How Creation is Composed

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"...How Creation Is Composed": Spirituality in the Music of Karlheinz StockhausenAuthor(s): Günter Peters and Mark SchreiberReviewed work(s):Source: Perspectives of New Music, Vol. 37, No. 1 (Winter, 1999), pp. 96-131Published by: Perspectives of New Music

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".. .How CREATION S COMPOSED":SPIRITUALITYIN THE MUSIC

OF KARLHEINZ STOCKHAUSEN

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GUNTER PETERS

N AN INTRODUCTORY LECTURE to his choral composition Litanei 97,Karlheinz Stockhausen outlined the three most important aims and

orientations of his work:1

1. to form the music in absolute freedom, independent of any exterior

rules, regulations and restrictiveforces, free from the limitations ofmusical styles and social ideologies;

2. to create, with every piece, something new, unique, unmistakable,

original, something hitherto unheard of: an individual living being;

3. to be awareof "das Geistig-Geistliche."2 tockhausen asserts, "It hasbeen my deepest experience ever since I can think (approximatelysince I was three or four years old) that I will always let myself be

guided-also in my work as a composer."3







Perspectivesof New Music

Photographby BrigitteFriedrich, ologne

KARLHEINZSTOCKHAUSEN,

1999

96








To let oneself be freelyguided towards the New-this appearsto be acontradiction in terms. It can, however, be viewed as a first indication ofthe religious in Stockhausen's music: Lactantius interpreted religio from

religareas the reconnection of man with God.4 Stockhausenwants all hismusic to be understood as a continuous praising of God: Cicero derivedthe term religion from the Latin relegere, the careful worship of the

gods.5 New music as a praising reconnectionof the artist, who has freedhimself from aesthetic conventions, social restrictions,and political ideol-

ogies,with divine creation-this could be taken as a formula to outline

the relationship of religion and art in the music of Karlheinz Stock-hausen.

The fact that Stockhausen's composition has continuously been nour-ished from the realm of the Geistig-Geistliche an be seen in the titles of anumber of his pieces: Choral (1950), Prozession(1967), and Mantra

(1970); Inori-the Japanese term for praying (1973); "Kreuzigung"(crucifixion), "Mission," and "Himmelfahrt" (ascension); episodes fromMichaelsReise um die Erde (1978) from Donnerstag;"Pieta," an episode

from Dienstag (1990/91); and, finally, "Fall" and "Reue,"6scenes fromFreitag (1994). All these compositions are, in their titles, unmistakablyrelated to divine revelation and liturgy.Nevertheless, they free themselvesfrom rules, regulations, and traditions in order to explore new ways toconnect music with the divine and to translate the spiritual content,which is expressed in the titles, into music. Thus they are able to tran-scend their Christian and European context.

Other titles point towards a religious dimension within the autono-

mous musicality of their form: Kreuzspiel from 1951, for example, orFestival from MichaelsHeimkehr(1980). Titles such as Telemusik 1966),Hymnen (1966/67), and Trans(1971) intentionally blur the boundariesbetween the political, the religious, and the purely musical.

Even when compositions bear names that stress the importance ofabstract form, such as Punkte (1952/62) and Kontra-Punkte (1952/53), Zeitmafie (1955/56), Gruppen (1955/57), Zyklus (1959), Carre

(1959-60), Kontakte (1958-60), and Momente (1962-64/69), theyoften reveal, at a closer examination, that

theyare

governed bya force

which forms and transcends space and time via the Geistig-Geistliche. n

Spiral (1968), this principle of transcendence becomes clearlyvisible: it

encourages the musicians to spiralup beyond their limits.

Nature, be it earthly, bodily, or cosmic, is being hinted at in composi-tions such as Herbstmusik(1974), Musik im Bauch (1975), Sternklang(1971), and Sirius( 1975-77). Ylemis the title of a composition for nine-teen musicians (1972)-"Ylem," a derivation from the Greek term hyle(iXAll),is the term which the two physicists George Gamov and Ralph

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VOCAL MODELS XVI AND XVII (VERSE 2B)

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EXAMPLE 2: SCALE OF PRAYERGESTURES FROM INORI (1974)

Second, the overtone-singing is repeatedly stirred up by "magic names"and by the invocation of the seven days of the week-words sung by a

soloist which then have to be integrated by the ensemble (see Example3).

However, Stockhausen also repeatedlyused religious texts for his com-

positions. For his early work Choral he wrote a text which already fea-tures the figure of the first mother, who later, in the cycle Licht, playssuch an important role as Eve. GesangderJfinglinge is based on an apoc-ryphal part of the Book of Daniel, and in the UnsichtbareChorethat is

part of Donnerstagfrom Licht, Stockhausen also set to music apocryphalverses of the Old Testament: Judgment Day (from the Ascent of

Moses),The End of Time (from the Apocalypse of Baruch), and Hymn (fromLeviticus), partiallyin Hebrew and partiallyin German translation. In hismost autobiographical work,17 Stockhausen also chose a biblical text:Momente, composed for solo soprano, four choir groups, and thirteeninstrumentalists(1962-64), is based on the Song of Solomon (in MartinLuther's translation).This religious love poem is reflected in a letter writ-ten by Mary Bauermeister. His love for Mary Bauermeister,a painter and

sculptor from Cologne, forms the basis for Momente.Stockhausen, being

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a husband and father, was deeply affected and shaken by his feelings for

Bauermeister (the consequences eventually caused him to leave the

Roman Catholic church).In Momente,Stockhausen transformshis love and the conflict which he

sees himself being exposed to into music. The three main parametersof

the composition are related to the three participants in the love- and

marriage-dilemma:The letter "D," the initial of the first name of Stock-

hausen's wife, Doris, is assigned to the proportions of duration in thepiece. These proportions are characterized by polyphony, syncopated

irregularity,and the pitches of electronic organs and female voices. "M,"for Mary, stands for the melodicproportions, in which tones and soundsof the soprano solo, the trumpets, and the trombones are equally mixed.

