to perform. It involves a string quartet, four helicopters with pilots, as well as audio and video equipment and technicians. It was first performed and recorded in 1995. Although performable as a self-sufficient piece, it also forms the third scene of the opera Mittwoch aus Licht.
Formula composition is a serially derived technique encountered principally in the music of Karlheinz Stockhausen, involving the projection, expansion, and Ausmultiplikation of either a single melody-formula, or a two- or three-voice contrapuntal construction.
Gruppen for three orchestras (1955–57) is amongst the best-known compositions of German composer Karlheinz Stockhausen, and is Work Number 6 in the composer's catalog of works. Gruppen is "a landmark in 20th-century music ... probably the first work of the post-war generation of composers in which technique and imagination combine on the highest level to produce an undisputable masterpiece".
Kontakte ("Contacts") is an electronic music work by Karlheinz Stockhausen, realized in 1958–60 at the Westdeutscher Rundfunk (WDR) electronic-music studio in Cologne with the assistance of Gottfried Michael Koenig. The score is Nr. 12 in the composer's catalogue of works, and is dedicated to Otto Tomek.
The Klavierstücke constitute a series of nineteen compositions by German composer Karlheinz Stockhausen.
Telemusik is an electronic composition by Karlheinz Stockhausen, and is number 20 in his catalog of works.
Montag aus Licht is an opera by Karlheinz Stockhausen in a greeting, three acts, and a farewell, and was the third of seven to be composed for the opera cycle Licht: die sieben Tage der Woche. The libretto was written by the composer.
Kathinka Pasveer is a Dutch flautist.
Sonntag aus Licht is an opera by Karlheinz Stockhausen in five scenes and a farewell, to a libretto written and compiled by the composer. It is the last-composed of seven operas that comprise the cycle Licht (Light). Its stage premiere in 2011 was posthumous, more than three years after the composer's death.
Samstag aus Licht is an opera by Karlheinz Stockhausen in a greeting and four scenes, and was the second of seven to be composed for the opera cycle Licht: die sieben Tage der Woche. It was written between 1981 and 1983, to a libretto written by the composer and incorporating a text by Saint Francis of Assisi, and was first staged in Milan in 1984.
Donnerstag aus Licht is an opera by Karlheinz Stockhausen in a greeting, three acts, and a farewell, and was the first of seven to be composed for the opera cycle Licht: die sieben Tage der Woche. It was written between 1977 and 1980, with a libretto by the composer.
Mittwoch aus Licht is an opera by Karlheinz Stockhausen in a greeting, four scenes, and a farewell. It was the sixth of seven to be composed for the opera cycle Licht: die sieben Tage der Woche, and the last to be staged. It was written between 1995 and 1997, and first staged in 2012.
Oktophonie (Octophony) is a 1991 octophonic electronic-music composition by Karlheinz Stockhausen. A component layer of act 2 of the opera Dienstag aus Licht, it may also be performed as an independent composition. It has a duration of 69 minutes.
Unsichtbare Chöre is an eight-channel electronic-music composition by Karlheinz Stockhausen. A component part of the opera Donnerstag aus Licht, it may also be performed as an independent composition, in which form it is designated "ex 49" in the composer's catalog of works.
Für kommende Zeiten is a collection of seventeen text compositions by Karlheinz Stockhausen, composed between August 1968 and July 1970. It is a successor to the similar collection titled Aus den sieben Tagen, written in 1968. These compositions are characterized as "Intuitive music"—music produced primarily from the intuition rather than the intellect of the performer(s). It is work number 33 in Stockhausen's catalog of works, and the collection is dedicated to the composer's son Markus.
Christoph von Blumröder is a German musicologist.
Doris Gertrud Johanna Stockhausen was the early muse and first wife of Karlheinz Stockhausen, who dedicated several compositions to her, beginning in 1950 with Chöre für Doris before they were married. After they separated she taught piano.
