Libretto Donnerstag Eng

8/16/2019 Libretto Donnerstag Eng

1/74

Karlheinz Stockhausen

DONNERSTAG aus LICHT

THURSDAY from LIGHT

Libretto (English)

Libretto DONNERSTAG Englisch_Libretto lICHT 13.01.16 18:33 Seite I


2/74

Published by the Stockhausen-Verlag

51515 Kürten, Germany

Alle Rechte vorbehalten / All rights reserved.Kopieren gesetzlich verboten / Copying prohibited by law.

www.karlheinzstockhausen.org

© K. Stockhausen 1981

translation copyright: Irina Brown 1984

editor: Suzanne Stephenstypesetting: Kathinka Pasveer

Libretto DONNERSTAG Englisch_Libretto lICHT 13.01.16 18:33 Seite II


3/74

1

(sits on stool at home on the left )

ma–

ma–

ma –

EVE

EVE

Good!

You you!

You you! hahahaha

hahaha

My God!

MI–CHA–EL

“All my ducklings…”2

hahahahaha

moon

earth and moon

(stands on the right in front of

blackboard in the school)

At–

ten–

tion! Now comes the great

multiplication of eleven:

twice eleven is two-

and-twenty. Write it down!

Three times eleven is three-

and-thirty:three – three three three in the

brawl at the Issus: Alexander

the Great

beat Darius the Third!

Three three three was the

Persian king

quite

miserably defeated!

When three times eleven

equalled three-and-thirtyCHRIST MICHAEL

began to teach diligently.

That

was in the year of three times

three times three, and

three years later everything

was over!

(kneels in front of Mother on the

floor )

ma

ma

ma

MICHA

EVE

Good!

You you!

E–MI–VA–CHA

( from time to time, until I.3, hits the

floor with a small wooden hammer )

E–VA MI–CHA–EL

All my little doves…2

coo-roo

hahahahaha

Moon

Texts1 of THURSDAY from LIGHT

First Act: MICHAEL’S YOUTH

First Scene: CHILDHOOD

MOTHER MICHAEL FATHER

Scene I.1

1 In the following text the stage directions from the score are reproduced only in part. The directions forexpressions and gestures are omitted.

2 A well-known German children’s song

Libretto DONNERSTAG Englisch_Libretto lICHT 13.01.16 18:33 Seite 1


4/74

[: jujuju :]

[: yesyesyes :]

earth moon and the

stars

[: luneva :] (4x)

tage dage tage1 ta

Mo-on-da-yondayondo

Monday!

Eveday Eve Mooneve

tiuta2

Tuesday

tiu diu diu tiu diudiu diu diu

tiu mars tiu mars

tiu mars

Merkurius

Mercury Wotansday

Midweeksday

Jupiter Jovis

[: Donar :] Thundersday

MICHAELsday Donarsday

Jovedi

[: Venus :] Friday

Freia Friggaday3

Efer4 Venus Freia

Venerdi Freitag

Friday

Sa–aha–turns-

da–

hay

Sun–

day

day of the

(By Roman soldiers,

it’s true, nailed

to the cross!)

Learn it by heart!

As the Romans grew brazen,

tsimderassa boom tsassa,

on to Germany’s North they

marched,

Cimderassa bum zassa!5

Five times eleven must five- and-

fifty be!:

Caesar pressed on

with his troops

over

the Rhine.

Four times eleven is four- and-

forty: Caesar slain with

Brutus’ dagger.

In the year nine

Arminius, the Etruscan prince,

defeated Varus and destroyed

three Roman legions

in the woods of Teutoburg.(That was the year when the

father of Jesu’ , Joseph, died:

CHRIST MICHAEL was fifteen

years old.)

Hail, Hermann, liberator

of Germany, Hail!

...Singing lesson!

Up there stands

Up there

earthmoon

su-u-un

sun and moon andthe stars

[: luneva :] (2x)

[: tagedage :] (3x)

tageda taketa ha

Mo-on-day Eveday

Tuesday

Tiusday

Warday mardi

Merkurius

Mercury Wotansday

Mittwoch Wednesday

Jupiter Donar

Thursday

Thorstag MICHAELsday

Thursday MICHAELsday

[: Venus :]

Freitag Freia

Friggaday Efer Venus

Freia Diana Freitag

Friday

Sa–ha–ha–ha–tans-

da–

ay

Sun–

day

day of the

2


1 Tage = Days (German); Dage = days (Nordic)2 Tiu is the ancient German name of the god of war.

3 Freia, or Frigga, is the ancient German name of afemale deity who has the attributes of both Venusand Diana.

4 Efer – Nordic name of Frigga.5 A well-known German children’s song.



5/74

3

day of the

sun–

Sun-day

( follows him with her eyes,

exits)

I.2

the chapel stands, looks down

silently into the valley

trop-a-trott.1

Stand up!

In memory of our

fallen brothers let us

sing now:

“I had...” “Ihad a com–”

MICHAEL, join in!

“I had a comrade once

a better one you’ll never find!”2

(in front of mirror, puts on helmet,

salutes himself like a soldier )

Herioc death for the Homeland...

Attention: ’shun!

You there, attention: eyes

left!

Eyes frr-ont!

Attention: company, right turn!

Attention : all, about turn!

Dismiss!

( front-line theatre: play-acts

shooting hare)

Well, well, where are you, little

hare?

Pam! Ahaha!

It will make a delicious jugged

hare!

(gutting hare, frying it )

Tender legs, saddle of hare,

kidneys, heart!

I.3

day of the

sun–

Sun-day

(suddenly runs to Father )

Monday Tuesday

Wednesday

Michasday FridaySaturday Saturnsday

(imitates mischievously)

– “I had a com-

rade once, a...

Too difficult!

(runs out )


1 A popular German song2 A popular song, still widespread in Germany, sung to honour the memory of fellow-soldiers as well as

school and sport companions.



6/74

Luci [: fada :] (8x)

Luci Luci [: fada :] (8x)

( follows MICHAEL with her eyes)

lu–i [: u–i :] (4x) – u

(goes over to stool, sits down)

Lu–

ci–u [: i–u :] (3x) – fer

[: i-a :] (3x)

mi–cha [: ia :] (7x)

( pulls out a toy basset-horn from

under her apron)

micha [: you you :] (3x)

you you

[: you you :]

[: you you :] (4x) you

[: you you :] (3x) you

[: lu la :] (3x) – la [: li la :]

[: li la :] micha

[: lu lu :]

[: lu lu :] (8x)

II.1

II.2

(serves the hare to the audience)

This will be tasty!

– yummy

[m] (sings 5x smacking his lips)

ha, does it taste

(gesticulates that the “hare” is a

fried cat )

like mi-aow?(laughing)

haha – - – - – -

[: hOhO :] (5x) – ha hä hO

(crouches by MICHAEL)

Listen MICHAEL, to how

you should pray

in the morning:“How cheerful

have I woken up,

how sweetly did I sleep

all night.

You guarded me,

dear God, my thanks to Thee.”

(stares into corner, continues to

pray.)

“And watch over me

this day, so that

no harm

may come to me.”

Luci Luci [: fada :]

Luci [: fada :]

Luci Luci [: fada :]

Father [: fada :] (4x)

(looks at Father, runs over to him)

[: fada :] (8x) – Father

(sits down next to Father )

(laughing)

haha – - – - – -

The hare was a cat!

ugh –

(mischievously)

miaow miaow

( piously)

How cheerful

have

I woken up,

– ho-o-ow swe-e-etly

did I sleep

last night.

You guarded me,

God, thanks to Thee.

(runs to Mother )

Please, will you give that to

me?

(takes basset-horn,

runs to Father )

[: youyou :] (4x)

4


(enters hopping, holding MICHAEL by the hand )



7/74

5

lu [: luli :] (7x)

[: lu li :] (10x)

[: luli lälu lilä :] (4x)

luli lälu lilä lu

lulilä

lu lucife lutsi-

fe –––– rr

(looks around, gets up, in an

instant opens the slit of skirt, out of

which a dancer, who looks exactly

like herself, jumps out )

[rr ––––] ( Dancing movement )

E – va, Moon-e-ve

[: ui :] (5x) – Luna

lu [: eo :] (4x)

Luceve, Luceve dance, dance!

tata ta tata dance for the

sweet little MICHAEL.

Dance, my little body,

dance, my little body:

II.3

III.1

( playfully aiming gun at MICHAEL)

pampampam bang bang bangbang prrr stop

( fetches airgun, gives it to

MICHAEL)

bang! Ha–

There!

ha ha ha good!

ta tara ta

ta trata tarata tatra!

