February 16th 1999

Dear Friends and Acquaintances of Stockhausen's Music,

First of all, happy (Chinese) new year!

It has been almost a year since I wrote the last report on Stockhausen's activities, and what a year it has been!

At the moment, Stockhausen is sitting in one of the world's largest mobile studios, the WDR Übertragungswagen 1 (13.5 metres long, 4 m wide, 3.9 metres high, weight 33 tons). It is parked in front of the town hall in Kürten, and Stockhausen is (finally) mixing down the HELICOPTER STRING QUARTET which was recorded at the Kürten school with the Arditti String Quartet in December 1996. After much date-shuffling and trying to find a "real" WDR studio which was free during humane times, i.e. not from midnight to 6 o'clock in the morning, the WDR finally offered to drive the Ü1 to Kürten on Rosenmontag which is the grand finale of the Cologne carnival – complete with parade – which means it is a miracle they got out of Cologne. But they did, and Stockhausen was told that at 10 a.m. this morning the mixing could start.

Not at nine, but at a quarter past eleven the 24-track Sony digital machine arrived to be installed into the Ü1(it is not permitted for it to be transported in the Ü1 due to safety reasons). When it arrived, it was soon established that it was too heavy to be lifted into the Ü1 without additional help, so one of the recording technicians went into the town hall looking for help. As chance would have it, just inside there was a queue of Russian emigrants looking for work, so they pitched in for twenty Marks and soon the Sony machine was inside. A few problems in hooking it up resulted in the present situation that they can only hear the analogue signal, but that may be rectified soon. The main thing is that finally, after two months of looking for and not finding the original recording tape, the mix-down of the safety copy of the HELICOPTER STRING QUARTET is now in progress, which means that the CD will most probably be available this year. The plan is to release this mix-down of the studio production together with the live recording of the world première.

But I should return to where I left off on March 3rd 1998…

After a few weeks in the Studio for Electronic Music of the WDR, Stockhausen discontinued the work there for many reasons including technical restrictions resulting from the overhauling of the mixing console, technical break-downs and noises of construction outside the studio. That meant that he had to somehow solve the problem of how to produce the electronic music for MICHAELION without a studio. He decided to try to make a tape using his own DA-88s, Mackie 24-channel mixer and three joy sticks, with the help of Antonio Pérez Abellán, the young Spanish synthi-pianist, who has recently become a member of the circle of musicians who work regularly with Stockhausen.

They succeeded in making a tape with the so-called "signals" and of the entire electronic music for MICHAELION by May, which means during the period of time which had originally been allotted to work in the WDR studio. He decided, however, that it would be better for Antonio to play this completely programmed music live during the performance, to allow for flexibility in the performance with 6 soloists and choir.

During this work, Stockhausen continued to correct the score and parts for the new version of MOMENTE (Europa Version 1998) for performances in September. Hugh Davies, his assistant in the 60s, continued the massive work of scanning the originals of the Europa Version 1972 and inserting the corrections from Stockhausen's conducting score. In addition, the originals of the score were corrected by hand, also using the score Stockhausen had used to conduct this version during the European tour in 1972.

For those of you not familiar with the score of MOMENTE, it is made up of a series of "Moments" which may be ordered differently according to a set of rules. This set of rules determines the interaction of the moments, depending on their juxtaposition. For the Europa Version 1998, Stockhausen decided to switch two moments. Even though only two moments were switched, this meant that certain so-called "inserts " were also different from the Europa Version 1972. Thus all the parts had to be completely revised, and the uncomfortable feeling that one thinking mistake would lead to a chain reaction of mistakes was constantly present. On top of this, Hugh was under tremendous time-pressure because it was virtually impossible to calculate when the parts would be ready for photocopying and binding because each new correction activated a chain of consequences in the score and in the parts. He barely made it, thanks to his English coolness and determination. Well done, Hugh!

The next step for us – what concerns MOMENTE – is to make a set of "neutral" parts to be used in making further versions. Ideal would be of course to have a computer program which knows the rules of MOMENTE, so that the job could go more quickly. But computers cannot make musical decisions yet, and decisions of this type predominate when making a version of MOMENTE. We also plan to publish the score of MOMENTE within the next century. It is not that we shy big jobs, there are just other big jobs with first priority. For more information about MOMENTE, see the CD booklet of CD 7, the film transcription into English of the video LICHTWERKE, in which Stockhausen briefly explains MOMENTE, excerpts of the lecture Moment-forming and MOMENTE in the book Stockhausen on Music by Robin Maconie, and of course the video MOMENTE. Soon the Stockhausen-Verlag will be non-commercially distributing videos of the famous series of Stockhausen lectures in English filmed in the 70s by Robert Slotover. The lecture Moment-forming and MOMENTE is one of these films. For more information, please contact us.

April began with the arrival of a truck from Paris to pick up the special instruments and podia required for INORI, which was performed twice at the end of April at the Cité de la Musique by the Ensemble Intercontemporain conducted by David Robertson, with Kathinka Pasveer and Alain Louafi as soloists. This was the second time that another conductor besides Stockhausen himself undertook the immense challenge of learning this work (the first one was Péter Eötvös in January: see my last report), and Robertson really did a superb job. In addition to this, throughout the year, the musicians of the Ensemble Intercontemporain staged a series of chamber concerts at IRCAM (Institute for Research and Creation in Musical Acoustics) in Paris, also on the occasion of Stockhausen's 70th birthday.

Stockhausen interrupted his composing to travel to Paris for the 2nd performance (of 3) of GRUPPEN for three orchestras, conducted by Pierre Boulez, Péter Eötvös and David Robertson, a "dream team" for this job. The performances, played by the Ensemble Intercontemporain (expanded to the necessary 109 musicians by the orchestra of the Paris conservatory), were meticulously prepared and thus superb, as was to be expected in view of this constellation of performers. The Cité de la Musique, with its flexible seating and flexible stage position, made it possible to install the orchestras in a horse-shoe surrounding the audience, as prescribed in the score. Its only disadvantage is that some of the audience sat in balconies above the orchestras, which means that the spatiality is not heard as it is meant to be heard by those seated there.

From Paris, Stockhausen travelled directly to Darmstadt where the first complete performance of VORTRAG ÜBER HU (LECTURE ON HU) took place. This is a 1 and 1/2 hour analysis of INORI – composed by Stockhausen– which is to be spoken, sung and demonstrated by a singer. The multi talented Kathinka Pasveer accomplished this feat, completely by memory. It was an unforgettable experience in its perfection and beauty. In 1974, on the occasion of the world première of INORI, Gloria Davy (the soprano who sung MOMENTE in 1972) gave the abbreviated, circa 45-minute version of VORTRAG ÜBER HU in Donaueschingen in German, in Paris in French and in London in English (also an amazing feat)! We have a video of Gloria's German version, and I filmed Kathinka in Darmstadt. Both may be obtained from us. Even if you do not speak German, the many sung musical examples, the use of the large drawing of the INORI form scheme, and the demonstration of the gestures makes it easily comprehensible.