Finally, the homophonic noises of the percussion and the male voicesdominate the musical cells that are given the letter "K," taken from thefirst name of the composer himself and indicating the dimension of

Klang (timbre). In various, serially determined mixtures, these three

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Stockhausen took from the Prelude of the book Man's Emerging Mind,by N. J. Berrill.22It reads, "He who kisses the joy as it flies, / Lives in

Eternity's sunrise."

Love, composed into a moment of fulfillment, anticipates eternitywithin time. On eternity, Meister Eckhart remarked, "dafi Dasein und

Jungsein bei ihr eins sind" (in it, existence and youth are one).23 In

Momentform,musical time can eternallyrejuvenateitself.

3. "ASTRONIC MUSIC"

When asked by the French Association Ethique & Politique, "Do youbelieve in the existence of God?" Stockhausen replied, "God is the 'I' ofall universes."24When the music critic Heinz Josef Herbort, writing for

the weekly newspaper Die Zeit, wanted to know from Stockhausenwhether God also had musical talents, he answered, "Yes,yes. God is the

greatest musician of all time, the greatest composer."25 Stockhausen's

cosmic view of God is entirely based on a theology of Creation. The der-ivation of his method of composing from the process of God's creation in

the cosmos has led some people to accuse Stockhausen of being hubris-

tic, and he has often received malicious press from music critics. Ideolog-ical criticism itself, however, turns into ideology if it rashly reducesStockhausen's conception to a dated aesthetics of genius. Rather, itshould be asked whether "creation" isn't exactly the term which wouldallow theology, natural science, and art theory to enter a dialogue.26

With his work Licht,Stockhausen aims in this direction in saying, "Beingonly a minor assistant of the greatest composer, I hope to compose mywork in a satisfactoryway: 'God willing."'27

Even Martin Luther, in spite of his reservationsregarding the possibil-ity of knowing God through nature,28speaks of the cooperation of manin the process of creation. The passivenessthat lies in Luther's assessmentof the cooperatiohomini-he demands passive acceptance of that whichGod creates for man29-easily correlates to Stockhausen's view of the

composer as an "Ubersetzer"(interpreter),

a"Radioapparat" (radioapparatus).30In the angelology, the archangel Michael, whom Stock-

hausen venerates as his patron saint, is assigned the role of interpreterbetween God and man.31 In the current discourse on the theology ofCreation the thoughts of Jiirgen Moltmann32seem to be most similar toStockhausen's beliefs. Moltmann rehabilitates the theology of Creation,which seemed to be obsolete for a long time, and expounds it in the con-text of world religions. His argumentation is pneumatologic, orientedtoward the creative energies of the Holy Ghost, and thus it opens new

possibilities for a dialogue with the natural sciences. As Moltmann

108







'... How Creation is Composed"

argues, "It follows that the triune God also unremittingly breathes theSpirit into his creation. Everything that is, exists and lives in the unceas-

ing inflow of the energies and potentialities of the cosmic Spirit."33As

spirit, the transcendental God is omnipresent in the material structure ofthe physical world. From the point of view of the theology of Creation

there is neither uninspired matter nor immaterial spirit: "there is only

informedmatter. But the different kinds of information which determinethe systems of life and matter must be given the name 'spirit.' In human

beings theyarrive at consciousness in a

creaturely way."34Althoughthe

open system of the cosmos is the subject of rational scientific research, itcan still be considered "corresponding to God."35This can be viewed asa reason the artist can consider himself to be an "assistant"36 o God:"because it is effected through God the Spirit, and exists in God the

Spirit, it also moves and evolves in the energies and powers of the divine

Spirit."37Moltmann's theology of Creation and Stockhausen's creationist aes-

thetics are very much related to each other. Nevertheless, even though

they both use the same terminology, this does not necessarilymean thatthere is a direct influence from either side. Without the constant influx ofthe energies of the cosmic spirit (in a Moltmannian sense) no artist cancreate anything unique and no work of art can truly begin to live. For

example, in the intuitive music of Es from the cycle Aus den siebenTagen(1968), the main issue is "to create a tone form that is completely new toall of us, full of tenderness and full of energy, full of surprises."38Stock-hausen speaks of "cosmic rays"39 hat enter the rational process of com-

position from an incalculable dimension: "if, in the best moments, I useall my craftsmanshipas a constructor, it is necessarythat something froman unknown world enter my construction. You could certainly call this