(takes hunting rifle, runs out with

MICHAEL)

pampampampam pai bang

bang ta tatara tata papapa

pam bangbang bang

[: you you :] (5x)

[: you you :] (2x)

(holding basset-horn under arm,

takes airgun)

papapam bababang

babang

boomboom bangbang

(hangs trumpet over shoulder,

runs out with FATHER)

tata tata

tata tatatrrr




8/74

I love him,

you love him,

he she it loves him

yes he is our loveräoä oäo äoi lover [Jesus!]

MICHAEL sunny boy [hou]

heaven’s child [: haha :] wou

I am so happy yes!

MICHAEL, my baby [hu]

is a wonderful musician.

Oh Jesus Jesus!

Yes, I am so happy [s––––]

( Dancer freezes in pose, MOTH-

ER hides.)

(comes back brandishing shot crow

in one hand, makes vulgar dance

movements)

ha pam

bang

pam bang papam

pam ba ––––

ng pam

pam

pam pampam

pampam bang bang

(affected ) loverpam pam bang bang

bang bang bang bang

Jumps over the rifle

(holds rifle horizontally)

Lucefa, come on, jump!

(She jumps.)

Good luck for the hunt and

hunter’s thanks!

Good luck for the hunt!Hunter’s thanks! [: haha :]

(returns with Father, discovers the

dancer )

bang pampam bang

Look!

Who is this, then?

Who are

you?

A fairy-

doll?

She looks likeMother.

She is a very

beautiful girl!

[: ha ha :] (4x)

I want to have her.

Oh, you are wonderful!

Hunter’s thanks!

6

MOTHER


(hidden)

Luceva dance, dance!

tata ta tata dance

for the big

strong MICHAEL!

Dance, my little body

dance, my little body.

(The dancer dances around

MICHAEL, erotically suggestive

but with humour .)

I love you, you love me!

I love you, you love me!

I am your lover.

äoä oäo äoi lover [Jesus!]

MICHAEL sunny boy! [hou]

heaven’s child [: haha :]

wou

I make you happy yes!

MICHAEL, you baby, you

are a wonderful

musician.

Oh, Jesus Jesus!Yes, we are so happy!

IV.1



9/74

7

( Dancer kisses MICHAEL, runs

away quickly.)

( Mother laughs crazily, giggles;

her voice fades away.)

IV.2

IV.3

(looks through the barrel of rifle)

What a crazy idea…jo ha

to seduce little boys…

(fetches rucksack, hunting dog,

bicycle)

Come, MICHA, do you want

to hunt with me?

( puts rucksack on, crouches until

MICHAEL has climbed in)Into the rucksack!

Climb inside.

[: juju :] (8x) – ju

ju lov shi shi lov

(bad English)

[: ju :] (6x) – ha

Off we go,

good luck for the hunt!

( pedals on every count, cycles

with MICHAEL to the back of the

stage with the dog following them.

Forest on the horizon. The bicycle

slowly disappears.)

one two three four five

six seven

eight nine ten twelve

thirteen

Fetch!

Seek seek seek seek seek seek

well done!

(gazes longingly after her )

We are happy, we are

happy, Jesus

[hou]

happy

yes [: yesyesyes :] yes

(climbs into rucksack)

iaä ia

Good luck for the hunt

Hunter’s [ow!]

(has climbed in, caught finger on

the rucksack )

[: i-a-ä :] (3x)

MICHAEL rides to

the hunt!

( pushes himself off the ground

with one foot, calls the dog)

off we go, off we go,

come Sylva!

( It becomes dusk, disc of the Moon

can be seen, clouds.)

[: hu :] (8x) – hunt

[: hu :] (3x)[: hu :] (14x) – hunt

[: hu :] (6x) – hunt

(whimpering)

hoo hoo hoo hoo


( It becomes dark, a shot is fired, the dog barks.)

( It is night, heavy clouds pass across the Moon.)



10/74

hoo i ä –––– (hums)

Fetch! Fetch!

Seek Sylva

seek seek seek! Seize!

Fetch! Down!

Present! Well done Sylva!

Come on MICHAEL, pack up

and home with us, hurry up!

... Off we go, off we go!

We have shot

– one – hare – one – deer –

deep in the forest

Hun – ter’s – thanks

tally-ho!

Play, until Daddy

comes back from school!

(leaves with dog)

Father, [: a deer! :] (8x)

Lusylva

A hare and a deer.

hm ––––

Off we go, off we go...

We have shot

– one – hare – one –

deer

deep in the forest.

Hun – ter’s – thanks:

Here we are!

( MICHAEL climbs out of the

rucksack .)

Little deer, are you dead?

(crouches by the deer, opens its

eyelids wide, fascinated, looks into

its eyes)

8


(Gradually it grows lighter: dawn breaks; another gunshot, dog bark-

ing.)

(They bicycle back, MICHAEL and deer in the rucksack, hare dangling

from the rucksack. The dog follows them.)

( It is about 6 o’clock in the morning, summer.)

(They arrive at the schoolyard by the wall of the schoolhouse, get off the

bicycle; Father takes off rucksack, leans bicycle against the wall.)

Let me see if you

are already completely dead.

Where are you going now?

( jumps to his feet, looks up to the sky; holds toy trumpet to his lips,

with airgun in his other hand ready to fire)

ta ta tatara (aims at bird )

[: tata :] tatara bang! ( Dead blackbird falls from the sky.)

( A chicken runs by.)

[: tatata :] (3x) – ta tata rata tatara bang!

(Chicken squawks, falls dead .)



11/74

9

(Scene-change: A transparent section of the two storey parental home appears on the right.

On the top floor MOTHER, in her nightgown, is lying on the bed, FATHER sits at

some distance on a stool, gutting a hare.)

( Eve-dancer dances by in the

background .)

[: tata tatara :] ta ta tata

tata tatara bang!

(She screams, clasps her forehead,

runs away, screeching.)

MICHAEL

MOTHER FATHER

Luciman,

(takes baby from the womb,

holds it up to him)

say something...

are you pleased?

Are you pleased?(lays baby down)

Katharina Kathrin Kathrina.

We have

(takes another baby from her womb, shows it to

him)

no more money.

Lucimon,

is the the huntnot too expensive?

(gets up, goes, humming, to the wardrobe, takes

out bed-linen, towels)

no

no

The pastor said...

(She throws the linen towards the

audience.)

There...

V

Yes, Eve...

a girl...

Now then, what shall we name her?

jOt@rOt@rid@ dOt@ rOti

dig@da dag@da deg@

Kathrina.

Another boy...

Hermann beat the Romans.

He–hehe–hehe–he–here is

another five marks.

the hunt too

Should [: douldouldould :] douldould

[: I – I :] (3x) – a

po–oa–ch–er

po–oa po–oa–cher,

shou–ould I become a – a

poacher?!

(growls) (hums)

There’ s something going on between you and

the pastor!



12/74

Leave me alone!

(struggles, fights back, pants,

sobs)

Leave me in peace,

You devil! You disgust me!Let me die!

I don’t want to go on

nooo no o no!

I don’t want to,

can’t go on! Leave me alone!

u i a

VI.1

(rushes towards her, pulls her back )

No, Eve, don’t do that!

[: No :] (7x) – Eve, wife

What’s come over you?!

( pants)

Come downstairs with

me ––––––

Eve, just think of the children

Eve don’t do anything

stupid

(turns her around, forces her

towards the stairs)

What is it, darling?

Come on, come downwith me, come on, we’ll call

( MICHAEL, awoken, rushes

through the door, clings to

MOTHER.)

[: Mother :] (3x)

What’s wrong?

Mum-mum-mummy

(cries quietly)

(sobbing) Mu––––––––––

––––––mmy––––––––––––––––

Mu––––––––––––––––––––––

––––––––––––––––––––––––

––––––––mmy –––––––––––

––––––––––––––––––––––––

10


(cries quietly, distributes linen)

for the poor.

(suddenly looks at him proudly)

Lu–tsch (witch-like) –ci–mon

mon (clicks)

Do you (hisses witch-like) [: tshiu :] (6x)

(shivers, anxiously looks around )

hiui––––

(lips fluttering, breathes loudly in triplets)

Do–oo y–ou (walks backwards to the window)

love me? (opens window, tries to throw herself

out )

You were not a virgin

anymore, when we got married...

(whispering loudly) thirteen

12 11 10 9 8 7 6 5 4 3 2 1

E–– E–ve

(calls out in a whisper:)

1 2 3 4 5 6 7 1

(half-rising)

Do you

(gets up, with cleaned hare in one hand )

(whistles voicelessly:)

f / u–––– [: pui–u :] (3x) – f / u

love ( follows her )

me? (turns lamp on)

MOTHER FATHER

( Night slowly falls.)



