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Program Notes Sponsor July 6 –28, 2013 July 18-20 Avery Fisher Hall North American premiere Michaels Reise um die Erde Composer Karlheinz Stockhausen Conductor Peter Rundel Concept and Stage Director Carlus Padrissa (La Fura dels Baus) Concept and Set Designer Roland Olbeter Concept and Video Designer Franc Aleu Costume Designer Chu Uroz Sound Designer Paul Jeukendrup Lighting Designer Michael Schernigg Stage Assistance and Choreographer Valentina Carrasco Dramaturgy Thomas Ulrich Michael Marco Blaauw (Trumpet) Eve Nicola Jürgensen (Basset Horn) Swallow-Pair Carl Rosman (Clarinet), Fie Schouten (Clarinet, Basset Horn) Ensemble musikFabrik Approximate Performance Time: 1 hour, with no intermission The Lincoln Center Festival 2013 presentation of Michaels Reise um die Erde is made possible in part with the friendly support of the Ernst von Siemens Music Foundation. Major support for Lincoln Center Festival 2013 is provided by The Andrew W. Mellon Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Lincoln Center Festival 2013 is made possible in part with public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. Artistic producer Wiener Taschenoper. Produced by Wiener Taschenoper in collaboration with Wiener Festwochen and co-produced by KölnMusik, Ensemble musikFabrik, and Festspielhaus Hellerau, and supported by Kunststiftung NRW. LINCOLN CENTER FESTIVAL 2013 MICHAELS REISE UM DIE ERDE The Michael’s Cross (above) is a sign associated not only with Karlheinz Stockhausen’s week-long Licht cycle, but the composer himself. It employs imagery denoting Michael’s place as an angel sent to lead humanity to God as well as specific color choices influenced by Goethe’s 1810 Theory of Colors , in which the poet explained his theories about the nature of color and how it is perceived by human beings. In Licht , Stockhausen assigned a different hue to each day. The colors of Donnerstag (“Thursday”) are blue as the principal color with purple and violet as secondary colors. The Michael sign has three concentric blue rings with a blue Michael’s Cross on a white background. Each tip of the cross, outside the blue rings, is cruciform, like the bud of a lily (or a flame) between two leaf tips. Two other days of the week are dedicated to the leading characters: Montag (“Monday”) is Eve’s day, and its color is light green with secondary colors being off-white, opaline, and silver; Sam - stag (“Saturday”) is Lucifer’s day, and its colors are shiny black and blue-green with green-black, blue-black, and gray as the secondary colors. In honor of Stockhausen’s vision, audience members have been encouraged to wear bright blue clothing to these performances. LINCOLN CENTER FESTIVAL 2013 MICHAELS REISE UM DIE ERDE MICHAELS REISE UM DIE ERDE from Act II of DONNERSTAG AUS LICHT (1978–80) Karlheinz Stockhausen (1928–2007) DONNERSTAGS-GRUß MICHAELS REISE UM DIE ERDE Entrance Formula Departure First Station: Germany (Cologne) Second Station: America (New York) Third Station: Japan Fourth Station: Bali Fifth Station: India Sixth Station: Central Africa Seventh Station: Jerusalem Halt Mission Mockery Crucifixion Ascension DONNERSTAGS-ABSCHIED LINCOLN CENTER FESTIVAL 2013 MICHAELS REISE UM DIE ERDE Ensemble musikFabrik Flute Tuba Liz Hirst Melvyn Poore Richard Craig Percussion Oboe Rie Watanabe Peter Veale Dirk Rothbrust Nanae Yamashita Thomas Meixner Bass Clarinet Harp Nándor Götz Mirjam Schröder Bassoon Harmonium/Piano Heidi Mockert Benjamin Kobler Contrabassoon Electric Organ Elise Jacoberger Ulrich Löffler Horn Violin Christine Chapman Juditha Haeberlin Rohan Richards Hannah Weirich Tinta Schmidt von Altenstadt Trumpet Aleš Klan cˇar Viola Nathan Plante Justin Caulley Joe Drew * Ulrich Mertin Sam Jones * Christopher Collings * Cello Dirk Wietheger Trombone Andreas Müller Bruce Collings Jamie Williams Double Bass Håkon Thelin *Guest artist, Abschied Crane/Parabol Choreography Realized by Florian Haslinger Carlos Arturo Martinez Paz Stefan Göbl Ramon Victor Riezouw LINCOLN CENTER FESTIVAL 2013 MICHAELS REISE UM DIE ERDE Stockhausen on I could have portrayed the journey using singers, but I found it especially interesting Stockhausen to experience it solely through instrumental In 2004, as part of a seven-part series of sounds. So I decided to characterize the broadcasts by the Southwest German Radio journey by the sonic atmospheres that we in Baden-Baden, Germany, Karlheinz Stock - would hear in the places that Michael visits. hausen sat down for a wide-ranging conversation with radio host Reinhard Ermen In a staging, the orchestra is seated around to discuss his Licht cycle. In the following a huge globe of the Earth, and I had written paraphrased excerpts, the composer pro - that the musicians were to be penguins at vides some personal