Momente

Momente (Moments) is a work by the German composer Karlheinz Stockhausen, written between 1962 and 1969, scored for solo soprano, four mixed choirs, and thirteen instrumentalists (four trumpets, four trombones, three percussionists, and two electric keyboards).

Form

Momente exemplifies what Stockhausen calls moment form, in which the listener's attention is on the "now", on the "eternity that does not begin at the end of time but is attainable in every moment" (Stockhausen 1963a, 199). At the same time, it constitutes a "polyvalent form", in that its 30 sections (also called "moments") can be arranged in many different sequences.

There are three main groups of moments, designated by letters: eight M, seven K, and eleven D moments. The letters stand for Melodie (melody), Klang (sound, or chord), and Dauer (duration), and also have an autobiographical significance, with K for "Karlheinz" and the other two letters for Stockhausen's first and second wives, "Doris" and "Mary" (Smalley 1974, 295).

The M group emphasizes monophony/heterophony in "random" rhythms, mixes pitches and noises, is scored mainly for the brass and solo soprano, and is on average at a medium dynamic level; the K moments concentrate on vertical, homophonic textures in periodic rhythms with a predominance of noises, are scored mainly for the men's voices and percussion, and are at a generally loud dynamic; the D moments have a "diagonal", or polyphonic character with syncopated rhythms, pitches but little noise, are scored primarily for the electric organs and women's voices, and are at an average soft dynamic.

The K group always stands at the centre, with either the D moments preceding and the M moments following (as in the 1972 and 1998 performing versions), or the reverse. Each moment group includes one "pure" type, designated with the simple letter, and a number of "mixed" types containing "influences" from the other types, designated with multiple letters. In some, the balance is almost equal, in which case the letters are capital, such as MK, or DKM; in others, a slighter degree of influence is indicated with lowercase, bracketed letters, as in K(m), or M(d). Within each group, the moments also have several possible arrangements.

To these three main groupings of moments are added four I ("informal", or "indeterminate") moments, which are used to frame and separate the three main sections:

I(d) always stands between the M and K groups, I(k) always between the K and D groups. … The I(m) moment is independent and can stand at the beginning, or before or after I(k); according to its position it will be read either forwards or backwards. Moment I always stands at the end. (Stockhausen 1971, unpaginated introduction)

Inserts

Once the order of the moments has been determined, "inserts" are made from some moments into the immediately preceding or following moment, according to a complex set of rules. These in turn may take on some of the characteristics of the host moment. In the D group, for example, most of the inserts must be transposed to match the central tone of the host moment.

Texts

Stockhausen draws on a variety of sources for the texts of Momente (Bosseur 1967, 121; Smalley 1974, 25):

• Primarily in the D moments, the Song of Songs, in the translation by Martin Luther. Many of the M Moments use shorter extracts from this source.
• Extracts from a letter from Mary Bauermeister, mainly in moment I(k), where they are used with passages from the Song of Songs.
• Brief quotations from The Sexual Life of Savages by Bronislaw Malinowski, an anthropological report of the Trobriand Islands in British New Guinea, found, for example, in moment M(d).
• A quotation from William Blake: "He who kisses the joy as it flies/Lives in Eternity's sunrise", found in moment M(d) and, in the 1972 and 1998 versions as an insert from M(d) in M.
• Names from fairy tales, e.g., Rapuntzel (MK); invented names, e.g., Kama, Maka, Dodi; cries and exclamations heard from audiences at perfomances of Stockhausen's earlier works, e.g., "bravo", "pfui", "nein, das ist unmöglich", "da capo", "furchtlos weiter", "sortez", "bald?". "so?", "schon?", "jetzt?", "ja!", "immer", "wann?", "warum?", "wie?", "wo?", "sure?", "wozu?".
• Invented onomatopoeic words, and phonetic texts written by Stockhausen himself.

Timbres

Momente seeks to employ the greatest possible number of vocal phenomena—not just conventional singing but also the communication functions of spoken and whispered language, crying, and laughter, producing an "infinitely rich mode of expression . . . [that] profoundly touches our emotive sensibility" (Bosseur 1967, 124). Isolated syllables and even single phonemes or linguistic segments, including vowels, continuant consonants, and tongue clicks are used "in a scale extending from unvoiced exhaling via aspiration, whispering, giggling, murmuring, speaking, shouting, screaming and laughing, to singing" in order to "permit the composition of timbral transitions and relations between spoken and instrumental sounds" (Stockhausen 1964b, 132).

In addition to singing, the choir members play small "auxiliary" instruments, clap their hands, snap their fingers, stamp and shuffle their feet, and slap their knees. Stockhausen reported that the WDR choir, which sang for the première, initially objected to these practices (Stockhausen 1964a) and, "because such means of sound and noise production can have a comic effect, . . . one newspaper report talked about a 'cabaret performance' and ridiculed the whole thing" (Stockhausen 1964b, 132).