'something' cosmic rays,since we have only very few words for this meta-

physicalworld. So, if someone called me a mystic, I would happily agreewith him. Mysticism is that which begins where reason ceases to provideexplanations. When reason reaches the limits of that which is analyzableand explicable, this is where the mystic starts. For me as a musician, this ishome. That is where I want to

go."40As a composer, Stockhausen is constantly searching for God,41and his

quest for God leads him deeply into admiration for the cosmos, as it

appearsin the most recent theories and observations of natural science.With this, in spite of the avant-gardeposition of his musical language, hefollows a tradition which is as old as art itself and which found its expres-sion, for example, in the physico-theological poetry of the early Enlight-enment. There the issue was to harmonize Newton's New Science withthe Biblical images of creation. Physico-theological poets modernized

these images and praised God in a scientificallyand artisticallyelaborated

109








form. With reference to a line from the programmatic poem "Die Welt"in the first volume of the collection IrdischesVergniigen n Gott by Bar-thold Heinrich Brockes, which I have cited in my book Die Kunst derNatur, Stockhausen replied to me in a letter: "'Through the ear, ourmind reads the digits of His power': I am practicingthis especiallynow in

my studies of our solar system with its nine planets, sixty-one moons, andtheir rotation around themselves and around the sun: complicatedmusic "42At present, Stockhausen is working on the opera Sonntag. In

the first scene of this work, called Lichter-Wasser, e composes the solarsystem as musical space:43From a contemporary perspective, the rele-vance of Pythagoras,Boethius (De institutione MusicaeI, 27), and Kepler(Harmonices mundi III) concerning the harmony of the spheres and themusic of the planets is reinforced by Stockhausen's composition. Accord-

ing to these theories, the universe is organized by mathematicalpropor-tions. The tones of the planetary orbits combine into scales-followingthose laws of proportionality that also form the basis of music (Musica

theorica-practica; Musica mundana, humana, instrumentalis).44Stock-

hausen's concept of "Weltmusik"relates more to this musica mundanathan to that which today is fashionably called "World Music." At thesame time, his understanding of the Geistig-Geistlicheranscendsthe bib-lical notion of God as the Creator and the Christiandoctrine of salvation,encompassing the cultures, myths, and religions of the world.45Risking aclose touch to esotericism and New Age philosophy, Stockhausen arguesfor a new form of religiosity.Speakingfrom the perspectiveof a musician,he asserts, "the next step is the untangling of the particularreligions. A

new orientation has to occur, which embraces all of humanity and inwhich no one feels excluded and fought against by others simply becausehe or she thinks differently or has a different sense of life. A new religios-ity has to be established. I believe that, for example, the pure, abstractarts acquire a new purpose in this development-to connect man withthe mysterious vibration structures of the entire cosmos. Therefore it canbe said that if one sees, grasps, and understands the deeper meaning of amusical work of art, one will eventually become a humble admirer ofGod. One will become aware of the

intelligenceof the universe that

pul-sates through everything. And one will also realize that the composer is aservant, an assistant to the universal God who creates such a wonderfulwork of art."46Saying this, it must be noted that Stockhausen, in his

compositions, always finds ways to ensure that the humble posture ofadmirationfor God in the process of listening does not turn into bigotedfalse piety. This is achieved through a certain bizarrenessof the imageryin the music, but most importantly through a variety of elements ofhumor and comic relief in the musical situations. A good example illus-

I 10








trating this strategyis the choral opera Atmengibt das Leben(1974/77).In this work, Stockhausenprobablywent furthest in mixing different tex-

tual sources and different world cultures. He uses Japanesehaiku poetry,Socrates, Meister Eckhart, and the Gospel according to St. Thomas,

together with his own casually phrased texts on the incarnation of Christand on ghostly aspects of particle physics. In this way, the Grand Unifica-tion Theories (GUT),47 which bring together particle physics and cos-

mology by the use of common equations, are extended to a geistig-

geistlichephantasmagoriaabout the universe (see Example 5).

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The magic cry of the bass, reacting to the witch-like "Muonen" of the

sopranos, brings to mind the exclamation of the tone HU in Stock-hausen's work Inori. HU is, according to the mystical Sufi Message ofHazrat Inayat Khan, "the only name of the nameless ... the only nameof God." HU corresponds to the godly pitch G4, the tone in the middleof the pitch-range that all instruments can play.48By way of linguisticmysticism, Hazrat Inayat Khan connects the name of God with that of

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man: HUMAN means "man who is aware of God." In the choral operaGod's voice penetrates the musical "hide-and-seek" of the elementaryparticles by calling out his name. However, the hissing sounds, withwhich the bass-magicianlater enchants the chorus, could also come from

Lucifer, the angel negating the creation of man, whose quarrel withMichael and Eve runs through the opera cycle Licht.

"And during this life of two-millionths of a second, / a muon canmake a distant journey."49Stockhausen is impressed, both as a composerand as an observer of

Creation, bythe fact that in a

microcosmicallysmall

amount of time a vibrating particle of matter, for example, a myon-neutrino, can travel extraordinarily ong distances through the universe.The knowledge that a moment in physicalspace-time contains such mys-teries as the cosmic travels of ghostly elementary particles opens up new

spaces for the composition of time. Stockhausen envisages composing(after the Week) the Day, and finallythe Second, in order to explore theinner life of time in music.50Time is being brought into verticality,as amoment so rich and full that it might last eternally.In this, however, the

religious dimension of Stockhausen's understanding of time becomes vis-ible: time, in itself, contains a point of eternity. From the richness andfullness of this point an entire work of art, a musical cosmos, can beunfolded. In his epoch-making essay "... wie die Zeit vergeht..."(1956),51 Stockhausen laid out the theoretical basis for the understand-

ing of all musical parameters-proportions of duration, aspects of

rhythm, as well as pitch, timbre, and dynamics-as Zeitproportionen pro-portions of time). The progression from serial to formula composition,