The VORTRAG ÜBER HU was followed by a performance of INORI (with tape) by Kathinka and Alain Louafi. I also made a video of this, and this may also be ordered from the Stockhausen Verlag. For those of you interested in the gestures of INORI, this video is of particular value because I filmed close-up most of the time, so the details of the gestures may be clearly seen.

Also in April, Minoru Shimuzu, the translator into Japanese of Volume 1 of the TEXTS on MUSIC which was just published a few weeks ago in Japan, came for a visit to discuss details of his translation. Speaking of the TEXTE, Jerome Kohl is nearly finished with his translation into English of Volume 1 and his editing of Richard Toop's translation of Volume 2, and we are hoping to publish these first two volumes in 2000. Meanwhile, Tim Neville has translated half of Volume 3 and is waiting for our "go" to continue with half of Volume 4 (he and Jerome Kohl are splitting the translation work: Jerome is doing the more musicological texts and Tim is doing the more philosophical ones).

The local birds, who already have about 70 nesting houses of different varieties such as for great-, coal-, blue-, marsh-, willow-, crested-, long-tailed titmice, nuthatches, redstarts, pied fly-catchers, wrynecks, tree- and house-sparrows, owls, bats, tree-creepers, bullfinches, robins, wagtails, wrens, kestrels, starlings etc. in the forest surrounding Stockhausen's house, received another 34 nesting houses in April. They like Stockhausen, and he likes them (that is why he spoils them).

There is one problem with buzzards: they seem to have almost completely wiped out a family of squirrels which we enjoyed watching as they would snatch and hurriedly bury the nuts we had placed in the bird-feeder by the kitchen window. They also enjoyed the bird food, and frightening the birds. This year, from the same window, we witnessed at close proximity the abduction of one of them still resisting in the claws of a huge buzzard as it soared upwards past the kitchen window. We were, however, relieved to see the first squirrel in a long time, a baby one, cautiously peek out of a bush a few days ago.

On May 26th, Stockhausen signed a contract with the Bonn Opera giving them the rights to the world première of WEDNESDAY from LIGHT on May 26th 2000, with 7 subsequent performances. Members of the administration of the Bonn Opera had come in April to discuss the possibility of performing the world première of WEDNESDAY from LIGHT in Bonn. This is a particularly complex opera due to the fact that of paramount importance is the realisation of extremely separated spatialities. For instance, it will be necessary to have two independent sound installations due to the amount of equipment necessary for the HELICOPTER STRING QUARTET alone. Thus it will take very careful organisation to co-ordinate the four very different sound and visual worlds: WORLD-PARLIAMENT (for 36 choir singers), ORCHESTRA FINALISTS (for orchestra), HELICOPTER STRING QUARTET (for string quartet and 4 helicopters) and MICHAELION (for mixed choir, flute, basset-horn, trumpet, trombone, synthesizer player and bass singer with short-wave receiver). A stage director has not been chosen yet, and time is getting very short, because he (she) is the one responsible for co ordinating all aspects of the production.

The infamous ZODIAC music boxes, which had been checked by Antonio and myself in February in Ste. Croix Switzerland were finally delivered, now mounted in their beautiful little wooden boxes. They are made of light wood and on the lid of each music box is a silk-screen print of Stockhausen's manuscript of the melody inside. They are slightly larger than the ones manufactured 25 years ago. Those of you who are already proud owners will attest to the fact that it was well worth the effort to get them manufactured again. Stefan Müller, the general director of Reuge Music, has now decided to include all 12 melodies in his new creation, the Millennium Signature Desk, which is an indescribable piece of furniture – a collector's item – manufactured in a very limited edition in commemoration of the turn of the millennium. When I was in Ste. Croix in February, it took him about an hour to describe it in every detail, and I was spell-bound. Therefore, I cannot describe it here, and anyway, I am not sure how much of it is still top-secret. So: if you want to know more, contact Stefan Müller at Reuge Music, CH-1450 Ste. Croix.

As usual, at about mid-May after the "ice-saints" had come and gone, 110 bright red geraniums were delivered and planted around Stockhausen's house. They are the symbol that Spring has really arrived.

On May 31st Stockhausen travelled to Stuttgart for the first period of MICHAELION rehearsals with the choir of the South German Radio, conductor Rupert Huber (who, as "singing conductor" conducted the world premières of WORLD PARLIAMENT in 1996 and LITANEI 97 in 1997), and the soloists Kathinka Pasveer (flute), Marco Blaauw (trumpet), Andrew Digby (trombone), Michael Vetter (bass singer with short-wave receiver) and myself (basset-horn).

The first half of June was spent in daily rehearsals of the choir and soloists. From 9:30 a.m. to 1:30 p.m. the choir and the above named soloists rehearsed together. Every afternoon Stockhausen rehearsed the various soloistic parts with the singers (almost every choir singer has a solo), and with the soloists, including Lucicamel (more about him later). The instrumentalists also rehearsed every afternoon by themselves. The first week we rehearsed only the first half of MICHAELION from music, and the second week we laid aside the music and started singing and playing from memory and with movements. Since the work is not conducted, much time was spent deciding who would give the entrances and the beat. Usually one of the instrumentalists conducted – and sometimes Rupert Huber (inconspicuously seated on the floor behind a podium or from behind one of the thirteen partitions which served for the entrances and exits of the singers and instrumentalists).

The work is constantly in motion: rarely are all singers and instrumentalists on stage at the same time. They are constantly coming and going, which is directly related to the density of the music. Only those singing or playing are on stage. This was a big step for singers who, as a radio choir, never perform without a conductor or act or move. Despite a few initial moments of malaise, the spirit was one of adventure and discovery, and the final result was amazing.

One of the many hurdles to overcome in the planning and realisation of the MICHAELION performance was that of who would pay for the few, but necessary props which are always a part of the "quasi concert" performances of the scenes and acts of the various Stockhausen LIGHT operas before they are produced in their entirety in the context of the complete staged world première. Each scene and act of the various LIGHT operas, from the moment Stockhausen started to compose LIGHT in 1977, have been rehearsed separately and premièred quasi concert in order to prepare them in every detail for their eventual integration into the world première of the staged opera.