Reception

Programme for the world premiere of Momente (first version)

Momente caused a sensation at the first (partial) performance in Cologne on 21 May 1962, in part because the moment used to begin that version, the so-called "clapping moment" I(m), begins with applause in the choirs. This was seen by some as a mockery of the audience, but by others as a means of intensifying the connection between audience and performers (Kurtz 1992, 119; Cott 1973, 143). Besides the opening I(m) moment, this first version consisted of just two of the M and all of the K moments, separated by the I(d) "organ moment". This version was also heard in the first American performance, at Kleinhans Music Hall in Buffalo, New York, on 1 March 1964 (Parmenter 1964). At the Donaueschingen Festival in October 1965, an expanded version was given, which added the remaining M moments and the I(i) "praying" moment, which is meant to conclude all versions. A recording of this version was released on the Wergo and Nonesuch labels. Completion of the D moments was only accomplished in 1969, and the first complete performance took place in Bonn on 8 December 1972, in a version beginning with the newly composed, 25-minute-long I(k) moment, which is very different from the previously composed moments and which some critics at the time felt was out of proportion to and out of character with the rest (Griffiths 1973; Maconie 1976, 175). Though it seemed to some that this "long and exhilaratingly dramatic section … could never be anything but an opening" (Griffiths 1981, 147), in the version prepared under the composer's direction in 1998, I(k) opens the second part, after the intermission (Peters 1999, 105).

Discography

• Stockhausen, K[arlheinz]. Momente, für Sopran. 4 Chorgruppen und 13 Instrumentalisten, Version 1965. Martina Arroyo, soprano; Aloys Kontarsky, Hammond organ; Aloys Kontarsky, Lowrey organ; chorus and members of the orchestra of Radio Cologne (WDR); Herbert Schernus, choir master; Karlheinz Stockhausen, cond. Studio-Reihe neuer Musik. Wergo WER 60024 (LP). Mainz: Wergo Schallplatten GmbH, [n.d.]. Reissued Nonesuch H-1157 (mono LP), H-71157 (stereo LP). New York & London: Nonesuch Records, [n.d.].
• Stockhausen, Karlheinz. Momente, "Europa Version 1972". Gloria Davy, soprano; WDR Chorus (Herbert Schernus and Karlheinz Stockhausen, choir rehearsals, assisted by Peter Eötvös and Godfried Ritter); Instrumentalists of the Ensemble Musique Vivante (Diego Masson, dir.); Roger Smalley, Hammond organ; Harald Bojé, Lowrey organ; Karlheinz Stockhausen, cond. With excerpt from the 1965 version (I (m), M, and I moments), from Wergo 60024. Deutsche Gramophon DG 2709055 (3-LP set). [N.p.]: Polydor International, 1976. Reissued, Stockhausen Complete Edition 7 (2 CDs with 4-colour text booklet and separate booklet with complete sung texts). Kürten: Stockhausen-Verlag, 1992.
• Stockhausen, Karlheinz. Momente [1998 version]. Angela Tunstall, soprano; WDR Rundfunkchor Köln (choir soloists: Maria Ungers, Hein Heidbüchel, Josef Otten, Kai Freundorfer, Ursula Kunz); MusikFabrik; Antonio Pérez Abellán and Massimiliano Viel, synthesizers; Rupert Huber, cond.; Karlheinz Stockhausen, sound projection. Stockhausen Complete Edition 80 (2 CDs). Kürten: Stockhausen-Verlag, 2006.
• Stockhausen, Karlheinz. Momente 1963/1972: Lesung und 2 Interviews. Includes moment I(k) from the DGG recording with Gloria Davey. Kürten: Stockhausen-Verlag, 2008. Text-CD 19.