which Stockhausen realized in Mantra, draws the conclusions from thecontinuous refinement and development of this basic assumption. In thecontext of our examination it is important to keep in mind the affinityofthis assumption with theological and cosmological concepts: The uni-verse unfolds its (Einsteinian) space-time according to mathematical

equations which are valid in the smallest particles of matter and in the

largest clusters of galaxies. Through his Spirit, God is present in thewhole creation and in the very structures of matter. Stockhausen createshis musical world as an aesthetic extension of this morphologic and ener-

getic universe. He starts from a formula which, matrix-like, incorporatesall preconditions of the work. Mantra combines both the cosmologicaland the religious aspect. Stockhausen composed it like a galaxy;52ts titleshows the closeness of the composition to a prayer:A 'Mantra'is in itselfa meaningless sound, which causes inner vibrations that lead to concen-tration and self-knowledge.53 In the same way a meditation unfolds on aMantra, Stockhausen's piano composition is made up of a formula ofthirteen tones (see Example 6)-very different from a variation cycle in

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the traditional sense. Mantra and Inori are compositions in which Stock-hausen developed the method of formula composition.54 His composi-tion of the signs of the zodiac in Tierkreis,and especially Sirius as an

opera of the four seasons, finally lead him to the project of composing

the seven days of the week; the entire, extremely rich musical world ofthe opera cycle Licht is derived from one triple-layered "super-formula"(Example 7).

In Licht, Stockhausen creates a musical phantasmagoriaof the seven

days of the week. Without the intention of telling a coherent story, heforms the cycle as an agon-one could almost say a Psychomachia-ofLucifer, Michael, and Eve, concerning mankind and the question ofwhether it is good that the way towards spiritualperfection leads through

birth and death. The composer venerates Michael as his patron saint.55He says that it is "the ultimate destiny of every man to become a singingand playing angel: a Homo Angelicus."56 Stockhausen sees himself as

Huma, the "divine bird"57-virtually composing a theosophical journeythrough space and time in Sirius. It would certainly be necessary to con-sider in more detail here Jakob Lorber, from whose writings Stockhausen

quotes in "Verkiindigung,"the final part of Sirius. There are interestingparallels and antitheses between Stockhausen's and Lorber's youth. Inthe title Sirius, however, one can also detect the Semitic root "sir,"

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ody is rising-falling-rising, LUCIFER's melody leaps twice and fallsafter each leap."63

One example of the spiritualdimension in Stockhausen's scenic com-

position of Lichtmust suffice here. In Festival, the first scene of the thirdact of Donnerstag, Michael, after childhood and youth and a journeyaround the earth, returns back to Heaven. He is being awaited there witha number of gifts. At first, he receives three plants and three composi-tions of light. The third gift is a globe. Out of this globe, however, jumpsLucifer, who refuses to allow Michael to

putthe

globeback into God's

lap. What follows is the fight with the dragon, known from the Revela-tion of St. John. In it, the trombone player,resembling the devil, acts as

step-dancing torero (see Example 8): Stockhausen does not set up a ster-ile play of legends. Instead, he mixes cultural codes, he breaksup tradi-tional images and, thus, makes room for the development of new

things.64

4. "LOVE"ON THE AGENDA OF WELT-PARLAMENT

Goethe once ironicallystated that in the ethical and moral world he was a

monotheist, as a natural scientist he was a pantheist, and as an artist hewas a polytheist. In Stockhausen's case, one could say that as an artist heis (1) a monotheist, (2) a pantheist, and (3) a polytheist as well:

1. As Stockhausen claims, "the pure musicality leads [us] to feel" that

God, the "I" of the universe, requiresof man the overcoming of thematerialaspects of life, the spiritualizationand the strivingtowards a

higher spiritualconsciousness.65 The musician is religious insofar ashe begins his work "with the most basic exercises of meditation" inorder graduallyto become a "receiver,"a "radio-apparatus"or themeta-consciousness of the universe.66

2. God is visible in all creative processes of nature. The artist attemptsto follow God's model in that he tries to create the living organisms

of new works by using the "generative code of music"67 of his for-mulas.

3. In a variety of imaginative mythologies, the pure idea of God isinherent in the cultures of the world. The creativefantasyof the art-ist as seeker after God takes the richness of religious images andforms into his compositions.

All three aspects highlight creativity as the core theme and the driving

force of music-understood as something radically new, something

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which neither reverberates only from the past nor simply reacts to thepresent. Rather, it is perceived as "the Geistige,which comes from the

realm of the future into the present, and which draws man into the futureand enables him to have new experiences in order to allow him to expandhis feelings, his thoughts, and his hope."68 What this new thing sounds

like, when dedicated to the age-old subject of "love," may be indicated in

a concluding illustration (Example 9).In a conversation of 10 July 1988, which was published in the tenth

volume of Texte under the heading "Astronische Epoche" (AstronicEpoch), Stockhausen is asked the "crunch question" by the interviewerAstrid in't Veld. He answered, "Do we not call a religion somethingwhich has been given a commonly accepted form by founding figures of

religions or by representativefigures of religions? Awareness of the uni-versal spirit of God is not religion. Or rather: It is not a religion, but theawareness of God. When I say that man perceives himself as being anatom of God and as a particle of the entirety of the universe, and that allhe strives for is a growing knowledge of the meaning, the function, and

the mechanisms of the universe, then this is a spiritualorientation relatedto all religions, but it is not a religion."69Only if one takes into consider-ation religion as this cosmic progress towards an "awarenessof God" canone understand Stockhausen's fascination with extremely advancedmeans of sound production and his continuing development of serial