What concerns Stockhausen's 6th (of 7) opera WEDNESDAY from LIGHT: for WORLD PARLIAMENT alone 7 weeks of rehearsals were necessary, and now for MICHAELION, 5 weeks of tutti rehearsals are necessary. For the staging of an entire opera, 2 months at the most are available; therefore the necessity of this manner of preparation of the individual acts and scenes is obvious.

Each act and scene is, however, a scenic work, i.e. a work in which the scenic aspect has also been composed by Stockhausen. Thus it cannot be ignored in a quasi concert performance. He has coined the designation "quasi concert" which means that the performance takes place in a concert hall or auditorium without scenery, but includes all of the prescribed movements and gestures. All performers must therefore, sing and play from memory. Only lighting and sound equipment is required, together with a few props. Simple, stylised costumes can be worn for such quasi concert performances.

So, who was going to pay for these "few props" and "simple" costumes? For MICHAELION the following is necessary: 9 long blue iris flowers for the 9 altos, 9 heart-shaped pretzels for the 9 sopranos, 9 little books for the 9 tenors, and 7 small spheres in the colours of the week: green for Monday, red for Tuesday, yellow for Wednesday, blue for Thursday, orange for Friday, black for Saturday, gold for Sunday which are defecated (in rhythm) by Lucicamel and gathered up by the basses. Further, two oversized shoe shining brushes were needed to polish Lucicamel's left hooves, and a gigantic bottle of champagne to lure Lucicamel away. In addition, the choir needed some kind of neutral, but attractive blue costumes and footwear, and last but not least, a Lucicamel costume was required which fulfilled the requirements listed in the next paragraph. Since MICHAELION was commissioned by the Bavarian Radio, their only interest was what is heard but not what is seen. Therefore, they could not pay for the necessary props and costumes. Since the South German Radio had financially supported the production by donating their choir for 5 weeks of rehearsals, and since they were also only interested, as a "radio", in the recording which would result from this production, also they could not pay these costs.

Therefore, Stockhausen contacted Johannes Conen, the stage and costume designer for TUESDAY, FRIDAY and now WEDNESDAY from LIGHT and asked him how much it would cost to make a camel costume which could roll its eyes, move its mouth, stick out its tongue, lift and wriggle its tail, dance, had hooves which when polished (in rhythm) turned to gold, which could stick his left rear hoof into his pocket, and defecate 7 perfect spheres, in rhythm. After many long telephone conversations which resulted every time Stockhausen realised – in the course of the composition – how multi-talented Lucicamel had to be, a solution was found which Stockhausen could finance. The heart-shaped pretzels were made by the indispensable Doris Huber, the charming wife of Rupert Huber, and she also finally found beautiful imitation iris flowers. Thomas Koletzki, a sculpturer from Berlin who made Lucicamel, also made the coloured spheres. It was decided that the choir could wear the same light blue robes which were made and dyed especially for the world première of LITANEI in July of 1997, and since tabis (Japanese footwear) could not be found in all the sizes necessary, black gymnastic shoes were purchased by Stockhausen for the 36 members of the choir. The tenors managed to each find a suitable small book to use.

The first day of the first rehearsal period, Lucicamel was brought to Stuttgart from Berlin by Thomas Koletzki. Initially, the idea was that Michael Vetter , who sang the bass-baritone part Lucicamel in the first part of MICHAELION and Operator in the second half, would sing the part from inside the costume. This was feasible technically (with transmitter), but after a week of very warm rehearsals inside Lucicamel, it proved to be so difficult to see properly from inside the costume (it is necessary to sing perfectly synchronously with the trombone player) and to dance a choreography at the same time as singing this difficult part, that it was decided to have a choir singer in the wings sing while Michael Vetter and his very helpful assistant Natasha Nikprelevic moved as Lucicamel. If you have to see this to believe it, I made a video as evidence.

Lucicamel is not the only surprise in MICHAELION. For instance, did you know that: "Kakabel (star of God) is a powerful angel of folklore who is in charge of stars and constellations"? Or that "Camael (He who sees God) is traditionally regarded as chief of the order of powers and one of the sefiroth"? During the composition of MICHAELION, Stockhausen discovered such items of interest "by chance" in the book Angels A to Z by James R. Lewis and Evelyn Dorothy Oliver, published by Visible Ink.

Stockhausen returned to Kürten in mid-June a bit disquieted about the fact that we had only reached midway by the end of the first rehearsal period, and that we had not even started to record the work. The plan had been to record as we rehearsed, but already after the first few days of rehearsal it became clear that the complexity of the work and its unusual performance practice would demand all of the rehearsal time, with no time left for recording. During these rehearsals the high level of the individual choir singers became apparent: most of them have to sing soloistically and in small groups. Once they got used to this and to acting and singing by memory, the fun started. At the end of the first two weeks it was the general feeling that we should go on instead of breaking until July. But other plans had been made for the choir, so rehearsals could only continue in July.

During the second half of June, the corrections made during the June rehearsals were transferred into the original score by computer, and preparations for the Stockhausen Courses Kürten 1998 continued.

On the 1st of July, Stockhausen returned to Stuttgart for the final 3 weeks of rehearsal, and Antonio Pérez Abellán participated in the rehearsals from now on, playing the synthesizer. We rehearsed the second half of MICHAELION as we had rehearsed the first half in June: the first week from music and without movements, the second week from memory and with movements. The third week we went back to the first part in the hope that everyone would remember what had been rehearsed in June. Luckily it came came back rather quickly. The first run-though of the entire work (circa 1 hour) was made on July 24th, the day before we all travelled down to Munich, where the world première was to take place at the newly renovated Prinzregenten Theater on the 26th.

There were a few last-minute complications, such as the news sent by the theatre administration to Stockhausen in Stuttgart that the seats which were to be taken out to make place for the mixing console could not be taken out after all due to some new regulations, and that the six high loudspeaker stands at the left and right of the audience could not be installed as agreed upon. Stockhausen has become accustomed to this kind of threat, and thus reacted in his usual way: since it is musically essential that he (and the console) is situated in the acoustic middle of the hall, he could not take the responsibility for the result if the console could not be situated as he had prescribed over a year ago (and which had been approved over a year ago), and thus he would not participate in the performance. Since the general superintendent of the Bavarian State Opera, Dr. August Everding had given carte blanche to Stockhausen 7 months previously in January as apology for another mishap, namely that the rehearsal period for MICHAELION in the Prinzregenten Theater would have to be shortened an entire day due to a last-minute decision to stage a concert with Daniel Barenboim and the Munich Philharmonic Orchestra on the evening of the 24th, Stockhausen did not hesitiate to make use of it in this emergency. Thus within a few hours the OK was given to install the console and loudspeakers as planned, and the show could go on.