13/74

11

(looks up to the sky, struggles)

LU–MI–NA u i a

LU–CI–FA

( pays no attention to the steps,

gradually gives up resistance)

u e a LU–CE-FA

u e a LU–CE–VA

i e a

LI–CHE–VA

i e a MI–CHE–VAi a e MI–CHA–VE i a e

MI–CHA–EL MI–KA–EL

MI–CHA little Thor

Donar! (Jovis!)

(breaks free, points at the stairs to

the cellar )

Down there is Hell

there…

Don’t touch me

Satan!

Am I not a whore,

because I... innocence ?!

(wants to go upstairs again)

Up there is Heaven:

I want to get into the attic!

(stares upwards)

VI.2

( forces her down the stairs, calling out

number of every step)

[one] at once a doc– [two]

–tor

Please calm down now,

Gerty [three].

It does not help at

[four] all, if

you get so upset.

[five] My God, what must

people

think... [six]

Don’t drag the boyinto this [seven]

[eight] [nine]

[ten] (reaching bottom of stairs)

[eleven]

Thor… Thursday… hey,

woman, what are you saying, it

is pure nonsense...

have you gone mad, you?

Wha–––––t?

Don’t take everything so

seriously...

(desperately holds her back)

Be quiet! If you go on

like this,

then I shall go mad, too!

.... an ambulance …

Mu––––––

––––––mmy–––––––––––––––––

y–––––––––––––––––––––––––––

–––––––––––––––––––––––––––

–––––––––––––––––––––––––––Mu––––––––––––––––––––––––

u––––––––––––––––––––––––––

y–––––––––––––––––––––––––––

( MICHAEL is suddenly quiet .)

Fa –

ther Mo–ther

I am

a ––––––––––––fraid, a––––

–––fraid, a––––––––––––––

–––fraid


(The front door opens, people squeeze in – heads above heads – stand motionless,

with eyes wide open.)

(The sound of thunder in the distance.)

( Dead silence)



14/74

(brusquely turns to MICHAEL,

takes him by the arm, looks into

infinity)

MICHAEL

my

Heaven’s Son,

Heaven’s Son (clicks)

always (hisses)

[: tshiu :] (6x)

(voicelessly)

hiui (lips flutter, breathes in

triplets)

remain

faith–

ful–

to music!

VI.3

VI.4

(suddenly leaps onto the stairs,

turns MOTHER around, looks her

very closely in the face from

above, sings beseechingly:)

Eve, wife,

up there is no Heaven,

Heaven comes only,

after we’ve died...

then we shall be redeemed.

Eve

Eve, my God, calm down,

do you hear me?

(whispering)

1 2 3 4 5 6 7 ––––1

God, heavenly Father,

we need a

doctor(whistles voicelessly)

f / u – [: pui–u:] (3x) – f / u

Fri–ja...

(to the people by the door:)

Stop gawking so stupidly,

better call an ambu-

lance. No one can endure

this! One 2 3 4 5 6 7 8 9

10 11 12 13

(on every count he looks in a different direction)

(whimpering)

MOTHER

don’t go away,

[s]–––––––––––

stay with

us(voicelessly)

[: papa :] (4x) – papapa

(shivers)

I am afraid

Help me, my, guardian angel,

help!

12


(Scene-change: The house moves to the right, half the interior, half the exterior

are seen. A transparent two-storey building appears on the left,

with the sign "County Mental Hospital" on it. A part of the street

is seen between the houses. The people, now seen from the side,

are still crowded in the front doorway of the house.)



15/74

13

(looks at the orderlies, trembles

with fear )

No!

No no

no

no! No

(The medical orderlies seize her,

put her in a strait-jacket .)

no (struggles)

let me go!

u i a LU–CI–FA

No no no,

not this!

u e a LU–CE–FA

Oh no, anything, but not this!

Let me go!

MI–CHE–VA i e a

MI–CHA–VE

[: i a e :]

MI–CHA–EL

VII.1

(goes down the last 2 steps, looks

at MOTHER, still keeping a firm

hold on her )

Ah – don’t be afraid,

they won’t harm you, wife,

– all they want

is to help you,

You’ll be coming back soon

for sure.

EVE EVE

listen, they’ll take you…

(holds MICHAEL back, shoves him

into the adjoining room. FATHER’s

voice is heard through the open door .)

Co–o–o–ome MI–hihi–CHA

E–he–he–HEL,

MOTHER will soon come

back home.

No! (stares at the orderlies)

(terrified, goes to the door on the

right )

(holds his arm in front of his eyes)

Let her go!

(gazes until the last moment at the

door through which MOTHER was

taken away)


(2 medical orderlies push through the people, approach MOTHER.)

(One of the orderlies gestures imperatively to FATHER and MICHAEL that they may not follow.

The orderlies force MOTHER through the door and across the road into the mental hospital, which has a room

with adjoining bathroom on the ground floor and a staircase leading up to the first floor

where there is a single cell with a barred window. The villagers disperse.)



16/74

(attempts to escape from the ground floor room

of the hospital: all the windows and doors are

locked)

MI–CHA–EL I want to get out of here,

let me out!

Swine damned swine!

I will – I must get to my children!

(imagines her three children, caresses them)

Come you swe –––––– et

chi –––––– ldren,

you are my ––––– y

dar–––––lings…

( Doctor enters, looks at her, remains standing.)

What a fine chap you are,

(undresses in front of him)

You must have quite

a thick te ––––nder

for my soft oyster...

( Doctor calls medical orderlies with a signalling

device.)

(2 orderlies enter, seize her, push her into the

bathroom, force her into the bath, open cold

shower and water-tap; she struggles, an orderlyhits her .)

VII.2

VII.3

VII.4

VII.5

(comes out of the next room fastidiously dressed

and behaving affectedly)

One time thir–teen

i –––– s

three and te –––– n.

Thor–teen (returns to the next room)

(calls out in a whisper ) 1 2 3 4 5 6 7 8 9 10 11 12

13.

(comes out of the next room, dressed untidily, in a

raincoat, drunkenly pushing a bicycle; sings in

dialect, belching now and then)

Hey [ hic ] is there

anywhere

[ hic] – where you can get

[ hic hic ] a decent drink?

I must be in the wrong place [ hic ].

(returns to the room)

(comes out in hunting clothes, ducked, with rifle,

stalking game)

Well, well, where are you little ha–re?

Ha aha! That will make

splendid jugged hare:

tender [bang!]

tender legs, saddle of hare, kidneys,

hearrrt!

( picks up imaginary hare by the ears)

(returns to the next room in a flash)

14

MOTHER FATHER



17/74

15

(wildly) No, you devils,

you bones of Satan, sex ––––

maniacs! Let me go, do not touch me!

That ’d suit you just fine

a beautiful woman like me...

(gasps for breath)

ua no va sha bapu prr no

no no ow [: ow :] (5x) – Help ––––!

(2 orderlies snatch her out of the bath,

force her into a dressing-gown and put a

strait-jacket over it .)

(teeth chattering with cold)

whew you swi-ne do you have no

pi-ty at all

for such a poor beast?

(2 orderlies take her up the stairs into single cell,

they sit her on the plank bed; her left profile is seen

behind a barred window; orderlies lock the door

and leave.)

Let us ––––––––––

go –––––––––––––––––––––––––––––––to

Heaven (calls) MI–CHA–EL!

VII.6

VII.7

My little Estruscan

Herr ––––

(enters in shirt-sleeves, without shoes, carrying a

nine-month-old boy on his shoulder; jumps

around in a circle; the boy’s laughter rings out)

Little Hermann: let’s just see

if you could beat the Romans.

Little

Hermann, perhaps you’ll

also become a hero?!

(suddenly the child’s laughter stops: he looks up,

takes the boy off his shoulder, listens to his heart,

horrified, runs into the next room)

(inside the room)

Help Ma-a-ry, it is ti ––me,

help MOTHER of Mercy!

(enters wearing undershirt and long underpants,

black socks, piously conducting an imaginary

school choir )

Up there sta– ands the chape–el

loo–oks down silently into the val–le–y.

(as if in trance, arms raised in conducting position,

walks downstage to the right in large steps, stops

and freezes with his right profile to the audience)

MOTHER FATHER

( MOTHER and FATHER freeze in pose)

(Two figures disguised in black bring an enormous photograph of FATHER – in right profile, as an armed officer

[steel helmet, knapsack, etc.], with mouth wide open, in an attacking stance to the right – and place it in front of

FATHER. FATHER’s head is visible [also in right profile] inside the mouth of the cardboard soldier. In the following

scene, MOON-EVE, a second FATHER-performer, wearing the same uniform as the cardboard figure, moves out

from behind the right side of the photograph to fight: attack, defence, falling down, standing up. At the same

time, a trombone “shoots” occasionally to the right out of the cardboard figure at the invisible enemy.)