techniques towards formula composition. Only by the use of elementaryelectric waves together with the human voice was Stockhausen able to

produce a geistig-geistliche composition like Gesang der Junglinge. The

Mikrophonieof hitherto unheard vibrations in the interior life of a tam-tam gave Stockhausen an idea of what it would be like "to be allowed tomake music in a higher world... with bigger tones, with planets andmoons and buzzing groups of planets and moons and suns, so to

speak."70 Lichter-Wasser ealizes this "astronic" space-music, and it is alove duet of Eve and Michael. The embedding of the compositionalpotential of twelve-tone rows in the matrix of a "super-formula,"how-

ever, made possible a music in which the creative tension between theindividual and the

cosmic, periodicityand

aperiodicity,order and free-

dom, and construction and intuition continually creates new cells in an

organism of a spiral-like expanding work. At the apex of autonomous

composing, as it is achieved with the method of formula composition,Stockhausen brings to life the New of a geistig-geistlichemusic. He doesnot want to imitate Creation descriptively. Rather, his music comes tofind its own freedomin the admiration of "how Creation is composed."

-Translated by MarkSchreiberand the author

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NOTES

1. Introduction and discussion with the audience at the first perfor-mance of Litanei 97 on 26 July 1997 in the Augustinuskirche inSchwabisch Gmind. Printed as "Freiheit-das Neue-das Geistig-Geistliche," Neue Zeitschriftfir Musik (July-August 1998): 19-25

(abridged version, authorized by the composer).

2. The notion "dasGeistig-Geistliche" emphasizes the balance betweenreason and religion in Stockhausen's thinking: to go to the limits ofreason (geistig) in order to transcendit towards spirituality(geistlich).

3. "Es ist meine tiefste Erfahrung, seit ich denken kann (etwa seitmeinem dritten, vierten Lebensjahr), dafi ich mich immer fiihrenlasse-auch beim Komponieren."

4. Lactantius, Divinae Institutiones 7.28.

5. Cicero, De Natura Deorum 2.72.

6. To be understood here in the biblical context of the "marriageof

angels and women": Genesis 6; the apocryphal book of Henoch,chapters 6-9; Alfons Rosenberg, Engel und Damonen: Gestalten-wandel eines Urbildes Munich: Prestel, 1967), 151-53.

7. Stephen Hawking, A Brief History of Time. German edition, Einekurze GeschichtederZeit: Die Suchenach der Urkraft des Universums

(Reinbek bei Hamburg: Rowohlt, 1997), 147.8. Inlay of Stockhausen Complete Edition CD 21: Ylem, 5-6.

9. "Light" in Genesis 3-5 and 14 is Stockhausen's favorite word fromthe Bible. See Texte10, 39.

10. "Ich habe die ETUDE concrete 1952 in Paris im Club d'essai reali-siert. 1953 kam ich zum Studio fur Elektronische Musik des West-deutschen Rundfunks und realisierte die elektronische STUDIE I

und STUDIE II. In beiden Stucken habe ich Skalen verwendet, dienicht die iiblichen chromatischen Skalen sind, sondern neue Skalen.Danach wollte ich unbedingt erforschen, wie Musik klingt, wenn ich

ganz verschiedene Skalen verwende-fiir die Tonhohen und fiir dieLautstarken und auch fur die Klangfarbenund fur die Zeitdauern;und GESANG DER JUNGLINGE ist mit einer ganzen Serie vonSkalen realisiert. Aufierdem wollte ich weitergehen in der Verbin-

dung von Tonen und Gerauschen und habe also zuerst sehr viele

123








verschiedene 'Klangfamilien' produziert: gefarbte Rauschen, durchFilterungen von weifem Rauschen; Impulse, die durch einenabstimmbaren Anzeigeverstarker von mir mit Resonanz, also miteinem Ruckkopplungsfilter, produziert wurden und ganz ver-schiedene Farben geben. Augerdem habe ich alle moglichen Sprach-klangfarben prapariert, also vokalische oder konsonantische und

halbkonsonantische-ich studierte gleichzeitig Linguistik und Pho-netik an der Universitat in Bonn-und habe mit einem Knaben

Aufnahmen mit einzelnen Silben und Silbenverbindungen gemacht,was sehr kompliziert war. Ich habe jede Woche Tonschleifen vorbe-reitet mit Tonhohen, die der Knabe dann iiber Kopffiorer gehortund nachgesungen hat, und ich habe immer die besten ausgewahltusw.

Zum anderen aber wollte ich-was eigentlich in den fruherenWerken auch schon der Fall war-auch in den elektronischen STU-DIEN-eine Musik machen, die mein Verhaltniszu Gott ganz deut-lich markiert. Bei abstrakterMusik gibt es ja keine Worter, und die

Menschen konnen nicht so ohne weiteres horen, daBmeine Propor-tionen in der Musik von Anfang an bis heute so an das angelehntsind, was ich aus der Natur der Sterne und der Galaxien und ande-rerseits der Atome und Molekiile und der Zellen lerne, daf alles eine