During the year of preparation for the world première of MICHAELION, there had been many other obstacles to overcome in the planning of the installation of the sound equipment, due to the strict regulations in such a newly renovated historical building. For instance, due to the delicate stucco work, there was decided resistance to any kind of loudspeaker installation. Since there is no Stockhausen concert without loudspeakers, the idea had to finally be accepted, but only under the condition that the loudspeakers be installed on special stands at a certain distance away from the walls to eliminate the danger of endangering the stucco with the frequencies emitted from the loudspeakers. A great deal of credit must be given to Bodo Bergmann, one of the technicians who has worked with Stockhausen for over 10 years, who planned this touchy installation down to the last centimetre, had the prescribed loudspeaker stands specially built, and had to almost daily put up with "last-minute" complications such as those described above.

The installation of the sound and lighting equipment took place in the night between July 24th and 25th, so that rehearsals could take place in the afternoon and evening of July 25th. Assembled on the stage for the first time in the afternoon of July 25th, it was the first time we actually had the real proportions for the movements: in Stuttgart we had had to squeeze everything into a much smaller space than we had on the stage and in the auditorium in Munich. On July 26th the dress rehearsal took place in the morning and in the evening was the concert. Apart from a few mishaps, such as the Bavarain Radio microphones – which had been installed for recording the world première – getting sprayed when the stage was sprayed down (as is usual before a performance, but normally there are no microphones on stage), everything went perfectly. We performed the work twice to a wonderful audience. Between the two performances Lucicamel got a stiff neck and couldn't move his mouth anymore, but Natasha performed emergency surgery and he went on as if nothing had happened!

This was the second major Stockhausen event in Munich (following the performance of INORI in January which I described in my last report) in one year, following many years of no Stockhausen. One could sense the special excitement because of this.

The day we got back to Kürten, rehearsals for the concerts during the courses began, and the staff got into full swing. The first participants arrived already on the 30th to get over jet-lag before the Stockhausen seminars started on the 3rd. The remaining 128 participants from 22 different countries arrived on the 1st and 2nd and the official opening by Stockhausen was at 6 p.m. on Sunday, August 2nd.

The daily schedule was as follows:

From 10 a.m.– circa 1 p.m. was the dress rehearsal for the evening concert. There were concerts every evening: those by the faculty in alternation with those by selected course participants.

From circa 2:30 p.m. to 5 p.m. the instrumental seminars took place, and from 5:15 p.m. to 6:45 p.m. Stockhausen held his composition seminar on ORCHESTRA FINALISTS of WEDESDAY from LIGHT, playing the examples on the octophonic loudspeaker installation in the concert hall.

From 7 – 7:30 p.m. the sound test for the evening concert took place, and at 8 p.m. the concert began.

The level of the participants was so high that it was difficult for Stockhausen to decide who would receive the three prizes which were awarded at the end of the courses, based on performances during the courses. The first prize (7.500,-DM) was awarded to the percussion ensemble Anthos from Hannover which performed MICROPHONY I in the participants' concert on August 7th. The second prize (5.000,-DM) was awarded to Barbara Bouman (basset-horn) and Achim Gorsch (trumpet) who performed MISSION and ASCENSION (from MICHAEL'S JOURNEY ROUND THE EARTH) in the participants' concert on August 3rd, and the third prize (2.500, DM) was awarded to Sayaka Schmuck (clarinet) one of the youngest participants (aged 17) who performed THE LITTLE HARLEQUIN in the participants' concert on August 5th.

Even though it was not officially announced in this year's brochure, there will be three prizes again this year for outstanding performances.

We were all happy and relieved that the first courses went so smoothly. Even the weather co operated: it was the only sunny week of the summer. The community of Kürten was full of positive resonance for its visitors from all over the world: the families who housed participants have formed permanent friendships with their guests, and even the local gas station was thrilled at the amount of business they did in one week (not for gas, but for food and telephone cards). The local grocery store also sold 300 kilos of apples to Stockhausen who arranged to have a basket of fresh apples outside of his seminar every day as an afternoon "pick-up".

As the registrations for the 1999 roll in we recognise several names and are pleased to see new ones. We can promise that the courses will not repeat themselves: since that is one of Stockhausen's personal rules, we adopt it as our policy. We are going to improve whatever needs improving and would appreciate feed-back from any of you who would like to make suggestions. We and the community of Kürten look forward to welcoming all of you who are planning to come. As you can see from the brochure, the faculty is larger and includes some of the singers Stockhausen has worked with for years, and who have sung in the operas THURSDAY, MONDAY, TUESDAY and FRIDAY from LIGHT. In addition, Michèle Noiret, the dancer who has danced the role of Michael in THURSDAY from LIGHT will be participating and teaching, so we hope that some of you singers and dancers will plan on participating. We recommend that you plan on also attending the faculty rehearsals from July 12th –17th which precede the official courses.

The day after the courses ended, the sectional rehearsals for MOMENTE began for the WDR choir and the instrumentalists of the Musikfabrik ensemble conducted by Rupert Huber, but Stockhausen's direct involvement as sound projectionist began only at the beginning of September for the final 3 weeks of tutti rehearsals.

On August 20th, as the big day neared, he travelled to Frankfurt where a birthday concert and live broadcast at the Hessen Radio on THE DAY was planned. The program was ORCHESTRA FINALISTS, played by the Asko Ensemble (the same group of musicians which played the world première in 1996 in Amsterdam) and AVE performed by Kathinka Pasveer and Suzanne Stephens. It was a very moving event and the house was packed. At the end of the concert, the programme director gave a speech in honour of Stockhausen. This was followed by a long standing ovation of the audience, many of whom had come from all over Europe. The concert was a direct broadcast of the European Broadcasting Union and was broadcast in Bulgaria, Rumania, Austria, Spain, Sweden, Czechoslovakia, Belgium, England, Japan, Holland and other countries. Afterwards, the Hessen Radio gave a dinner party for family and friends of Stockhausen.

Now is a fitting time to thank those of you who sent birthday wishes in every shape and form (also telepathic). One of the most noticeable ones for those of you reading this, is of course the domain given to Stockhausen at the courses by Jeth Rollins Odom, a participant in the courses. Since we are not linked directly to the web, and only through the generosity of Jim Stonebraker is there a Stockhausen Home Page, we were not aware of the magnitude of a domain, and are only now becoming aware of what a magnificent gift that is. Thanks again, Jeth, for a gift that 1000s will profit from.

