Karlheinz Stockhausen’s Choral Writing in his Heptalogy Licht

Abstract

The article is devoted to the phenomenon of Karlheinz Stockhausen’s choral writing in his large-
scale opera project Licht. The musical composition’s religious-philosophical basis, which initiates
the transformation of the opera theater into a quasi-temple space, leads to the reinforcement of the
dramaturgical role of choral music, which manifests itself in the intensification of the presence of
the chorus in the opera project (massive choral scenes appear in all the heptalogy’s operas) and
in the expansion of its function. The diversity of the types of exposition of the musical material,
nonetheless, makes it possible to disclose as a general tendency the aspiration towards choral
stereophony, both in the situation of a multichannel reproduction of previously recorded choral
material (Unsichtbare Chöre) and in live performance (practically all the choral scenes in the
heptalogy). Special attention is given to analysis of the verbal basis of the choral scenes. Along
with incorporating his own texts, Stckhausen turns to the sacred literature of Christianity, Judaism,
Hinduism and Islam. Combination of poly-lingual texts in different styles in the conclusive scene
of the Hoch-Zeiten symbolizes the spiritual relatedness of all of humanity. An important technical
resource is the use of elements of phonemic composition, exerting direct influence on the choral
timbres. The composition’s timbral side attracts attention to it by its connection together of elements
of vocal technique already used by Stockhausen in his preceding compositions (4 modifications of
vocal tremolo, glissando, phonic intonating, Sprechgesang, singing while inhaling, tongue clicks,
etc.) with special techniques typical particularly for the score of Licht. The latter include “color
noise” (“fabriges Rauschen”), yodeling and a “kissing sound” (“Kußgeräusche”). The organic
quality of such a complex is guaranteed by the unity of the conception of Stockhausen’s heptalogy,
which the exerted influence not only on the opera cycle’s compositional technique, but also on its
scenography and dramaturgical solutions.

Keywords: Karlheinz Stockhausen, heptalogy Licht, contemporary choral music, texture,
stereophony, choral timbre, music and the word, phonemic composition.