Scene-change: The family house is moved to the right, and the hospital to the left; between them a birch wood

emerges, where MOON-EVE stands – at first, unnoticed.



18/74

Atten–tion!

( At each entry of the

FATHER-voice the trombone

"shoots" out to the right. Then

a shot is fired further off and

his body [mime] stiffly falls

down to the right flat on his

stomach and stands up again

in stylized rhythm.)

At–tack!

(2nd shot is fired; body falls

out, stands up again.)

Do–own with the enemy!

(3rd shot is fired; body falls,

gets up.)

( MICHAEL enters whistling from

the left. 2 enormous swallows

“fly” in slow motion high above

him, one above the other, moving

perfectly in parallel, in the

undulating rhythm of 2

synchronous clarinets, heard in

the distance.)

(turns around, startled )

Who i–––––s…

Who is there?

(curiously) Come out!

(goes to birch trees)(rushes behind the birches)

( peeps out on the left, stares at the

creature)

Tell me your name!

Do tell me your name

please!

16

MOON-EVEMOTHER MICHAEL FATHER

Second Scene: MOON-EVE

( In the background – an arcade of young green and somewhat transparent birch trees. In front of them long-

stemmed blue flowers. In between the birch trees – at first sight hardly recognizable – stands a fabulous crea-

ture, with moon-like face, silver beak, a basset-horn in its mouth, seven long bird-claws on each hand and five

extra long claws on each bird’s foot; it has blue-green plumage, female breasts, their tips revealed; abdomen

and legs are smooth and snake-like; it has a magnificent bird’s tail. The creature moves jerkily a few times, oth-

erwise stands motionlessly.)

(“speaks” with basset-

horn)

start of EVE-melody in

low register

low pitch flutter-tongue

cont. EVE-melody

high pitch

flutter-tongue

(trips forward from behind

the birches on the right,

stops and freezes)

(turns head to MICHAEL

with a jerk )

key-noise

( frozen in a

pose, hums

one note)



19/74

17

Bump him off!(4th shot is fired; body falls,

gets up.)

Put him to flight!

(5th shot is fired; body falls,

gets up jerkily.)

Do him in!

(6 th shot is fired; body falls,

gets up.)

Fearlessly ahead!

(7 th shot is fired; body falls,

gets up.)

Defence!

(8th shot is fired; body falls,gets up.)

Fight for the Fa–therland!


gets up.)

Sacrifice for your country!

(10th shot is fired; body slowly

falls, gets up in a slow and

continuous movement .)

Moonfa ––––– ce?

Silver beak ––keakeak?

Or perhaps you are

a LUNO-OISEAU-SAUR?

(titters) hee

3 tongue-clicks

Rat–ttle bird?

4 tongue-clicks

Do tell me your na–me!

Sorry?

[phew] what a long name.

(goes closer – closer still)

Could you – please

say your name –

a little bit slow ––––– er?

(gets nervous, shakes his head,

tries to stop her. The 2 swallows

fly away.)


tone +

key-noise

( from now on springs

forward in 7 small

jumps: 1st jump)

(suddenly looks straight

ahead)

long key-noise

(2nd jump)

tone +

key-noise(3rd jump)

key-noise

(4th jump)

long

key-noise

(like an automaton,

fast )complete EVE-melody

(5th jump)

complete

EVE-melody

( plays 30 times slower

than before:)

7 notes of EVE-

melody

(after two notes 6 th jump)

(hums,

motionless)



20/74

18

Protect the loved ones!


gets up.)

Honour ––––– wife and children with

a hero’s death!


remains lying,

gets up.)

Stop! This is too slow,

no one can remember

this!

(comes up very close, examines

her fingers)

Stop! (takes hold of one of her

fingers)

Just tell me you musicolunar

winged creature: how many

fingers have yougot on each hand?

one

two

three

four

five

six

seven – 1 2 3 4 5 6 7: sep-tadigital!

And how many to–oes

have you Lunatiti, Moon-

titmouse, on each foot?

(carefully inspects her foot )

one

two

three

four

five!

Down there, (merrily)

down there she is absolutely

normal...

Seven and five,

seven and five makestwelve: dodecadigital!


tones +

key-noise

( plays EVE-melody in low

register :)

1st segment (2 notes)

2nd segment (1 note)

3rd segment (3 notes)

4th segment (1 note)

5th segment (2 notes)


7th

segment (3 notes)

complete EVE-melody

(7 th jump)

( plays EVE-melody in

high register subdivided

differently:)

1st segment (2 notes)

2nd

segment (4 notes)3rd segment (1 note)



(hums,

motionless)



21/74

19

(shot is fired )EVE –––––!

(scream from the throat, head

disappears, voice breaks;

body falls, remains lying.)

( MEN’s CHORUS in the dis-

tance slowly starts:)

“I had a

comrade once…”

Oh, I know, the musico-

lunar Moon-titmouse

Luneva, Lun-EVA, Moon-eve,

MOON-EVE

comes from the twelfth

pla–ne–t!

( points seven times at her fingers

and five times at her toes. As he

does so, he counts, quasi-spoken,

while on each count, MOON-EVE

plays one note of the series of 12

notes of EVE-melody:)


six seven –––––

eight nine ten eleven twelve!

Seven-fingered

five-toed

MOON–EVE

(lovingly looks at her )

[TAPE: pa –––––]

(speaks fast :)

Listen, you little dodecadigited

moon-dove:

Couldn’t you just speak

to me in a normal earthly

tempo?

More than anything I’d love

to – synchronize – with you

once... for example,

like this:


u–o–O–a

a–ä–e

i y ö u i

i e ä a O o u

@ œ ö Y i

i –––––π y

Y –––––π œ

œ ––––π u.

The doctor gives her a lethal injection,

supporting her back. She sinks back.

He writes a death certificate, puts it on her,

leaves. The orderlies quickly lay her on the

stretcher, put the photo vertically on the

spot, where she had been sitting, and carry

her away quickly.)

(on the top floor a doctor silently approaches

MOTHER from the left;

directly behind him walk

2 medical orderlies with a

stretcher, on which lies a

huge photo of MOTHER’s

head – in left profile.



22/74

periodic key-noises

(key-noises slowing down)

frantically fast

key-noise

( plays almost synchronously with

him)

EVE-melody 2 notes

1 note

3 notes

1 tone + key-noise

2 notes

2 notes

1 note

2 notes

(From now on, MOON-EVE also

plays parts of MICHAEL’s

melody.)

MICHAEL’s melody – 3 notes

(2 combat orderlies enter with a

stretcher fr om the right, lay

FATHER’s body on it and carr y

him away.)

(whisper numbers:)

one 2 3 4 5 6 7 8 9 10 11

12 13

( from now on, for about 15

seconds, each number is again

whispered, wit h some voice)

one ––––––––––––––––π

two –––––––––––––––––π

three –––––––––––––––––π

four –––––––––––––––––π

Luneva

(conducts and speaks:)

one – two – three

MOON–EVE

( pinches one of her nipples)

(conducts and speaks:)


Lu–ne… EVE!!

(trips quickly round behind her

and pinches her other nipple,

counting at the same time:)


MOON–EVE (holds on to the

nipple, walks quickly around be-

hind her, grasps the other nipple)

SIRISU

(goes round, takes the other

nipple)

Seven little fingers...

(runs round, takes the other

nipple)

(as before)

LUNEVE

(as before; also grasps the other

nipple and sings over her

shoulder:)

MOON EVE

( pulls both nipples forward )

from the twelfth star!

(bends round her, kisses one

nipple)

(From this moment on, MICHAEL

also sings parts of EVE-melody.)