Erweiterung dessen ist, was ich erlebe als Schopfung-wie die

Schopfung komponiert ist. Nun ist der GESANG DER JUNG-LINGE etwas besonderes, denn ich ging zur Zeit, in der ich ihn

komponierte, als katholischer Christjeden Sonntag in die Messe und

oft in die Friihmesse zur Kommunion, und nach jeder Messe habenwir mit der ganzen Gemeinde den GesangderJiunglinge gebetet. Esist also naheliegend, dafi ich diese Texte des Gotteslobes omponierthabe: Alle Werke, die Himmel, die Heerscharen, alle Erscheinungender Natur preisen Gott; das Ganze ist ein Lobpreis Gottes in vielenVariationen. Daf mich der Gesang der Junglinge im Feuerofenausdem Buch Daniel besonders faszinierte, hat natiirlich den Sinn, dafich mich damals selber fihlte wie ein Jiingling im Feuerofen. Alles,was ich

machte,wurde von den

Musikjournalistenund den

Spezialis-ten der Musik z.T. unglaublich aggressiv abgelehnt und verdammt.Es gab da den Professor Blume, Vorsitzender der deutschen Musik-

wissenschaftler,der in einem grofien Text schrieb, Stockhausen legtedie Axt an die Wurzeln der Musik und vernichte die ganze abend-landische Musik. Also, ich fiihlte mich so ahnlich wie ein Jiingling imFeuerofen und konnte nur beten, daf der HI. Michael mich ausdiesem siedenden Feuer wieder herausfischt.-So ist das Werkentstanden. Es hatte eigentlich viel langer dauern sollen. Aber die

124








Urauffiihrung war angesetzt, ich war nicht fertig und habe also nachdiesen dreizehn Minuten Schluf gemacht. Es klingt jetzt, als miifte

es so schliefien, aber ich hatte gern alle Canti des GesangsderJung-linge komponiert.-Na gut, es kam dann etwas anderes, was auchsehr schon war. Ich habe bald angefangen, Kontakte zu kom-

ponieren-GRUPPEN war ja fertig-und dann CARRE und vieleandere Stiicke, die auf eine andere Weise das Gotteslob auskom-

ponieren."

11. "die Sprache hoher entwickelter Wesen: die Sprache schlechthin"(conversation with Jill Purce, 1978), in Texte6, 347ff.

12. "Das war mein erstes offentliches Gebet als musikalisches Werk."From "LICHT-Blicke" (conversation with Michael Kurtz on 24 Jan-

uary 1981) in Texte6, 205.

13. "Danken und Preisen, ein Loben und Bewundern, ein begeistertesBekennen: ich arbeite gem mit Dir, Gott, Du bist absolut genial "

Ibid.14. See Vortraguber HU (Kurten:Stockhausen-Verlag,1979), 8.

15. See Gunter Peters, "Die ringmodulierte Meditation. Helmut Heis-senbittels 'Einfache grammatische Meditationen' in KarlheinzStockhausens Mikrophonie II," in Musik-Konzepte 81: Autoren-Musik. Sprache im Grenzbereich der Kunste (Munich: Edition Text+ Kritik, 1993), 16-40; earlierversion published in English: "Medi-tations Modulated. H. Heissenbuttel's 'Einfache Grammatische

Meditationen' in K. Stockhausen's Mikrophonie I," in German Lit-erature and Music-An Aesthetic Fusion:1890-1989, ed. C. Reschkeand H. Pollack, Houston German Studies 8 (Munich: Wilhelm Fink

Verlag, 1992), 247-61.

16. Image of the vowel-square in Texte5, 48, and Texte7, 166 and 168;color image in the inlay of Stockhausen Complete Edition CD 12:

Stimmung.

17. Michael Kurtz, Stockhausen.Eine Biographie (Kassel and Basel:Barenreiter, 1988), here especially 151-64; for a discussion of reli-

gious orientation in relation to biography and musical poetics, see

Christoph von Blumr6der, Die Grundlegung der Musik Karlheinz

Stockhausens,Beihefte zum Archiv fir Musikwissenschaft 32 (Stutt-gart: Franz Steiner Verlag, 1993).

18. "Die geheimnisvolle Person aus der Theosophie," letter to the

author, 17 March 1999.

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19. From a conversation with Hermann Conen and Jochen Hennlich,24 May and 11 July 1984, Texte6, 289.

20. "For love is strong as death," Song of Sol. 8:6 (King JamesVersion).

21. "Jealousy is cruel as the grave: the coals thereof are coals of fire,which hath a most vehement flame." Song of Sol. 8:6 (King James

Version).

22. Norman John Berrill, Man's EmergingMind: Man's Progress hrough

Time-Trees, Ice, Flood, Atoms, and the Universe(New York:Dodd,Mead, 1955).

23. Meister Eckhart, Schriftenund Predigten I (Leipzig: E. Diederichs,

1903), 164 (cf. Jiirgen Moltmann, Der Geist des Lebens(Munich:Chr. Kaiser,1991), 298).

24. On 21 July 1989, in Texte10, 180.

25. On 19 August 1988, in Texte10, 177.

26. A very useful reader with regard to the dialogue between theologyand natural science is Der Kosmos als Schopfung:Zum Stand des

Gesprdchszwischen Naturwissenschaft und Theologie, ed. JohannDorschner (Regensburg: F. Pustet, 1998).

27. "Als kleinem Assistenten des grofiten Komponisten moge mir das

Werkgelingen: 'So Gott will,"' 5 February 1986, Texte10, 39. Eventhe poet Barthold Heinrich Brockes saw himself as a small tool of the

"great writer"; cf. Giinter Peters, Die Kunst der Natur: AsthetischeReflexion in Blumengedichten von Brockes, Goethe und Gautier

(Munich: Wilhelm Fink Verlag, 1993), 154.

