CD59  Cover: RECHTER AUGNEBRAUEN-TANZ. CAPRICORNUS  striving for light
   
This music is an arrangement of sections of Luzifer's Dance from Saturday from Light for an ensemble of clarinets and bass clarinets, percussionist and synthesizer player. The wide variety of sounds in the original work -listed here - is therefore limited to the sounds of this ensemble. The second work Capricorn is an arrangement for bass of the same music in the original work Sirius, now arranged for bass and electronic music. A bridge section after Capricorn leads to the Annunciation.

RECHTERAUGENBRAUENTANZ (Right Eyebrow Dance)
for 6 Clarinets, 2 Bass clarinets, percussionist, synthesizer player
Tracks 1 Tempi and announcement
            2 Left Eyebrow Dance (flutes)
            3 Right Eyebrow Dance (clarinets)
            4 Bridge to
            5 Left Eye Dance (saxophone)
            6 Mix
            7 Right Eye Dance (oboes, cors anglaises, bassoons)
            8 Left Cheek Dance (trumpets, trombones)
            9 Right Cheek Dance (trombones, trumpets)
           10 Tip of the tongue Dance (Piccolo,Euphoniums)
           11 Cadenza
           12 Chin Dance (alto trombones, baritones, bass tubas)
           13 Bass "..and how chin can dance against tongue..." (played not spoken)
           14 Bass ..you cannot - in harmony-turn your countenance towards the
                LIGHT" (played not spoken)
           15 Percussion Solo
           16 Mix
           17 Bass "If you have tried out your ten-part face..." (played not spoken)
           18 Mix
           19 Three nuclear formulas                    DURATION 36'60

CAPRICORN for Bass and electronic music. Tracks 20-70:  Soloist is Christopher Isherwood

                                                           CDs 69 and 70
Stockhausen says: In the booklet of CD 69 there are comprehensive explanations about the scents and signs of LIGHT as well as the sung text (which is a mixture of German and English) in its entirety and numerous photographs.  On that CD all of the aleatoric moments are sung as in a performance - between and during the parts of the score.

In CD 70 the aleatoric moments have been omitted, so that the soli, duets and the trio may be heard by themselves, separated by pauses, they may also be performed individually in this way. This CD is therfore especially suited for rehearsals, broadcasts, lessons, for studying with the score, and for shorter listening periods.
Note from hon.sec. There seems to be a difference of only 2 mins between the durations of the CDs!
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                                                                CD 81
Punkte is a piece of orchestral music, to be listened to and enjoyed. Stockhausen gives a ten-minute talk, in English and German, about its early origins which, of course, does nothing to help 'understand' the piece of music: no words about any piece can do this.

In my opinion Punkte is the perfect example of what Stockhausen later called 'Moment Form', each 'moment' containing music that would not be part of any other moment. While Stockhausen gives ideas about the shapes of the tens of sections in this music and their construction, any concert goer reading about these say, in a programme book, would be hard-pressed to instantly recognise which particular ones were occurring at any given point as the music proceeds: but there are lots of things the same concert-goer would immediately recognise, as will the first-time listener to this fascinating music. I would recommend this disc to any music lover who is prepared to listen to it over and over again, 'absorbing' the music, so to speak. As mentioned above, some of the music seems almost familiar - there is a powerful unison statement of five chords which temporarily halt the proceedings so to speak, aggressive motifs that demand our attention: a lot more initially fascinates the listener by the sheer invention of new sounds and orchestral colours. Listening to Punkte for me, is a continual voyage of musical discovery as my brain recognises yet another connection - two oboes sounding two chords which seem to reappear minutes later after waiting patiently to do so: a long held note that seems to continue endlessly: rough and ready short melodies on brass which seem intent on being heard. Indeed, several clear melodies can be heard at several points - a three-note motif immediately at the beginning on low woodwind (bassoons) and at 0'24" a four note motif on strings - three low notes followed by a high staccato one. This note is the first 'isolated' single sound: it is tempting to think that single massive chords - one delirious - are an expansion of this and whether or not a development can be traced of each of the musical 'blocks' heard in the first twenty seconds of the work. As each of us develops our own perceptions of a work and how we 'make sense' of it, the listener will find endless musical enjoyment - and a deeper understanding of Stockhausen's genius - as he gets to know more and more of this fascinating and enjoyable work.  I. Morgan hon.sec.