SIRISU

20

MOON-EVE MICHAELMEN’S CHORUS

(invisible)



23/74

21

EVE-melody

1st improvis. fragment

fast key-noise

MICHAEL’s melody

2nd segment

kissing-noise (2nd echo)

EVE-melody

2nd improvis. fragment

3 clicksMICHAEL’s melody

3rd segment 1st and 2nd note

fchi–u (5x hissing-sibilating)

MICHAEL’s melody

3rd segment

EVE-melody 4th segment

breathes through her instru-ment in triplets

continuation EVE-melody

( from now on jumps towards the

birch wood, turning MICHAEL

away whenever he wants to come

closer and follow her, by holding

up her hand with fingers spread )

MICHAEL’s melody,

last segment

MICHAEL’s melody

1st segment

2nd segment

echo 2nd segment

3rd segment + key-noise

five –––––––––––––π

six ––––––––––––––––––––π

se –––––––– ven –––––––––π

eight –––––––––––––––π

nine –––––––––––––––π

(scurries to the flowers in front of

the birches – constantly looking

back at MOON-EVE – picks one

long-stemmed blue flower, goes

back to her )

swap your melody with me

[tsh] ––––––––––––––––––––––––

rrr (i–π u) SIRISU i i u

(echo)

kissing-sound – you

resound in me

(blows, almost whistles)

(clicks 2x )

EVE [fchi–u] (3x voicelessly)

help me to fulfil

my mission!

[fchu –– i] (voicelessly)

(sticks flower into the bell of bas-

set-horn)

(calls in a whisper :)

tata ta – (breathes in triplets)

(calls in a whisper :) ta tata[: taketa :]

Love in your

(like wind ) [heu] sensual,

physical beauty:

Sirius – music...

(with every jump of MOON-EVE

takes one little step backwards,

wants to hold her back )

SIRISU i – u MUN–DIVA

Witness of the more beautiful

human children.

MOON-EVE (1st segment of

EVE-melody)

You –––––––(2nd segment )

star woman: (3rd segment )

I (4th

segment )(humming echo)


(invisible)



24/74

fast key-noise

MICHAEL’s melody

4th segment

5th segment

(She disappears.)

very long key-clatter, gradually

fading into the distance

ten ––––––––––––––––––π

eleven –––––––––––––––π

twelve –––––––––––––––π

thirteen –––––––––––––––

keep

you in my

hear [t] –––––art––––––––

( His attempts to follow her

become more and more timid; he

stays behind, gazing after her,

waves, stands there lost .)

22


(invisible)



25/74

23

(enters with accompanist; both bow to the jury.

MICHAEL stands in front of the stool, concentrates;

accompanist sits down at the piano)

(During the first sentence, MICHAEL sits down on the

stool, cuddling little MICHAEL in his lap.)

EVE, my mother,

You taught me to cry to laugh

tag@ dag@si –––––––––sing

si–hi i tig@ditisi –––––––––ing

what human children feel.

IBass: MI–CHA–EL

(with a gesture invites him to come in)

MICHAEL (as tenor)

1st EXAMINATION

JURY

Third Scene: EXAMINATION

In front of a jury , MICHAEL acts out his childhood three times in an EXAMINATION, which consists

of 3 successive parts:

as tenor , accompanied by piano, in the role of his mother;

as trumpeter , accompanied by piano, in the role of his father;

als dancer – “steered” by tenor, trumpet and piano – in his own role as child.

MOTHER’s little children, all animals and objects are mimed.

The 3 MICHAEL characters look alike.

The jury consists of 4 characters:

Bass (the same singer as FATHER in CHILDHOOD),

Dancer-mime (“FATHER’s body” in MOON-EVE),

Soprano (the same singer as MOTHER in CHILDHOOD),

Dancer (the same one as in CHILDHOOD).

The characters have changed so drastically that MICHAEL does not recognize them. Each one uses

very individual, prescribed hand-gestures. Occasionally they follow the score, comment on

MICHAEL’s performance with tones and noises.

(From the right appears a huge table at which the jury is seated; the bass at the front; in the centre agrand piano, which remains somewhat in the background; on the left an entrance with several doors

and, in front of the partition, a stool which looks like MOTHER’s stool at the beginning of CHILD-

HOOD.)



26/74

24

(bounces child on his knee in the rhythm

of the piano, holding up its little arms;

suddenly gets up – child in his arms –

gazes fixedly at the sky)

( puts child down in front of himself,

mimes playing basset-horn)

Showed [: me how to play :] (3x)

how to play your instrument

[: to play your basset-horn :][: a ä O :] (4x) – basset-horn

[: a ä O :] (6x) – basset-horn

(stares up at the sky – piano solo)

(lays basset-horn on stool, quickly looks

around; dances around the child, clap-

ping his hands)

You loved to dance, to dance...

Art of dancing: art of heaven.

(stares up at the sky in a dance-pose –

piano solo)

(wild dance-movement alternating with

a gentle one)

MOON-EVE beauty of the body

beauty of the divine body

MOON-EVE (jumps over rifle, looks at

the jury in astonishment )

(piano solo)

(looks up at the sky, searching for light )

(slowly sits down on his heels, child in

his arms, looks at child )

II

III

IV

irregular

tongue- and

finger-clicks

(whispering)

ps ––––––––– t

ps ––––––––– t

ps –––––––––

––––––––––––

––––––––––––

–––––––––––– t

(remains motion-

less)

(whispering)

one two three

four five six

seven

one –––––––

––––––––––

––––––––––

hums

(call in a whisper )

go on...

go on!

(hand-kisses, en-

couraging gestures)

kissing-noises

Tongue-clicks,

quick claps

with finger-

tips

MICHAEL (as tenor) JURY

Soprano

Soprano + 2 Dancers

2 Dancers Bass

(hiss voicelessly, synchronously)

tschi–u and tschu–i

(together 25x )

( All look up at the sky.)

(Soprano looks at MICHAEL, bass at the piano)



27/74

25

whistle with breath, bird-like trill

––––––––––––––––––––––––––––––

––––––––––––––––––––––––––––––

––––––––––––––––––––––––––––––

( puts child down)

(spread legs – pulls new-born child

from the womb)

(gets up, goes to FATHER, holds the

baby up to him)

i yesyesyesyes are you pleased Luci-

mon?

We have no more money,

isn’t the hunt too expensive?

The pastor said...

do you hear me, Lucimon:

do you love me?

V(whispering, voice-

lessly imploring MICHAEL)

Donarr –––––––

tageta

tagetak

tia tschi–u

Thorr –––––

(2 kissing-noises)

[: Jupiter :]

(3x hand claps)

whistle

(hisses:)

[: tiu :] (6x)

whistles

(breathes in triplets)

hy–––––––––

jovis

[: tag@ :] (3x)

–tak

Thorr –––––––––

MI–CHA–EL

Jovis Jupiter

MICHAEL Thor’s

Thors–tagetata

tageda takta

dageda tahak

(voiceless plosive:)

pui ––––––––––

–––––––––––––u

pui ––––––––––u

–––––––––––––u

pui ––––––––––

––––––––––––––––––––––––––u

(in amazement, looks

at soprano)

(clumsily breathing

in and out through puckered lips as if

they wanted to learn

from MICHAEL

how to whistle:)

breathe out –

in- out-

in- out -

in-

out- in-

out- in -

out- in -

out- in -

out-

in- out -

in

out- in -

out-

in- out-

breathe in


Soprano 2 Dancers Bass



28/74

26

(piano solo)

( MICHAEL opens window, wants to throw himself out,

is spun around to face the audience, points downwards:)

Down there is Hell!

( points up to the attic:)

Up there is Heaven:

I want to get into the attic!

(is dragged by force into the hospital)

(mimes 7 moments in the mental hospital)

1.) (attempt to escape) u i a LUM–MI–NA u i a LU–CI–FA

2.) (caressing MICHAEL ) u e a LU–CE–FA3.) (undressing) u e a LU–CE–VA

4.) (being beaten up in the shower ) i e a LI–CHE–VA

5.) (being put into strait-jacket ) i e a MI–CHE–VA

6.) (shrinks, trembles, finger in mouth) i a e MI–CHA–VE

7.) (10 fingers like bars in front of the face, screaming) i a e MI–CHA–EL

MI –––––CHA –––––HELL1 (sits down on stool)

VI

MI–CHA–EL

VA MI–CHA MI–CHEL

E MI CHE VE

of Heaven

(in a voiced whisper to the pianist :)

1 2 3 4 5




1 2 3 4 5 6 7 8 9 10

ele –––––––––––––ven!


Soprano

Soprano + 2 Dancers

Bass

Bass

Voi-

ce

of

Hea-ven

(calls in a whisper,

at each count

assessing yet

another vocal

quality with

numerous ges-

tures:)

MI–CHA–EL

one

(“good upper reg-

ister”)

two

(“not such a good

low one”)

E MI–CHA–VA–EL E MI–CHA–EL E VE E –––

E–VE

E MI CHA EL MI E CHA MI VA EL

(turns to the jury, gets up, sings in all directions, walks

around )

That was my childhood on this Earth

experienced through the soul of my

Moth –––––––––––––––––––––––––––––––––

VII

(alternating:)

f ––––, s––––,

ch ––––, tongue-

clicks + other mouth-

sounds

1 The spelling of the original is retained in MI-CHA-HELL to preserve the untranslatable word-play in thelast syllable: the German adjective ‘hell’ = ‘light‘, ‘bright’.