28. Martin Luther, "Der Prophet Jona ausgelegt" (1526), in Werke,WeimarerAusgabe (Weimar: H. Bohlaus, 1883- ), vol. 19, 206f.:"Also spielt auch die vernunfft der blinden kue mit Gott und thut

eytel feyl griffe und schlecht ymer neben hin, das sie das Gott heysstdas nicht Gott ist, und widderumb, nicht Gott heysst das Gott ist

[...]. Darumb plumbt sie so hereyn und gibt den namen und gott-liche ehre und heysset Got, was sie dunckt das Got sey und trifft also

nymer mehr den rechten Gott sondern allewege den teuffel odder

yhr eygen dunckel, den der teuffel regirt."

29. See Luther's interpretation of 1. Artikel des Glaubensbekenntnissesin: Martin Luther, "Der Grofie Katechismus," Werke,WeimarerAus-

gabe, vol. 30, 1, 183-85; furthermore, see Luther's pamphlet "Vomunfreien Willen" (1525).

126







'... How Creation is Composed"

30. Litanei 97, I; additionally printed in "Freiheit-das Neue-dasGeistig-Geistliche" (see note 1), 22.

31. Alfred Hermann (in cooperation with W. v. Soden), passage "Dol-

metscher," in Reallexikonfur Antike und Christentum,ed. Theodor

Klauser,vol. 4 (Stuttgart:A. Hiersemann, 1959), 24-50.

32. Jiirgen Moltmann, Gott in der Schopfung:Okologische chopfungslehre(Munich: Chr. Kaiser, 1985; 4th ed. 1993); English edition: God inCreation: A New

TheologyofCreation and the

Spirit ofGod

(SanFrancisco: Harper & Row, 1985; 4th ed., Minneapolis: Fortress

Press, 1993). Also see Jiirgen Moltmann, Der Geist des Lebens:Eine

ganzheitliche Pneumatologie (Munich: Chr. Kaiser,1991); regardingthe relationship between the theology of creation and creationist aes-

thetics, see the annotated bibliography by Alexandre Ganoczy and

Johannes Schmid, Schopfungund Kreativitat (Diisseldorf: Patmos

Verlag, 1980).

33. Moltmann, God in Creation, 9. Regarding the physicalbasisof a cos-mic pneumatology, Moltmann refers to James Clerk Maxwell, A

Dynamical Theoryof the ElectromagneticField, ed. Thomas ForsythTorrance (Edinburgh: Scottish Academic Press, 1982). Moltmann,Der Geist desLebens,287f.; God in Creation, 200.

34. Moltmann, God in Creation, 212.

35. Moltmann, ibid.

36. See note 27.37. Moltmann, God in Creation, 212.

38. "[D]afi ein Klanggebilde entsteht, das fiir uns alle etwas Unbe-kanntes ist, voll Feinheit und auch voll Energie, voll von Uber-

raschungen," in Stockhausen, "Freiheit-das Neue-das Geistig-Geistliche" (see note 1), 21.

39. Ibid.

40. "[D]af namlich, wenn ich in den besten Momenten all mein Hand-werk als Konstrukteurbenutze, ein Einschufi aus einer unbekanntenWelt notwendig ist. Sie konnen ihn ruhig als kosmische Strahlenbezeichnen. Wir haben ja nur wenige Worter fur diese metaphysischeWelt. Wenn also jemand sagt, ich sei ein Mystiker, so antworte ich:'Gerne'. Denn die Mystik ist das, was dort beginnt, wo unser Ver-stand nicht weiterkommt, wenn er sich auch noch so anstrengt;gerade dann, wenn er sich extrem anstrengt und an die Grenze

127







".. How Creation is Composed" 129

tion CD 14, Aus den siebenTagen,notes to Goldstaub,114-15 in theGerman edition, 112-13 in the English version. The German text

also appears n Texte4, 151. See also Texte10, 61.

49. "Und in diesem Leben einer Zwei-Millionstel-Sekunde / kann ein

Muon eine weite Reise machen." Inlay of Stockhausen CompleteEdition CD 23, 8.

50. Conversation with Richard Dufallo, 8 April 1987, in Trackings:

ComposersSpeakwith Richard

Dufallo (New York,Oxford: Oxford

University Press, 1989), 216.

51. Texte 1, 99-139. In English, trans. Cornelius Cardew, as "... How

Time Passes ... ," in Die Reihe 3 ("Musical Craftsmanship") (1959):10-40.

52. Conversation with Christopher Auretta, Texte 10, 207; see also

Jonathan Cott, Stockhausen:Conversationswith the Composer Lon-don: Picador, 1974), 202-27; on p. 223, "Mantra, as it stands, is a

miniature of the way a galaxyis composed."

53. "Ein an sich sprachlich bedeutungsloser Klang, der innere Vibra-

tionen hervorruft, die zur Konzentration und zur Selbsterkenntnis

fiihren.," in Handbuch Weltreligionen,4th ed. (Wuppertal:R. Brock-

haus, 1996), 437.