insights into Michaels the South Pole. That is the way they actually Reise um die Erde , Act II of Donnerstag . looked [in the premiere production at La Scala in 1981], and it was very humorous. Reinhard Ermen: Donnerstag (“Thursday”) The stations along the journey are: is actually the first part of your Licht Cologne, New York, Japan, Bali, India, Cen - (“Light”) cycle that was finished. Why did tral Africa, and finally Jerusalem. These you begin with that day of the week? atmo- spheres , in the literal sense of the Karlheinz Stockhausen: There are three word, can be very beautifully realized using main figures in Licht : Michael, Eve, and the typical instruments, or typical musical Lucifer—cosmic spirits that appear again styles, of these countries. So Cologne and again and determine the events. For sounds like the kind of new music that I me, the main figure is Michael, who I composed, and then in New York the music revere as the sovereign of our universe, becomes pretty jazzy—we feel the New and that is why the Michael-Day, “Thurs - York atmosphere especially because of the day,” which is the day of learning, comes brass and percussion instruments. Then in first. Each day, these three main spirits Japan, where I have lived for extended peri - interact in a different way, and each spirit ods of time, we hear instruments such as a has his own day: Monday is the Eve-Day; keisu, rin, other temple instruments, and a on Tuesday the conflict between Lucifer Geisha bell. In Bali, we hear instruments and Michael takes place; on Wednesday that sound like Gamelan instruments. India the three collaborate; on Friday, the day of is characterized by special stringed instru - temptation, Eve and Lucifer come ments and harp. In Africa, we hear drums together; Saturday is the Lucifer-Day and and complicated drum music; and finally, in the day of death and resurrection, and on Jerusalem, the music upon arrival is very Sunday is the mystical marriage, as I call it, ceremonious and like a hymn. That is the of Eve and Michael. journey. I don’t think that anything is miss - ing, even though we hear only instrumental RE : Michaels Reise is a staged concert, music in Act II, as opposed to Act I in which without singers. What is Michael’s Journey both singers and instrumentalists perform. and how should I imagine this piece? KS : Michael is a trumpet player who makes RE : How did you decide to portray Michael a seven-stop journey round the world, by the sound of a trumpet? which is represented by an orchestra con - KS : Luckily, my intuition guided me. Before sisting of 28 musicians. In the course of his Licht I had composed Sirius , in which there journey, Michael encounters a female bas - are four main performers, one for each car - set-horn player from the Beyond who dinal point. The trumpeter, who in Sirius actually takes him back with her. Of course represents the East, also represents the LINCOLN CENTER FESTIVAL 2013 MICHAELS REISE UM DIE ERDE sunrise. Every day, for months, I rehearsed els to New York, then to Japan, Bali, India, Sirius, in which my son, Markus, played the Central Africa, and Jerusalem. Afterward he trumpet part. He learned it by heart and per - leaves the Earth and travels to an imaginary formed it many times. So it was logical that planet, Mondeva, where he meets Eve, rep - I chose the trumpet as a main instrument in resented by the bass-clarinet. They play Licht . I really did not invent the connection together in a duet in which their melodic for - between Michael and the trumpet. Michael mulas merge. At the end, trills lift them to is sometimes portrayed holding a long, heaven. The instinctive and rational have medieval trumpet, for example in a sculp - joined together in time and space. ture in the Strasbourg Cathedral. In the same way, I believe it is accurate to associ - Stockhausen was generally very specific ate Lucifer with the trombone and the tuba, about giving directions for productions of and Eve with the basset-horn and some - his works, but in this opera, his only direc - times with the clarinet or flute. The fact that tive for the New York scene is that it is the Eve played woodwind instruments in Licht place where Michael and Lucifer first meet. has a deeper meaning, I believe…In a With that in mind, La Fura dels Baus sense Donnerstag is also a promise of a decided to place the New York scene at the more harmonious era following the suffer - time of the September 2011 attack on the ing on this Earth, this human existence . World Trade Center as a tribute to the vic - Translated by Jayne Obst, edited by Charles tims of that horrible event. In our Sheek conception of this scene, Michael arrives in New York City at the same time that Lucifer Note from the Director crashes a plane into the towers.
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