The following day, now 70 years old (?!), Stockhausen returned to Cologne where the same program was performed at the Philharmonic Hall, also on the occasion of his 70th birthday.

On August 30th the community of Kürten, on the initiative of the mayor Ernst Otto Bettge, who is actually the person who awoke the idea of the Stockhausen Courses Kürten – after years of dormancy for various reasons – gave a 70th birthday reception. Ilse Brusis, the minister for labour, social welfare, city development, culture and sport for the state of North Rhine Westfalia, and other important politicians spoke. They all mentioned with enthusiasm the birth of the Stockhausen Courses Kürten as the beginning of a new era in Stockhausen's life, the state of North Rhine Westfalia, and Europe. The fact that Stockhausen has decided to teach again on a regular basis is of course a relief to all who thought he had stopped for good in order to have more time for composition. Since, moreover, he is doing this for free, the courses in Kürten are a feasible project which no one would have dared dream of, had not Stockhausen himself decided he wanted to do it. It was a very nice reception because there was more music than talking (Stockhausen's request): Kathinka played an excerpt from MICHAELION for solo flute entitled THINKI, and Marco Blaauw, Andrew Digby and I played an excerpt of MICHAELION for trumpet, trombone and basset-horn. The most memorable quote of the reception (Stockhausen in referring the fact that with the birth of the courses, Kürten has become an international meeting place for musicians from all over the world): "Bayreuth used to be a village too!"

On September 2nd, Stockhausen started travelling into Cologne daily for the final weeks of rehearsals for MOMENTE. Angela Tunstall, the soprano who sang the role of Eve in FRIDAY from LIGHT performed the solo part from memory. The choir of the WDR is the choir which performed the world premières of the first sections of MOMENTE in 1961 and the world première of the completed work in 1972. They, together with the instrumentalists of the Musikfabrik, and conducted by Rupert Huber, performed in concerts on September 25th in Cologne (at the Philharmonic Hall), on the 27th in Zürich (at the Tonhalle), and on the 29th in Paris (Cité de la Musique).

On September 18th an exhibition of some of Stockhausen's original drawings, which are all colour analyses or sketches of his compositions (ranging in size from tiny to 5m x 1.5 m) was opened at the Kunsthaus Lempertz in Cologne. The owner of Kunsthaus Lempertz, Rolf Hanstein is the person who commissioned the ROTARY WOOD-WIND QUINTET for his Rotary Club anniversary in 1997. This was described in detail in my last report. Of course, we opened the exhibition with a concert, and Stockhausen spoke a short introduction. BIJOU for alto flute and bass clarinet was performed by Kathinka and I, ARIES for trumpet and electronic music was played by Markus Stockhausen, and TIERKREIS Trio Version was performed by the three of us. They had set up chairs for 50 people and 250 came!

The next day, Stockhausen spoke at a convention for senior and handicapped citizens in Kürten, having accepted to be patron of the convention. Contrary to all other speakers that day, he spoke about age as an advantage and not a disadvantage and about death as something positive and not negative. He finds the book The Tibetan Book of Living and Dying by Sogyal Rinpoche very important and often gives it as a gift.

On September 23rd we were invited to hear a Chinese musician – Cheng Gongliang – who was in Kürten visiting a young German Sinologist Thomas Täubner. He played a 1000-year-old Gu Qin (stringed instrument). We could not help but hear many similarities in this ancient way of making music and how Stockhausen uses melody instruments (noises, glissandi, many different timbres, irregular, complex rhythms, none of it improvised, and extreme tempo changes) and thus we could also understand why this musician is so fascinated by the music of Stockhausen. He heard the MOMENTE concert at the Cologne Philharmonic Hall.

By the way, Thomas Täubner has undertaken the task of organising a Stockhausen tour of China. He has made some headway, but the status at the moment is reflected in the last news we received from the cultural attaché at the German embassy in Peking: everyone is just dying for Stockhausen to come to China with a few of his musicians for concerts and lectures, and there are virtually no obstacles to realising this visit, assuming that Stockhausen is willing to pay all costs involved. So "the tour", originally planned for 1997, has been postponed again.

The MOMENTE tour (September 25th–29th) was mentioned above. In Zürich, and not only there, but during the whole year, Stockhausen was asked in interviews how he feels about being considered the "Father of Techno". His response is: the only thing his music has in common with that of Techno music is that both use technology to make music. However Techno as a term does not automatically mean "new", "inventive" or "progressive" but, on the contrary, can and does also include old ways of thinking and making music. Thus, as usual, the means are not what is decisive but rather, what is achieved using a given means.

Observing Stockhausen, as I have had the opportunity to do in many different studios and other musical situations, time and again I notice that it takes him about an hour to discover the potential of a given situation, i.e. how far his imagination can be realised with the available "means". More important, having made this discovery, he manages to make the best out of the situation. Thus despite any limitations, or maybe because of these very limitations, he is forced to find something new, something he can use, not necessarily what he had planned or hoped to use. And many times he himself is pleasantly surprised with the result. He sometimes says that he feels (especially in a studio) like a hunter stalking prey, sensing which scent to follow, but not being sure until he is face-to-face with the result, which is not necessarily what he was looking for.

Back in Cologne after the tour, he attended another birthday concert at the Philharmonic Hall given by Markus Stockhausen for his father, together with several musician friends. The concert included the works IN FREUNDSCHAFT (IN FRIENDSHIP) for trumpet, ZYKLUS (CYCLE) for a percussionist (Robyn Schulkowsky), "Vier Sterne weisen Dir den Weg" ("Four stars show you the way") from AMOUR for cello (Rohan de Saram), and HALT (from MICHAEL'S JOURNEY ROUND THE EARTH) for trumpet and double bass (Markus and Stefano Scodanibbio).

On October 18th, on short notice, Stockhausen was asked by Canton loudspeakers if he would be willing to be photographed with their new model. He accepted because they promised to give him a complete quadro set-up in return (they are expensive).

Strangely enough, at the end of October, thousands of bulbs for crocuses, daffodils, tulips, snowdrops, lilies of the valley, and other plants (most of them aromatic) mysteriously found their way to Kettenberg and are now integrated into the Stockhausen plant family. This phenomena repeats itself every year at about this time: Every year Stockhausen says, "Now I have enough", and every year he notices places where "something is missing", and then the plants arrive. After 38 years of annual planting, he now has a decided predilection for aromatic plants of all kinds, some of which even the tree nursery has to look up and order. There is a "Duft-Ecke" (aroma corner) near his house, a plot of land on which only aromatic species have been planted. In several scenes of his operas composed until now, certain aromas are also prescribed, but to date, only one director has found a way to carry out these instructions: Michael Bogdanov in the 3rd act of THURSDAY from LIGHT at Covent Garden in 1985.