54. Hermann Conen, Formel-Komposition:Zu Karlheinz StockhausensMusik der siebziger Jahre, Kolner Schriften zur Neuen Musik 1

(Mainz: B. Schott's Sohne, 1991).55. In the context of Vision, Stockhausen also speaks of "Christ-

Michael" as role model and as the ideal musician (see Texte10, 48);the role of interpreter has already been mentioned above (see note

32). In the Jewish gnosis of the Talmud, Michael is assigned as

"planetary spirit" to Mercury; in the hermetic scriptures of theChristian Middle Ages he is named in reference to the sun; in Islamhe is, as Mikal, seen as master of the forces of nature. As a compen-

dium of angelic lore, see Gustav Davidson, A Dictionary of Angels,Including the Fallen Angels. New York:The Free Press, 1971. By the

way, Michael is the patron saint of the Germans-as such he guardsthe gate of the Memorial of the Battle of the Nations in Leipzig.With reference to this, cf. Rosenberg, Engel und Dimonen, 100f.:Even Charles the Great tried to get the synod of Mainz to convincethe pope to give Michael the status of patron saint of the HolyRoman Empire. As a consequence, the pope ordered the feast of the

angelfor the entire church to be celebrated on 29

September.After








the division of the Empire, France and Germany both claimed theangel for themselves. "Although they [Germany and France] have

been enemies for centuries, spiritually hey are still one, manifested inthe symbol of Michael."

56. Texte10, 367.

57. Notes to Goldstaub from Aus den sieben Tagen, Texte4, 151, and

inlay of CD 14, 115; English version, 113.

58. Rosenberg, Engel und Ddmonen, 30.

59. The writings of Alice A. Bailey (a student of Helena Blavatsky), of

Arnold and Wilhelmine Keyserling, and those of Alfons Rosenbergare especially important in this respect. Regarding Rudolf Steiner's

perception of Lucifer, see Ernst Osterkamp, Lucifer:Stationen eines

Motivs(Berlin and New York:de Gruyter, 1979), 229ff.

60. See the exhibition catalogue by Maurice Tuchman, Judi Freeman,

and Carel Blotkamp, TheSpiritual in Art: Abstract Painting 1890-1985, New York, London, Paris(New York:Abbeville Press, 1986).

61. Cf. the talk "FremdeSchonheit," Texte9, 374-83.

62. "Die Formel ist mehr als leitmotivisches oder psychogrammhaftesZeichen, mehr als fortzuspinnendes Thema oder generierendeReihe: die FORMEL ist Matrix und Plan von Mikro- und Makro-

form, zugleich aber psychische Gestalt und Schwingungsbild einer

supramentalenManifestation," Stockhausen, "MultiformaleMusik,"Texte 5, 667; see also Hermann Sabbe, "Der psycho-biologischeTranszendenz-Begriff bei Stockhausen," in Entgrenzungen in der

Musik, Studien zur Wertungsforschung 18, ed. Otto Kolleritsch

(Vienna and Graz: Universal Edition, 1987), 71-82.

63. "Jede der drei Melodien hat die Charaktere ihres Geistes.MICHAELs Melodie senkt sich nieder. EVAs Melodie ist steigend-fallend-steigend, LUZIFERs Melodie springt zweimal auf und fallt

jedesmaldanach," conversation with Jill Purce, November

1986,Texte6, 357f.

64. Revelation 12; Rosenberg, Engel und Damonen, 106-7, sketches the

history of this scene from earlymedieval to baroque art: "The repre-sentation of Michael's fight with the dragon is altered again in theera of Baroque. There, Michael is transformed into a charmingyouthful leading dancer of a ballet of angels. In a capriciousand play-ful way, the strict old tradition of the dragon-fight is being trans-

130







".. How Creation is Composed"

formed into a baroque theater-scene. This reminds one of the Greekmyth of the dance of the stars and the blessed spirits, the heavenlydance, which Hugo Rahner brought home to us again in such a

priceless fashion."

65. Texte10, 76 and 175.

66. Litanei 97, I. See also Texte3, 301: "Ein moderner Kunstler ist ein

Radioempfanger mit Selbstbewuftsein im Uberbewuftsein." ("A

modern artist is a radio-receiver with self-consciousness in the meta-conscious.")

67. Texte10, 23f. and 455.

68. "[D]as Geistige, das sich aus der Zukunft in der Gegenwart anmel-det und den Menschen in die Zukunft zieht und ihm neue Erlebnisse

ermoglicht zur Erweiterung seiner Gefiihle, seiner Gedanken, seiner

Hoffnung." Conversation with Elisabeth Skopek, Texte 10, 458.This orientation towards the future is again similar to the eschatolog-ical orientation of Moltmann's theology of Creation: God in Cre-ation, 132-35.

69. "Wirnennen eine Religion doch etwas, was durch religiose Grunderund durch Religionsvertreter eine allgemeine Form gefunden hat.

Bewufitsein vom universellen Geist Gottes ist keine Religion. Oderbesser gesagt: Es ist nicht eine Religion, sondern es ist das Gottes-bewuf3tsein.Wenn ich sage, dag der Mensch sich versteht als einAtom Gottes und als Partikel des

ganzen Universums,und daf es

sein ganzes Streben ist, in zunehmendem Mage immer mehr zu wis-sen iiber den Sinn und die Funktion des Universums und dessen, wasim Universum geschieht, dann ist das eine geistige Orientierung, dieverwandt ist mit allen Religionen, aber sie ist nicht eine Religion."Texte10, 29.

70. "in einer hoheren Welt [...] mit grofieren Tonen, sozusagen mitPlaneten und Monden und sausenden Gruppen von Planeten undMonden und Sonnen Musik machen

[zu] dtirfen." From a conversa-tion with RichardBeuth, February 1987, Texte10, 86.

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How Creation is Composed

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