stockhausen light cycle

Le titre Licht est en partie dû à la théorie de l'Agni (la divinité hindoue du feu) de Sri Aurobindo (Peters 2003, 227). The composer described the work as an "eternal spiral" because "there is neither end nor beginning to the week." Tomás Olano 49,706 views. It is divided into 7 operatic presentations, with each one named after a day of the week (Monday, Tuesday, etc). 13:45. Licht consists of 29 hours of music. Lecture 7 [Part 1/3] Karlheinz Stockhausen - MANTRA (1973) British Lectures - Duration: 55:58. Begun in 1977, this production started with a modern trumpet concerto which ultimately became the corpus of DONNERSTAG's Act 2, MICHAELs REISE UM DIE ERDE (Michael's Journey Around The Earth). Licht (Light), subtitled "Die sieben Tage der Woche" (The Seven Days of the Week), is a cycle of seven operas composed by Karlheinz Stockhausen between 1977 and 2003. It was written between 1977 and 1980, with a … Stockhausen wrote this piece to be played for the departed for a consecutive 49 days after death. Kathinka’s Gesang (also known as Lucifer’s Requiem) is a fitting end for the cycle and for the initiation as it is a series of musical exercises designed to help the soul reach the eternal light after departure in death. Le cycle s'appuie aussi sur des éléments des traditions judéo-chrétiennes et védiques (Bruno 1999, 134). Aktivraum - Agency for Applied Light Art 78,242 views. DONNERSTAG AUS LICHT is the first installment of Stockhausen's LICHT (Light) opera cycle. Donnerstag aus Licht (Thursday from Light) is an opera by Karlheinz Stockhausen in a greeting, three acts, and a farewell, and was the first of seven to be composed for the opera cycle Licht: die sieben Tage der Woche (Light: The Seven Days of the Week).

Stockhausen's LICHT Cycle: The Seven Days of the Week LICHT (Light) is Karlheinz Stockhausen's epic 29-hour work for vocal, instrumental and electronic forces, composed over a period of 26 years (starting from 1977).

De ses dernières pièces, éléments du cycle inachevé Klang (les vingt-quatre heures du jour), émane un total apaisement devant la fin de la vie : le « Veni creator » de la deuxième pièce – qui relie ici Stockhausen à Mahler - en est un des plus limpides témoignages, tandis que la quatrième (et dernière imprimée) a pour titre La porte du Ciel.