Meanwhile, preparations were well underway for the International Stockhausen Symposium 1998: lectures, concerts and an exhibition organised by the Institute of Musicology of the Cologne University under the leadership of Prof. Dr. Christoph von Blumröder, who holds the chair for 20th century music and who is the editor of Stockhausen's TEXTE zur MUSIK Volumes 7–10 which were delivered in January! (More about them later.) As you may know, Stockhausen is one of the most famous alumnae of the Cologne University, having studied musicology, German literature and philosophy there from 1947–1951. The Cologne University is one of the largest in Europe with an enrollment of circa 60,000 students.

On November 11th, the official opening of the symposium took place in the afternoon. Prof. Dr. Dietrich Kämper, the director of the Institute of Musicology of the Cologne University spoke first. Following this speech, Prof. Andreas Boettger, percussion professor in Hannover and a long-time member of Stockhausen's ensemble of soloists, and thus a faculty member of the Stockhausen Courses Kürten performed ZYKLUS for a percussionist. Then, welcoming speeches were given by Prof. Dr. Jens Peter Meincke, president of the Cologne University, Dr. Hans Jürgen Baedeker, state secretary in the ministry for labour, social welfare and city development, culture and sport (this is the ministry which financially subsidised this symposium and the Stockhausen Courses). After that spoke Prof. Dr. Walter Pape, the dean of the philosophical faculty of the Cologne University. A performance of NASENFLÜGELTANZ (WINGS-OF-THE-NOSE-DANCE) for percussionist, by Andreas Boettger, closed the ceremony. Usually string quartets are invited to musically "round out" such events. Some of those present had never heard Stockhausen live before, so some were pleasantly surprised, some unpleasantly surprised.

That evening, in the newly renovated auditorium of the Cologne University, the opening concert took place. This auditorium is usually used for lectures of the business school, whose enrollment of circa 20,000 students is the largest of the university. The rehearsals and concerts of the Stockhausen Symposium 1998 blocked the auditorium for 5 complete days. This was made possible through the personal permission given by Prof. Dr. K. Mackscheidt, dean of the business school who, as fate would have it , has been a Stockhausen fan since 1960 when he heard the world première of KONTAKTE in Cologne. A week ago, in his graduation ceremony speech, Dean Mackscheidt spoke about "Stockhausen from GESANG DER JÜNGLINGE to LIGHT".

The works performed in the first concert were: ARIES for trumpet and electronic music performed by Marco Blaauw, GESANG DER JÜNGLINGE Electronic Music, BASSETSU-TRIO (world première) performed by Suzanne Stephens (basset-horn), Marco Blaauw (trumpet) and Andrew Digby (trombone), and KATHINKAs GESANG for flute and electronic music, performed by Kathinka Pasveer. Stockhausen was responsible for the sound and light projection in this concert and in the concerts of the next two evenings.

The BASSETSU-TRIO was commissioned for the occasion by Prof. Dr. Christoph von Blumröder. It is an arrangement for these three instruments of a large section of MICHAELION, starting where these three instruments are highlighted near the end of MICHAELION to the end of the work. The first part of the piece takes place on stage, the second part with the instrumentalists in a triangle surrounding the audience, and at the end the three instrumentalists leave the hall and play for several minutes outside the hall gradually fading away in the distance. What they play, starting at the moment when they are surrounding the audience, are the Michael-, Eve- and Lucifer-formulas, heard in MICHAELION (sung by 2 sopranos, 2 altos, 2 tenors) for the first time in all of LIGHT in their entirety. The superimposition of these three "formulas" is the so-called super formula of LIGHT, the compositional basis for all seven days, but it is treated in such myriads of ways in the six operas completed to date that it is seldom recognisable as such. The instrumentalists play this super formula four times, always rotating to the next position before the next repetition. "Repetition" is the wrong word, because nothing is repeated: also the registers of the formulae rotate, so that each time the super formula is played, the instrumentalists (or singers in MICHAELION) play (sing) a different layer. The fourth time, each of them plays the same formula as the first time, but this time the formulas are complete with all their aspects, including echoes, embellishments, scales, "improvisation" and coloured noises. The first time, only the nuclear formulas (the principal notes of each melody) had been played. The ROTARY WOOD-WIND QUINTET is also based on the final sextet of MICHAELION. You may ask for more information until the scores of BASSETSU-TRIO and MICHAELION are published. The score of the ROTARY WOOD-WIND QUINTET was published at the beginning of this year, as I told you in my last report.

In the forenoon of November 12th the topic of discussion was World View.

Prof. Dr. Dieter Gutknecht (Cologne) gave a lecture on The Spiritual in Stockhausen's actual composition process, tradition and new beginning.

Dr. Thomas Ulrich's (Berlin) lecture was entitled Spiritual unity and the subject of the composer, the "Catholic" in Stockhausen.

Prof. Dr. Peter Andraschke (Gießen) spoke about World Vision – Vision of the Worlds, Stockhausen's language-related music until LIGHT.

Prof. Dr. Hartmut Krones (Vienna) spoke about Vocal technique and the sound of the voice in the service of spiritual and contemplative music.

That afternoon, the topic was Reception. Lectures were given by:

Prof. Dr. Albrecht Riethmüller (Berlin): Karlheinz Stockhausen: the composer as recipient;

Prof. Dr. Dietrich Kämper: Karlheinz Stockhausen and Luciano Berio: an imaginary dialogue?;

Prof. Dr. Jerome Kohl (Seattle, Washington): The reception of Stockhausen's ideas and music in America;

Prof. Minoru Shimuzu (Kyoto): Stockhausen and Japan, light and shadow.

That evening, the concert programme was: PIETÀ from TUESDAY from LIGHT performed by Annette Meriweather (soprano) and Markus Stockhausen (trumpet); SYNTHI-FOU from TUESDAY from LIGHT performed by Antonio Pérez Abellán (synthesizer); TELEMUSIK Electronic Music; AVE from MONDAY from LIGHT performed by Suzanne Stephens (basset horn) and Kathinka Pasveer (alto flute).

On Friday, the 13th of November, the forenoon topic was World Music, and lectures were given by:

Prof. Dr. Rüdiger Schumacher: Concepts of world music;

Prof. Dr. Gernot Gruber (Vienna): Stockhausen's conception of the "world music" and the quotations in his music;

Prof. Minoru Shimuzu (Kyoto): What is Plura-Monism?;

Michael Neuhaus M.A. (Köln): "EVERYTHING is the WHOLE and SIMULTANEOUSLY". The inter cultural function of the short-wave receiver.

