29th July 2002
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STOCKHAUSEN:
Any questions? We have about five, no, ten minutes if you like!
Yeah!
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Question:
Where are the drops, the… the little drops, the water drops in the mixing […]? [referring to the colored silence which Stockhausen had just played for the participants of the seminar]
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STOCKHAUSEN:
It is written in synthesizer 2, at the bottom [referring to the score of DER KINDERFÄNGER], because originally the synthesizer 2 had to produce these water drops with the synthesizer, and he did, in performance, but then we decided to put water drops in a recorded form, in a better form, and you see in the recording scheme on … […] page… what is it, page 2 or 3, that water drops are in channels 23 and 24… No no! Water drops… Just a moment! I’m sorry! No no! In the recording they were in 23 and 24; recording! But now in the new mix they are in 13 and 14, stereo.
What else?
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STOCKHAUSEN:
Pardon, pardon, what?
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Question:
When you do the…
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STOCKHAUSEN:
Loud! Loud! I want to understand.
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Question:
When you do the sound scenes, do you… do you take care of the ambience from different sounds, like different reverberations, […]?
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STOCKHAUSEN:
Yeh yeh, everything!
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Question:
How do you… How do you. How do you make the ambience, like, correspond between the sounds? How do you make the ambience…
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STOCKHAUSEN:
No, I mean; just listening!
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Question:
Ah, just listening?
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STOCKHAUSEN:
Yeah, and then decide, and then… working in the kitchen!
Yeah?
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Question:
Could you […] something clarifying about the stereo sound […] which shows up on the two sides, or sometimes front and back?
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STOCKHAUSEN:
No, here, here we hear the recording of the 24 channels, all only stereo; nothing in the back, but this hall [Sülztalhalle, Kürten school complex, Kürten] has the wonderful quality, that what is projected from higher speakers also sometimes seems to come from the back. Only the Tonszenen come also from the back.
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Question:
But when the […] to the Tonszenen, you show the stereo with […] lines, to parallel […] lines, with […] s…
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STOCKHAUSEN:
Yeah, no, this is only softer, this is softer, for each Tonszene, where it is indicated. The rest is done with my little uni-potentiometer.
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Question:
If we heard only that, what would we hear; just a static stereo image, or…
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STOCKHAUSEN:
I don’t have it anymore.
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Question:
Yeah… what was it? [audience laughter] Was it a static stereo image, or…
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STOCKHAUSEN:
Yeah, exactly!
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Question:
Yeah, ok, then I understand this […]
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STOCKHAUSEN:
Yeah, no, the movements are still existing, but only at the walls, and then I start with a louder level, to move inside of the space with my joystick.
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Question:
Warum der Luzifer Formel, gedruckt steht Gess, und geschrieben steht Fiss?
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STOCKHAUSEN:
I don’t care. [audience laughter] I work in a chromatic system. […] Es hängt […] von was vertikal ist; also, manchmal schreibe Ich Fiss, und manchmal schreibe Ich Gess, […]. Es ist ja keine tonale Musik!
What else?
I hope you don’t forget these Tonszene!
Ja!
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Question:
In the first stave… the Eve formula…
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STOCKHAUSEN:
In the score or here?
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Question:
No, in the form scheme here. It’s an entire formula, oder also a nuclear formula…?
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STOCKHAUSEN:
Yes! Well, you can see lower, in the next page, look at synthesizer 1 B; it’s a complete formula, even with single notes between the G, then B natural, then we have again B natural, G, A sharp, playing around with it, and then coming back to the B flat in bar 31, and then coming to it in 31, repeat in 36 etcetera; we remain on the B with […] etcetera, and then we come to the A; that’s a complete formula – yes, and then… but to the entire piece we hear also in 2 B the long note which is on G, and only on G, and it plays a little bit around with small glissandi around the G, for the entire time… until the E flat comes with ABDUCTION.
Yeah?
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Question:
Why are there 22 Tonszene?
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STOCKHAUSEN:
Yeah, here 24, in the entire… I don’t know… All I know is that I made, yes! No no, you can have a look, no, look on the next page please; then you find it. It is 16, page 16, and you see the principal of all the 55 Tonszenen, spread over MONDAY FROM LIGHT, in the sketch; production numbering and neue Numerierung! These are the Tonszenen we are dealing with, and at the end you see 34 until 55 is what we are dealing with. You se an increase of density of Tonszenen from the beginning. There is one at the very beginning of MONDAY, then there’s number 2, 3, 4, 5, 6 Tonszene on that small section, jakadakkada [singing], on every note, and then comes the 7th, which corresponds to one note… aha! – exactly to the A flat which I have just analyzed, where the A flat is the next note of the Eve formula, etcetera!
So, analyze the order of the Tonszenen; how they respond to the notes of the formulas, and then you will find the key.
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Question:
Is the colored pause suggesting an increased number of Tonszenen?
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Question:
Is the colored pause, the note in B flat, suggesting an increased number of Tonszenen in the PIED PIPER?
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STOCKHAUSEN:
Ich kann das nicht verstehen. Wisst Ihr was Er sagt?
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Question:
Is the colored pause in B flat, which…
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STOCKHAUSEN:
Was ist das […]?
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Audience:
Colored pause [better pronounced]
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STOCKHAUSEN:
Ah, the color!
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STOCKHAUSEN:
Excuse me! The color which…?
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Question:
The colored pause is what is suggesting an increased number of Tonszenen in DER KINDERFÄNGER?
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STOCKHAUSEN:
Which color? What does he mean by color?
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Audience:
Der Klick […] der gefärbte Pause, der Klick diese […] Punkte suggeriert, Er meint […] Wassertropfen suggeriert der Mänge […] Tonszenen, meint Er.
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STOCKHAUSEN:
No no. No no. These sub-divisions of Tonszenen is just the increase of the sub-sections that you can see, 1, 2, 3, 4, 5, 6, 7… 1, 2, 3… 1, 2, 3… 1, 2, 3, 4, 5, 6, 7… 1, 2, 3, 4, 5, 6, 7… 3 times 7 Tonszenen in KINDERFÄNGER. There is where the culmination happens, at 3 times 7, and the 7 can be understood below, where these numbers correspond to what is happening in the music. We will come to that! 3 times 7 sub-divisions, in the score. Read a bit in the score! Then you see them, because it’s written at the right side, the 3 times 7 durations. That was the next decision which I had to make; the… It says the Tonszenen, forty… Look at theTonszenen 46 to 50. This is… You see the… alte Nummer, and I don’t know what the neue Nummer is. It doesn’t say at the same… […] Yes, I have it! Look at page number 17. You must go ahead now in this, and not ask questions which are already answered! [audience giggle]. Page 17, Tonszenen; alte Numerierung is 46; the new is 34. It goes 34 to 55. Then look at the durations at the right side, 3 times 7 – and these are very closely connected to what I have announced to ritardando-accelerando, ritardando-accelerando, ritardando-accelerando; the distances between the Tonszenen; they correspond to the sub-divisions of 3 times 7 sections of the […] in synthesizer 1 and the answers in synthesizer 2, which means flute plus synthesizer 1, 3 times 7 sub-divisions, and synthesizer 2 the answers. There you find the durations, and I will explain tomorrow how I have decided these durations, etcetera.
Something else? Ok, thank you very much! Have a nice concert tonight!
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