The world première of LICHT-BILDER on October 16th 2004 at the Donauhalle B
was produced by the Zentrum für Kunst und Medientechnologie (ZKM) Karlsruhe
in Donaueschingen during the Donaueschinger Music Festival.
Suzanne Stephens, Basset-horn
Kathinka Pasveer, Flute
Hubert Mayer, Tenor
Marco Blaauw, Trumpet
Antonio Pérez Abellàn, Synthesizer
Karlheinz Stockhausen, Sound projection
Johannes Conen, Stage, video and costume design
basset-horn, flute with ring modulation,
tenor, trumpet with ring modulation,
synthesizer, sound projectionist,
light-pictures (ad lib.)
combine scenic movements of the four interpreters in four time-layers of light-pictures. In a quasi concert
performance, the light-pictures may perhaps be omitted. The interpreters play or sing from memory.
In this work, I have for the first time composed musical figures which, through processes of increasing time
intervals, are delayed with themselves and then approach each other again until they are simultaneous: basset
horn with flute and tenor with trumpet. Both couples meet from time to time at a temporal point zero.
The synthesizer player sets all of the sine tones for the ring modulation.
This happens many times in the course of seven large phases in two times two layers.
The phases are related to the seven days of the week, from MONDAY through SUNDAY.
In the 7 phases, the tenor sings words which correspond to the essence of the seven spheres of life.
The light-pictures may also depict them in a visually stylised way.
MONDAY: stones hills water;
TUESDAY: trees plants fruits;
THURSDAY: 7 elements Thu 1 water,
Thu 2 earth,
Thu 3 air,
Thu 4 ether,
Thu 5 Eros,
Thu 6 fire,
Thu 7 pealing of bells;
FRIDAY: celestial bodies stars;
SATURDAY: human saints;
SUNDAY: GOD in everything
Sun 1 houses of God noble trees and animals,
Sun 2 light candle flame,
Sun 3 invisible transcendental,
Sun 4 praying Eva-Maria LIGHT-PICTURES YOU.
To be able to hear figures in changing temporal perspectives is a great challenge, especially when the
tempi are fast and constantly changing.
The temporal waves of shifting correspond to the harmonic mirroring through double ring modulation.
That leads to completely new, magic mirror harmonies and timbres.
All individual movements of the interpreters are composed according to the musical movements of the
figures as left-right-horizontal, left-right-diagonal, high-low-vertical and circular gestures.
The movements of the interpreters are notated in the score.
Horizontal, diagonal and circular movements apply until the next musical figure, i.e. until
the next movement or rest. Some movements also continue beyond rest interruptions.
At the beginning, the interpreters stand next to each other, separated, facing the audience: basset-horn at the
right, flute half-right, tenor half-left, trumpet left as seen by the audience. In order to pass each other when
moving laterally, they take a step forwards or backwards.
The complete and partial rotations result in constellations of the four soloists with different
directions and spacing. Lateral movements then originate from the positions reached.
The synthesizer is at the left (as seen by the audience) next to the stage, to enable the player
to follow the performance.
The below photos were taken by Alain TAQUET during the rehearsals of LICHT-BILDER
before the World première of LICHT-BILDER on October 16th 2004
After the World première of LICHT-BILDER on October 16th 2004
Karlheinz Stockhausen and Johannes Conen during rehearsals (Below)