In the afternoon session, the topic was Electronic Music and lectures were given by:

Prof. Richard Toop (Sydney): Speculation and reality: the early history of electronic composition;

Dr. Imke Misch (Cologne): " We can still go a dimension deeper …" The organisation of space in electronic music;

Dr. Winrich Hopp (Freiburg i. Br.): Live electronic music;

Prof. Johannes Fritsch: TELEMUSIK.

In the evening, HYMNEN Electronic and Concrete Music (duration: 2 hours) was performed. The auditorium of the university is especially well-suited for the projection of multi-track tape music, and even those of us who have had the opportunity to hear HYMNEN several times before were amazed at the transparency and the distances we could perceive. There were several younger musicologists who said that this evening was THE musical experience of their life. Someday, it would be nice to have such specially well-suited auditoriums in every city of the world, so that the tape pieces would be available for listening all day every day and would just run, with the correct loudspeaker configuration programmed so that 4-track, 8-track, octophonic, and 20-track could be circuited at the push of a button and performed regardless of how many people were present. The seats could be reclined to an almost horizontal position and have head rests, and the ceiling could be a starlit firmament, programmed to correspond with the one outside. Most planetariums fit this description (see my last report, in which I described the festival of Stockhausen's electronic music at the planetarium at the Cité des Sciences in Paris), but are usually busy with their astronomy presentations. Maybe their directors could be talked into making their planetariums available one day a week for performances of tape music.

The next forenoon, November 14th, the topic was Vocal Composition, and lectures were given by:

Prof. Dr. Christoph von Blumröder (Cologne): The vocal composition as creative constant;

Prof. Dr. Hans Grüß (Leipzig): Experiences with works by Stockhausen: the disappearance of the words;

Prof. Dr. Georg Heike (Cologne): The significance of phonetics;

Michael Prosnjakov (Moscow): Vocal development tendencies in LIGHT.

For those of you not familiar with the name Prosnjakov, he is a brilliant young Russian musicologist who is single-handedly trying to, and managing to, educate other young Russian musicologists and their professors (and the general public) about the music of Stockhausen. In Russia there is a strict dichotomy between historical musicology and analytical musicology, and the analysists look down their noses at the historians. He is an analysist, i.e. a scientist, and Stockhausen became aware of his work for the first time in 1990 when we were in Moscow performing in the first (and last) Stockhausen Festival there. On that occasion, Michael Prosnjakov presented his analysis of KREUZSPIEL to Stockhausen, who was bowled over by it. The documents are now in the Stockhausen archives of the Stockhausen Foundation for Music. It will take a group of such scientists to someday tackle the task of analysing LIGHT. They will have to be complemented by equally qualified scolars in the fields of theology, esoteric wisdom and other related fields to uncover the musical and spiritual message of LIGHT.

That afternoon the topic was Formula Composition and lectures were given by:

Dettloff Schwerdtfeger M.A. (Cologne): The tempo and duration proportions of the super formula for LIGHT;

Dr. Markus Bandur (Freiburg i. Br.): Composing using the super formula;

Prof. Dr. Ivanka Stoianova (Paris): Formula composition and spatialisation;

Dr. Roman Brotbeck (St. Clément): The formula and its staging.

In the evening, MANTRA for two pianists was performed by Andreas Grau and Götz Schumacher, with Bryan Wolf as sound projectionist. It was the last event of the International Stockhausen Symposium 1998. The next one is being planned to precede and include the world première of WEDNESDAY from LIGHT in May 2000.

The next day, the festivities moved to the Musikhochschule (State Conservatory of Music), Cologne, where Stockhausen studied piano and music education from 1947–1951 and was professor for composition from 1970–1977. On Sunday, November 15th the film MICROPHONY I was shown. This was followed by a birthday reception and a concert in which MICROPHONY I was performed by members of the composition class of Prof. Johannes Fritsch, who was one of the musicians of the Stockhausen Ensemble in the 60s and 70s, and who thus performed many important world premières and countless performances of the works composed during that period, such as MICROPHONY I and II, MIXTUR, HYMNEN with soloists, KURZWELLEN (SHORT WAVES), PROCESSION, FROM THE SEVEN DAYS etc.

In a concert on the 16th, IN FREUNDSCHAFT (IN FRIENDSHIP) for recorder was performed by Dorothee Oberlinger, a student at the conservatory, STUDY I Electronic Music was played, and the MOMENTE film was shown.

On November 17th, Markus Stockhausen performed with the new music ensemble of the conservatory, conducted by Jonathan Stockhammer, the assistant of Péter Eötvös, who is director of the ensemble. The programme was: MICHAEL'S GREETING for ensemble, IN FREUNDSCHAFT for clarinet (performed by Iris Eickelkamp, a student at the conservatory and one of the outstanding participants in last year's Stockhausen Courses), KONTRA-PUNKTE for 10 instruments and OBERLIPPENTANZ for piccolo trumpet, 4 horns and 2 percussionists.

On November 18th, PIANO PIECES I–IV were performed by Benjamin Kobler (a student at the conservatory and another outstanding participant in last year's Stockhausen Courses Kürten), GESANG DER JÜNGLINGE, PIANO PIECE VII (B. Kobler) and KONTAKTE (B. Kobler, piano, and László Hudacsek, percussion). The level of all performances in the conservatory concerts was very high. There was a moment of panic a few seconds into GESANG DER JÜNGLINGE, when Stockhausen realised that track 4 was missing (he was not doing the sound projection, and to try to avoid embarrassment, I will not mention any names). He became very nervous and then finally tried to inconspicuously sneak to the mixing console and asked the sound projectionist to stop the tape. By that time the audience had become aware that something was wrong. Stockhausen announced that a track was missing, and of course the first thing done was to look at the DA-88 level indicator to see if the signal on the tape was OK. It was. Then he had the test tape put on, and that proved that track 4 was missing: "Track 1 – track 2 – track 3 – –––track 1 etc.…". Then, a very nervous technician ran around checking all the loudspeaker pre-amps, and returned to the console to report that he couldn't find out what was wrong. Since the 4 tracks of GESANG DER JÜNGLINGE are recorded on tracks 5–8 of the 8-track tape, that can lead to confusion, but the circuiting should have been checked – using the test tape –at least one hour before the concert by any sound projectionist in his right mind (Stockhausen always checks his tapes in a dress rehearsal in the morning of the concert day AND one hour before the concert in the evening). Now exhausted and sweating, the technician finally walked to the rear of the console and looked at all of the inputs and outputs, blushed, exchanged two plugs, and said to put on the test tape: "Track 1 – track 2 – track 3 – track 4". Aha! Everyone was quite amused by that time, Stockhausen included. So the lights were dimmed again, and GESANG DER JÜNGLINGE was played without further mishap.