29/74

27

(Moth) –––––––––––––

Mother LU–NE–VA made human,

[childhood] made

song

and as witness

of my

love for all

human children

given

by the Son of Light as

music.

(suddenly disappears)

(look at the bass approvingly,

hardly at MICHAEL)

(all nod in agreement )

three

(“good dynamics”)

four

(“good support”)

five

(“very strong”)

six

(“tenderness”)

seven

(“smooth phrasing”)

eight

(“fast reaction”)

nine

(“spirited stage presence”)

ten

(“performing talent”)

eleven(“good figure”)

twelve

(“attractive appearance”)

thirteen

(“high ideal”)


Soprano + 2 Dancers Bass



30/74

28

(lectures in front of imaginary blackboard

as teacher – puts on steel helmet – stands

to attention – makes 3 knee-bends –

adopts squatting position – slowly stands

up, shooting with machine-gun and

simultaneously conducting school-choir )

play-acting (boorish)

prays – shoots

(piano solo)

( jumps close in front of the bass, hisses

through mouthpiece:)

1 2 3 4 5 6 7 one –––––––––––

(shoots crow)

(tonelessly) f–––––f–––––ft

(looks through the gun)

(goes hunting by bicycle: turns the trum-

pet like a wheel)

(“cycles" to the back )

3 echos

(invisible at the back)

(piano solo)

I

II

III

IV

(encouraging)

tongue- +

finger-clicks

(astonished, hissing voicelessly)

[i – y – ö – @ – u –

fch –––––––––––––––

MICHAEL (as trumpeter) JURY

Soprano 2 Dancers + Bass

2 Dancers

2nd EXAMINATION

A moment after MICHAEL’s disappearence, he appears in a different place, playing trumpet.

MOON-EVE appears above him in mid-air as his guardian angel, all the time playing together withhim.

The jury, who cannot see MOON-EVE, gape at MICHAEL in total astonishment, making gestures of

disbelief. MICHAEL, playing the trumpet, depicts his childhood in the role of his FATHER.

kissing-noises

( Jury looks in all directions.)

Soprano

ALL

2 Dancers Bass

(calming, finger in

front of mouth:)

s –––––––––––

(hissing voicelessly:)

[i – u

]and

[u – i

] (9x)ts –– ts ––

clicks +finger-clicks

(hisses)

ch –––––––––––

(calls in a whisper )

1 2 3 4 5 6 7one –––––––––––



31/74

29

(comes cycling back )

toneless tremoli (like wind )

(speaks with his wife)

(hissing tonelessly:) [: tui –––u :] (3x)

sounds of wind

(steps towards the bass) [: ta ke : ] (6x)

[: take ta :] (6x)

(in front of the bass’ face, hisses through

mouthpiece:)

1 2 3 4 5

one –––––– (quickly turns around )

(runs as far as the door after his wife

who is being taken away)( picks up child from the floor, holds it in

his arms, jumps around in a circle with

it, puts child down)

VI

V

(whispers sharply)

Donarr

dayda daydai dia

tsh –––Thorr––

[: Jupiterr :]

(voiceless, plosive)

[: pui –––u :] (3x)

(hissing:)

ch ––––––––––––

1 2 3 4 5

(breathe voicelessly,

loudly)

[: out – in :]

out – in

out – in – out

[: out – in :] (3x)

out – in – out

MICHAEL (as trumpeter) JURY

Soprano 2 Dancers

Soprano + Bass

Bass

au –––––––––––––––––––––––––––m

a ––––––––––––––––––––––––––––––

u ––––––––––––––––––––––––––––––m –––––––––––––––––––––––––––––

a – a – Å – O – o – ü – u – m

( MOON-EVE becomes invisible.)

(in the war:)

(shoots – takes cover, etc.)

(a shot – slumps over – staggers to the exit in 13dragging steps, calls through the instrument in a

whisper:)

one ––––- 2 3 4 5 6 7 8 9 10 11 12 13

( He disappears.)

VII



32/74

Soprano Bass

30

MICHAEL enters simultaneously as 3 characters,

who look so alike that one cannot tell them

apart;

as Dancer in a jump in front of the jury-table,as Tenor through one of the entrance doors,

as Trumpeter through another door.

Tenor and Trumpeter look at the Dancer:

from now on the Tenor steers all movements of

the head (eyes) and right hand (arm, fingers) of

the Dancer with his singing, duplicating them

(on a smaller scale and without moving from

the spot).

The Trumpeter steers all the movements of the

left hand (arm, fingers), chest, abdomen, hips,

buttocks of the Dancer with his playing.

The Dancer presents MICHAEL’s YOUTH for

the jury in the role of MICHAEL: synchron-

ously with Tenor and Trumpeter (as described)

and in all his leg movements, dance steps,

jumps etc. synchronous with the piano!

The dancing area is divided from left to right as

a chromatic scale of 12 steps and from the front

to the back as a scale of 7 degrees of loudness:

∏ (at the back)–π–p–P –F –f –ƒ (at

the front).

On this grid MICHAEL dances his YOUTH in

precisely parallel with rhythms, melodies, vol-

ume and timbres (= hand gestures) in three-part

polyphony.

From now on, EVE-dancer, in the jury, concen-

trates particularly on the left hand, chest,

abdomen, hips and buttocks of the Dancer and

sometimes duplicates the movements;From now on, LUCIFER-dancer concentrates

particularly on legs and feet (the bass part on

the piano) and sometimes duplicates these

movements.

In what follows, the jury is constantly surprised

when now the Tenor, now the Trumpeter, now

both of them suddenly become invisible and

then appear again in another place.

(When the 3 MICHAELS enter, the jury shrinks

back, stares at the Dancer .)

3rd EXAMINATION

Listen to my song:

Helpless was I born from the womb of human

mother,

(Trumpeter invisible)

to be recognized, heard, understood, perhaps

loved by you.

(Trumpeter appears again.)

For when you are moved in your heart through

my voice,

you love God, the most wonderful musician.

(piano solo – Tenor invisible / Trumpeter hovering

ghost-like)

(Tenor hovering ghost-like:)

tongue- and finger-clicks

I

My ––––––God

––––––my

( freezes in pose)

(again moves naturally)

My God ––––––

my ––––––God:

now

MICHAEL JURY



33/74

31

Soprano Bass

MICHAEL JURY

(Tenor is clearly visible.)Lu – ci – fer!

( Body contours become blurred in 3 echo-stages.)

Lu–ci–fer Lu–ci–fer Lu–ci –

(with the 2nd echo Trumpeter hovers ghost-like.)

(Tenor invisible – Trumpeter clearly visible.)

(Trumpeter invisible)

(Trumpeter appears at the back, Tenor hovers ghost-

like.)

( Rhythm of the MICHAEL formula with:)

s – ss f ––––––s ss ––––––

f ––––––s ––––––s s

s ––––––f ––––––––––––s ––––––

s –––––––––––––f ––––––––––––

(Trumpeter is clearly visible; Tenor, also clearly

visible, enters hopping with Father .)

iu eu äu au Åu Ou – ou Ou au äu eu iu

(Trumpeter hovers)

muiu – iu iu muiu–iu iu iu musicus

II

III

IV

Son of God

MI–CHA–EL

of NEBADON

(looks up to the sky)

Soprano

Voi ––––––ce

Now there are three of

them!

2 Dancers

one ––––––two ––––––

three ––––four ––––––

five ––––––six ––––––––

se –––––––ven

Bass

Voi ––––––

oi ––––––ce ––––––––––

–––––––––––––––––––––

–––––––––––––––––––––

nini nani–na ninani nanina ninani nani–na MICHAEL’s youth

ninanä juiu iui uiu ninanä nu–ne [: nanä :] (5x) as a

MICHAEL’s youth as a mu–, MICHAEL’s youth mu–, MICHAEL’s mu–,

MICHAEL’s youth as a musicus at the hu– [: hu :] (7x) hunt,

( Dancer cycles to the hunt / Trumpeter invisible.)

[: hu :] (17x) – hunt, [: hu :] (18x) – hunt rr ––––––––––––––––––

( Dancer gets off the bicycle at the back, lies down to sleep.)

(A shot: Dancer jumps up, searches in the undergrowth, at last finds dead hare.)



34/74

32

Soprano Bass

MICHAEL JURY

(Trumpeter is visible / Tenor glides around ghost-like.)