Filmography

• [Lawrence, Robert (prod.)]. 1964. Karlheinz Stockhausen: Momente. Martina Arroyo, soprano; Crane Collegiate Singers of SUNY Potsdam (Brock McElheran, chorus master); members of the Buffalo Philharmonic Orchestra; Karlheinz Stockhausen, cond. Recorded in Kleinhans Music Hall, Buffalo, New York, on 1 March 1964. Performance preceded by a discussion between Karlheinz Stockhausen, an anonymous interviewer, and the Buffalo Philharmonic’s music director, Lukas Foss. Produced by NET in co-operation with WGBH (Boston), WNED (Buffalo), and Robert Lawrence Productions (Toronto).
• Lohner, Henning. 1988. Stockhausen—Lichtwerke: Musik von heute, Klang von morgen. [N.p.]: onVision Film & Musik Produktionen GmbH, 1988.
• Maconie, Robin. 1980. Omnibus: "Tuning in with Stockhausen and Singcircle". London: British Broadcasting Corporation. (BBC1 Colour).
• Patris, S. Gérard (dir.), and Luc Ferrari (prod.). 1965. Karlheinz Stockhausen: Momente, Version 1965, Cologne. Martina Arroyo, soprano solo; orchestre et chœurs: West Deutcher [sic] Rundfunk; chef des chœurs: Herbert Schernus; orgues: Aloïs [sic] et Alfons Kontarsky. [Karlheinz Stockhausen, cond.]. Les Grandes Répétitions. [Paris]: Pierre Schaeffer et le Groupe de Recherche Musicale du Service de la Recherche de l’ORTF. INA/WDR [distrib.] 4456-1.
• Slotover, Robert (prod.). 1974. Karlheinz Stockhausen, Moment-Forming and Integration: "Momente" for Solo Soprano, Chorus and Thirteen Instrumentalists. Filmed at the Institute of Contemporary Arts, London, 13 February 1972. London: Allied Artists.

References

• Bosseur, Jean-Yves. 1967. "Chronique musicale: aspect de l’innovation musicale au XXe siècle: “Momente” de Stockhausen." La pensée, no.134:118–24.
• Cott, Jonathan. 1973. Stockhausen: Conversations with the Composer. New York: Simon and Schuster.
• Frisius, Rudolf. 2008. Karlheinz Stockhausen II: Die Werke 1950–1977; Gespräch mit Karlheinz Stockhausen, "Es geht aufwärts". Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International. ISBN 9783795702496
• Griffiths, Paul. 1973. "New Music: Stockhausen". Musical Times 114, no. 1561 (March): 283.
• Griffiths, Paul. 1981. Modern Music: The Avant Garde since 1945. New York: George Braziller. ISBN 0-8076-1018-6
• Katzenberger, Günter. 1979. "Zu Karlheinz Stockhausens Momente, Version 1965: analytische Informationen und didaktische Ansatzmöglichkeiten." Musik und Bildung 11:617–24.
• Kurtz, Michael. 1992. Stockhausen: A Biography. Translated by Richard Toop. London: Faber and Faber. ISBN 0571143237
• McElheran, Brock. 1965. “Preparing Stockhausen’s Momente.” Perspectives of New Music 4, no. 1 (Autumn): 33-38.
• Maconie, Robin. 1976. The Works of Karlheinz Stockhausen. London, New York, Toronto: Oxford University Press.
• Parmenter, Ross. 1964. "World of Music: Delegates to Be Well Primed for Shock". New York Times (1 March): X13.
• Peters, Günter. 1999. "'… How Creation Is Composed': Spirituality in the Music of Karlheinz Stockhausen". Perspectives of New Music 37, no. 1 (Winter): 97–131.
• Smalley, Roger. 1974. “Momente: Material for the Listener and Composer” (Parts 1 and 2). The Musical Times 115, no. 1571 (January): 23-28 and no. 1574 (April): 289-95.
• Stockhausen, Karlheinz. 1963a. "Momentform: Neue Beziehungen zwischen Aufführungsdauer, Werkdauer und Moment." In Texte zur Musik, vol. 1, 189–210. Cologne: DuMont Schauberg.
• Stockhausen, Karlheinz. 1963b. "Erfindung und Entdeckung." In Texte zur Musik, vol. 1, 222–58. Cologne: DuMont Schauberg.
• Stockhausen, Karlheinz. 1964a. Conversation with Lukas Foss and an anonymous interviewer, introducing NET television broadcast broadcast of Momente, Recorded in Kleinhans Music Hall, Buffalo, NY, on 1 March 1964. Produced by NET in co-operation with WGBH (Boston), WNED (Buffalo), and Robert Lawrence Productions (Toronto).
• Stockhausen, Karlheinz. 1964b. "Nr. 13: Momente für Sopran, 4 Chorgruppen und 13 Instrumentalisten (1961/62)." In Texte zur Musik, vol. 2, 130–34.
• Stockhausen, Karlheinz. 1971. Ein Schlüssel für "Momente": 14 erste und 13 zweite Skizzen, Siculiana, Januar 1962. Kassel: Boczkowski. Reprinted, Kürten: Stockhausen-Verlag, 1981.
• Weid, Jean-Noël von der. 1985. "L’apocalypse de Stockhausen." Silences 1:169–77.
• Stockhausen, Karlheinz. 2009. Kompositorische Grundlagen Neuer Musik: Sechs Seminare für die Darmstädter Ferienkurse 1970, edited by Imke Misch. Kürten: Stockhausen-Stiftung für Musik. ISBN 978-3-00-027313-1