The Cologne Conservatory is one of the few conservatories in the world who has about 40 permanently installed loudspeakers in their auditorium, circuitable to any configuration. It was built just following Expo 70 in Osaka, Japan, where the German pavilion was a spherical auditorium designed by Stockhausen. It had 50 loudspeakers in 7 rings (also beneath the audience which was seated on cushions on the iron mesh floor), the configuration of which could be easily changed using a patchboard on the mixer. There were also two joysticks for sound movements. Stockhausen and his musicians performed his works there during 183 days for over a million listeners in the course of the Expo 70. For more information about this auditorium, see TEXTE zur MUSIK Volume 3, and CD 15 (SPIRAL and POLE) of the Complete Stockhausen Edition.

In December Stockhausen could finally settle down to compose LICHTER-WASSER (LIGHTS WATERS), a work for soprano, tenor and mobile orchestra musicians which will be premièred in Donaueschingen on October 16th 1999 and repeated on October 17th. This is the first scene composed for SUNDAY from LIGHT and is the SUNDAY GREETING. For more information, see the 1999 concert list.

A festival with Stockhausen music took place in Dijon, France, where three concerts of his music were performed: STIMMUNG, sung by the New Vocal Soloists Stuttgart; ARIES for trumpet and electronic music, AVE for basset-horn and alto flute, and TIERKREIS Trio Version; DREAM FORMULA for basset-horn, LUCIFER'S DREAM for bass singer and piano and KATHINKAs GESANG for flute and electronic music. There was a Stone Age mixer, an auditorium whose seats rose at about a 90-degree angle from the stage (this makes multi-track projection almost impossible), no remote control for the DA-88 (for the first concert; a very nice man drove about 100 kilometres to fetch one for the second concert), and a pre-set which held for only 9 seconds (meaning that if the performer came on-stage slightly later than planned, Stockhausen had to quickly re-set the tape before starting it). Yet, everything went fine. Michel Lejeune, the organiser of the WHY NOTE? festival there, deserves allot of credit for organising this excellent festival. We have rarely had such a warm welcome, and the audience was wonderful. The technical difficulties were not his fault, but rather the fault of the German company which we had engaged for these concerts.

Returning to Kürten, the composition of LICHTER-WASSER continued. In addition, final corrections of the scans of the score EVE'S FIRST BIRTH-GIVING were made. This is the first act of MONDAY from LIGHT and will be published in March, we hope. This year we hope to publish all three acts of MONDAY.

Much of December was spent correcting the proofs and the photographs (1070) for the TEXTE zur MUSIK Volumes 7–10 (texts written between 1984–1991), which comprise a total of 3,038 pages, weigh 7 kilos and are 20 cm wide (The TEXTE Volumes 1 – 10 are 39 cm wide). The topics covered in Volume 7 are: New information about works before LIGHT, About LIGHT until MONDAY, MONDAY from LIGHT. The topics covered in Volume 8 are: TUESDAY from LIGHT, and Electronic Music. The topics covered in Volume 9 are: About LIGHT, Composer and Interpreter, Turn of Time. The topics covered in Volume 10 are: Astronical Music and Echoes of Echoes.

All volumes include the typical "Stockhausen-mix": inspiring philosophy, soaring visions, extensive informative interviews, and excerpts from his massive correspondence – ranging from topics which concern daily life on this planet (such as trying to have hunting forbidden on his property, trying to reduce the amount of airplane noise and hot-air-balloon noise above his house, and other selected feuds with public officials) to very detailed letters to interpreters giving detailed instructions about how to perform his works. And to this is added his notorious Rhineland humour…

This is the first time that the Stockhausen-Verlag has published a book. We tried to correct all of the faults of the previous TEXTE. Volumes 1–4 fell apart after a few years, the paper was not good, the covers were not solid, etc. This time, they are hardback and they each have a little marker (in the appropriate colour, of course) so you do not have to feel that you have to read it all in one go. This was also a new experience for our local printers Druckerei Braun Lindlar (who have extensive experience with CD booklets and scores), so it took allot of correction time, but the result is worth it. Even if you do not read German, there are enough pictures and illustrations to rationalise filling up a part of your bookshelves with the TEXTE. Just holding them is an experience. And they look very nice on the bookshelf because Volume 7 is green with the Eve-sign on its back, Volume 8 is red with the Tuesday-sign, Volume 9 is white and blue with the Michael-sign, and Volume 10 is red and white with the Lucifer-sign. They all have colour photographs on both the front and rear covers.

Other excellent books have been published this year on Stockhausen works:

1) The official programme book of the International Stockhausen Symposium 1998 edited by Prof. Dr. Christoph von Blumröder and Dr. Imke Misch and published by Pfau Verlag (Cologne). This is the first in a planned series of books – SIGNALS from Cologne – edited by the Institute for Musicology of the Cologne University.

2) The book Stockhausen… un vaisseau lancé vers le ciel by Michel Rigoni published by Millenaire III (Lillebonne) is already in its second edition.

3) KURZWELLEN (SHORT-WAVES) by Winrich Hopp, published by Schott Verlag (Mainz).

4) Symbolism as a Compositional Method in the works of Karlheinz Stockhausen by Gregg Wager (College Park, Maryland)

In addition, an entire issue of the Neue Zeitschrift für Musik was dedicated to the works of Stockhausen, on the occasion of his 70th birthday.

In January 1999, composition of LICHTER-WASSER continued, and the TEXTE zur MUSIK Volumes 7 – 10 were finally delivered.

Two scores were also delivered by the Eul und Günter printers: LITANEI 97 for choir and singing conductor and SAXOPHON for soprano saxophone and bongo.

And today Stockhausen signed the contract for the final scene of SUNDAY from LIGHT, to be premiered in 2003 at a Music Festival on the Canary Islands. It will be for orchestra and choir in two different halls, relayed to each other via video and audio installation. There is no going back after the HELICOPTER STRING QUARTET. Stockhausen wants to expand space more than ever, and to integrate widely separated spaces into synchronicity.

That's all, folks. Everyone in Kürten says hello, including Lucicamel who now lives here. He plans to attend the Stockhausen Courses Kürten 1999 so all of you attending may shake his (golden) hoof.