(breathing in and out with sharp whistling breaths)

[: ü :] (21x ritardando)

+ [: ü : ] (11x accelerando) – [: tüke :] (5x)

[: tüketü :] (4x) ke tüketü [: ü :] (12x)

[: ü :] (3x) – tük @tü ü k @tü

(Tenor invisible / Trumpeter is clearly visible.)

( Dancer ties hare to the rucksack, gets on the bicycle,comes cycling back in father’s rucksack .)

( Dancer stops, puts bicycle away.)

( Dancer jumps out of rucksack, runs to the mother,

tells her of their experience.)

(Tenor visible)

(voiceless) heu ––––––(wind ) [: heu –––– :] (3x)

[: heu :] (3x) (Friends take the mother away,

Dancer gazes after her, shivering.)

( plays marbles)

V

VI

In–stru –––––––––––––––––––––––

u ––––––––––––

––––––––––––––––

men ––––––––– t

2 Dancers

(whisper )

one ––––––––––––two ––––––––––––three ––––––––––four ––––––––––––

five ––––––––––––––––––––––––––

(voiceless, plosive)[: pui–u :] (4x)

In ––––––––––––––stru ––––––––––––

––––––––––––––––

men –––––––––––

–––––––––––––––t

Soprano

Bo –––––––––

bo –––––––––

dd –––––––––––

bo –––––––––

dd –––––––––––

bo –––––––––

dd ––––––––––––

bo ––––––––––dy

dan ––––––––

––––––––––––––ce

dan –––––––ce

dan –––––––ce

Bass

Bo ––––––––––––––––––

dd –––––––––– bo–dy

dd ––––––––––––––––––––

––––––––––––––––––––––––

dd ––––––––––––––––––––

––––––––––––––––––––––––

da –––––––––nce

dan ––––––––––––––––––

–––––––––––––––––––––––––ce

dan ––––––––––––––––

–––––––––––––––––––––––––ce

dan ––––––––––––––––ce

dOdn dadn dEdn didn dudn du didu du Ger-Thrud

[: dudn dOdn dadn :] (3x) – du dudn du dO da dO da dada

dudn dÅdn [: dadn dudn :] (5x) – dadn [: du didu :] du

do dÅdn da

dOdn da [: da dO :] (3x) – dAd@ da da da

dÅdn [: dAdn dÅdn :] (3x) – dudn dodn dOdn E–VE

(Tenor invisible)



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33

Soprano Bass

MICHAEL JURY

(Tenor dimly visible, gradually clearer )

[: dudn dÅdn dEdn didn :] (5x)

[: du didu :] du [: didn dAdn dEdn dOdn :] (3x)

Sirisusu

( Dancer discovers MOON-EVE, acts out

MOON-EVE scene)

VII

[: i – a – ä :] (3x)

i ––––––––––

ä ––––––––––

MI ––––––––––––––––

CHA ––––––––––––––EL –––––––––––––––––

Si –––––––––––––––––––––––––

ri ––––––––––––––––––––––––––

Si ––––––––––––––––––––

ri –––––––– su ––––––––

MOO–NE–VE

MOO–NE–VE

E–VE

( Dancer pinches nipples.)

stand by me

in the examination

e –––––i ––––– y –––––

œ @ o

ex –––––– am ––––– i

(bows to the jury)

MOO –––––– NE –––––––––

––––––––––––––––––––––––––

VE –––––––––––––––––––––––

( All three disappear .)

E MI–CHA–VA–E –––L

E MI–CHA–EL E–VA–E

VA MI–CHA

MI–CHEL E–VA

E MI– E–VA

E MI–CHA EL–MI

E CHA MI VA EL

I say, this kid is

very gifted; well,nowadays everything is possible!

By gosh:

Three per – so ––– ons

in

one – ne ––––––––––––––-

MI – CHA – EL

ALL

( All 4 rise a bit on every count – with a jerk – lean over the

table, counting with their fingers in the air,

and calling in a whisper:)

one ––––––––––––––- two ––––––––––––––-

three –––––––––––––- four ––––––––––––––-

five ––––––––––––––- six ––––––––––––––––-

se – ven ––––––––––- eight

nine ––––––––––––––- ten

eleven ––––––––––––-

Bass

Admitted!

Soprano + Bass

Admitted!

Bass

Na–tural–ly

( End of the First Act )

2 Dancers

twelve

ALL

ad – mit – ted!

( Jury hangs far over the table to the front, frozen in a pose,

gazing after MICHAEL.)



36/74

A large terrestrial globe is seen against the background of a starry sky. Musicians, as penguins, are

seated around the globe at the South Pole. Entrance steps lead from the front into the globe.

MICHAEL as Trumpeter enters from the right, a step at a time, playing as he

walks. All players murmur amongst themselves. The trombone attacks him

straight away, engaging him in a short duel. MICHAEL reaches the entrance

steps. Horns / tam-tam / tuba play a signal 3 times (first note c of the MICHAEL

formula. Each time the signal is played, MICHAEL goes up one step. It

becomes quiet.

MICHAEL plays the MICHAEL formula (beginning on top c).

Then he turns around, goes up the steps into the globe.The globe lights up, Asia Minor is seen.

Horns / harmonium / organ / tam-tam start playing, the tuba plays the signal –

like a ship’s horn (first falling a fourth, then descending down the scale a minor

sixth) for the departure.

Alto flutes / violas / vibraphone / harp independently start a ritornello ( first segment of the EVE formula that gradually grows). The globe starts turning

eastwards. The instruments accelerate, ending with 2 synchronous sforzato-

chords.

A window opens inGermany (Cologne). MICHAEL comes out of the globe,

plays the nucleus of his formula* in low register, beginning on c1, establishes

close contact with alto flutes and violas, which play the EVE formula in the

same register, beginning on b-flat. 3 sustained high violin-chords and harmon-

ics of the harp give this station a characteristic colour.

≤1∞s ∞t ∞∞B∞r∞i∞dge≥ At the tuba-signal, the head of the LUCIFER formula (a rising seventh),MICHAEL withdraws. The window closes. The orchestra accelerates, the first

violoncello replaces the violas in the duet with the alto flutes.

Entrance

Farewell

1st Station

Departure

34

Second Act: MICHAEL’s JOURNEY ROUND THE EARTH

with Trumpet and Orchestra

* A nucleus of a formula consists only of the notes of the formula (in the MICHAEL formula with 5 segments:

3 + 2 + 4 + 1 + 3) without the improvisation-inserts, noises, echoes, scales or coloured pauses of the complete

formula.

Translator’s Note

The definition of register of notes in the text follows the convention below:



37/74

At the signal of horns (the first 2 segments of the MICHAEL formula) and tuba(the first 2 segments of the LUCIFER formula), a window opens in America(New York). MICHAEL appears from it and, with the MICHAEL formulabeginning on b2, establishes fiery contact with the orchestra trumpets while

responding to their violent conflict with the trombones, which hammer out the LUCIFER formula, beginning on low E. Tom-toms and cymbals sharply punc-tuate phrases and off-beats in the abruptly changing tempi.

In the second round the parties exchange the formulae: MICHAEL, orchestra

trumpets and horns alternate segments of the LUCIFER formula in the low

register with sections of the MICHAEL formula in high register and trombones

do the same. 2 clarinettists – a clownesque pair, a cross between swallow and

penguin – wander into this confrontation. They skittishly and humorously play

a virtuoso mixture of segments of all 3 formulae – always synchronously –

and run through the orchestra, now and then looking at the music of the pen-

guins or blowing into their ears

≤2∞nd ∞∞B∞r∞i∞dge≥ At the tuba-signal, the 2nd segment of the LUCIFER formula, MICHAEL dis-appears inside the globe, the window closes. The conflict between trumpets andtrombones, commented on by the swallow-pair, slows down.

At the signal of the horns (once again the first two segments of the MICHAEL

formula) a window opens in Japan. MICHAEL appears, plays the LUCIFER formula in low register, starting with e-flat1 (coloured by cor anglais andoboe); the violas play the EVE formula, starting with low a-flat, while bas-soon and bass-clarinet play the nucleus of the MICHAEL formula, beginningwith bottom B-flat . Harmonium, harp, bongo drum, geisha-bell, keisu andtam-tams determine the colouring of the soundscape. The first general fortissi-mo so startles the clarinettist-pair that they flee away to the right.

A tuba-signal, the 3rd segment of the LUCIFER formula, announces the end.The window closes, and a grave solemn recapitulation of the nuclei of the 3

formulae, played on 3 constant pitches B-flat – e – c-sharp, conclude the 3rd

station.

At the sound of the chromatic beginning of the 4th segment of the MICHAEL

formula, played as horn-signal, a window opens in Bali. MICHAEL plays,together with trumpets and horns, an artfully ornamented development of the

MICHAEL formula, beginning on top a. Modulated piano, vibraphone, gongsand tam-tam and low hand-drumming create the fiery, scintillating, festivehue.

Shortly after the beginning the clarinettist-clowns reappear from the right andwander through the orchestra, playing and pausing briefly by musicians hereand there. With every pause they freeze in a gesture. They disappear to the leftat the back, shortly afterwards reappearing in a completely different spot, thenskirt the orchestra, blowing into the conductor’s face, and dawdle through theleft half of the orchestra.

At the climax of the trumpet-solo the 1st viola-player gets up and plays a wildsolo over a molto ritardando of the orchestra, while MICHAEL withdraws intothe globe and the window closes.

With 7 marcato notes of the descending chromatic scale from the 4th segment of the MICHAEL formula, horns signal the beginning of the 5th station. A win-

dow opens in India. MICHAEL timidly stutters his own formula, beginning ong2, interspersed with protesting, tearing glissandi – continually flung from side

3rd Station

4th Station

5th Station

2nd Station

35



38/74

to side between solo-violin / alto flutes / violas / bass-clarinet , who synchro-

nously play the EVE formula, and cellos / double-basses, who play the

LUCIFER formula.

At this station, in particular, the basic hue is given by the slowly cascading

glissandi of the harp, mixed with hissing (sibilant and guttural) and whisperingcoloured noises of the trumpets, horns and oboes.

With the hymn-like combination of the nucleus of the EVE formula (starting

on f ) and the nucleus of the LUCIFER formula (starting on c) MICHAEL

steps back, the globe closes in India.

Announced by a horn-signal – the first segment of the MICHAEL formula

beginning with c2 – this part of the journey leads into the 6th Station.

A window opens slowly in Central Africa in the 6th Station. MICHAEL peeps

cautiously out of the globe, and plays the MICHAEL formula in a clipped man-

ner, starting from low b, shooting it towards the tuba, with occasional high,piercing blasts of the MICHAEL formula beginning on f-sharp2.

The tuba, aggressively staccato, plays the LUCIFER formula in its lowest reg-

ister, starting on B, is superimposed with a faster point-like projection of the

LUCIFER formula – also starting on B – played by trombones / bassoons /

cellos / double-bass. Muffled signal-rhythms and the rolls of the tom-toms and

the tam-tam, mysterious glissandi, wandering chromatically, with tremoli and

trills of the violins, alto flutes, violas, bass-clarinet – tinged with the occasional

jangling of chains and tam-tam – determine the atmosphere of the 6th station.

In a second round of the LUCIFER formula the trombones very aggressively

dominate with staccato, double- and flutter-tonguing, reinforced by cellos and

bass clarinet . The tuba blares and rages – doubled by double-bass / bassoon / harp bisbigliando, while the tom-toms hammer away African-style!

MICHAEL disappears. The window remains open. A hatch opens directly

above the tuba. MICHAEL appears from it. The globe stops! From now on

MICHAEL blows his trumpet into the bell of the tuba, bending over with every

note, trill, glissando, fragment of the melody and with every flutter-tongue.

The tuba roars, flutters, trills, accentuates and with the last 3 clear top f-

sharps of the trumpet it bellows horribly in three cascading glissandi – the

third throughout its entire range. Then the tuba groans repeatedly in ascending-

descending chromatic fragments.

Once again the trombones come in furioso – in parallel with double-bass andcellos – playing the LUCIFER formula starting with E / F-sharp / B, over the

eruption of the tom-toms. The globe begins to revolve again, MICHAEL dis-

appears, the hatch closes. Accompanied by the moaning of the tuba... The

West coast of Africa is seen directly in front.

Then, a basset-horn signal sounds from afar: the long drawn-out beginning of

the nucleus of the EVE formula, starting with e-flat2. MICHAEL’s head shoots

out of the open window. He calls: “Turn back”, stares towards the East. The

globe has stopped with this call and now revolves westwards. MICHAEL

plays the initial fourth (interval) of his formula, starting on f 2, as a signal, the

EVE-melody continues; MICHAEL repeats, slightly varied, his fourth, listensattentively to the end of the EVE formula and then enters with the full orchestra:

6th Station

TURNING

BACK

36



39/74

MICHAEL alternates segments of his own formula (with the characteristicglissando and appogiatura of the EVE formula) with the embellished seg-ments of the EVE formula; at the same time violins / oboes / alto flutes / bassoons / cellos / double-bass play the MICHAEL formula chordally,

beginning with e-flat, in the swift rhythm of the EVE formula; trumpets / vibraphones / trombones / tuba are at the same time playing a homophonicharmony, in which segments of the MICHAEL formula (starting with f 2)and the EVE formula (starting with e-flat) alternate in the ongoing rhythmof the MICHAEL formula. The basic sound is brilliant, festive, happy.

A basset-horn calls again from afar, playing the beginning of the EVE-melody, starting with d2. MICHAEL stops the whole orchestra with anenergetic glissando, orders: “Halt!” The globe stops. In the silence thebasset-horn sounds once more. MICHAEL calls back with the beginning of his own melody, starting on e2, and from this moment on a double rotationof the notes e2 (clockwise) and c sharp (counter-clockwise) starts softly inthe orchestra.

The basset-horn replies once again; then MICHAEL calls and listensintently, calls and listens, without receiving any answer. Slowly he climbsout of the globe and walks to the right – in the direction from which thesound came. As he walks he plays single notes and fragments of the

MICHAEL formula, interspersed with the first notes of the EVE formula,which he heard from the distance.

He crouches and then sits down near the double-bass, who at first diffidently,then more readily, converses with him pizzicato over the MICHAEL formula.

At the moment when trumpet and double-bass play the last segment of thisformula synchronously in octaves, the call of the basset-horn soundsagain. MICHAEL – happy and excited – answers in a very similar way.The basset-horn approaches playing the continuation of the EVE formula.

MICHAEL jumps to his feet and takes a step in the direction of the signal,then, still playing, takes another step. MOON-EVE as Star-Maiden emergesat the back, seductively beautiful and transformed, playing basset-horn.

MICHAEL bows, playing the beginning of his formula; EVE repeats it andbows as well. From now on they each learn the other’s formula, segment bysegment, serious and amusing, simple and virtuosic, solemn and exuberant.They both sway, dance round each other, finally playing delightfully andperfectly together. EVE enchants him and lures him away in a dance.

While they disappear, the orchestra stops, except for the harmonium andelectric organ. The swallow-pair sneaks in, hides, plays fast synchronouspassages during the rests, clambers up the steps into the globe, comes out onthe balcony and apes the music and movements of MICHAEL and EVEwith clarinet and basset-horn. They are impudent and funny at the sametime, full of scorn and derision. Meanwhile, the long drawn-out melodies of MICHAEL and EVE sound in the far distance.

The 2 trombonists in the orchestra became restless during MOCKERY, gotup and now break in testily with blasts and aggressive salvos. The tuba,

soon reinforced by the two horns, underlines the protest with long pedal-notes. A confrontation, growing sharper and more merciless, develops

HALT

MISSION

MOCKERY

CRUCIFIXION

7th Station

37



40/74

between the two parties. They ‘nail down’ the distant melody of MICHAELand EVE with shrill piercing notes, so that it can hardly be heard.

The trumpet and basset-horn – invisible – slowly approach. The skirmishbetween clarinet / basset-horn and the two trombones becomes heated and

frenetic, and the pairs collide with utmost intensity in 7 columns of sound.On the 7th column, trumpet and basset-horn join in – this time close abovethe audience – with a sustained, mournful lament: the descending scale

from the MICHAEL formula (beginning on top e3 in parallel minor sixths),which characterized the 7 stations of the Journey Round the Earth.

It grows dark. In the orchestra a soft sparkling stream of staccatissimonotes, simultaneously rising and falling, bursts forth, starting on g1 – at firstvery dense, then irregularly slowing down to extreme transparency.

The sounds of trumpet (playing the EVE formula beginning on f 1) and bas-

set-horn (playing the MICHAEL formula, beginning on g2) are flying very

slowly and peacefully across the sky, revolving around each other, circlingaround, gliding. Once more they begin anew; trumpet with the nucleus of

the EVE formula (starting on f 1), basset-horn with repeated g1, in parallel

with every segment of the formula. From tritone c-sharp2 – g1 they both

accelerate: trumpet descends in semitones to g1–a-flat1; basset-horn

remains one degree slower (duplets against triplets, triplets against quadru-

plets, quadruplets against quintuplets...). Both flow into a dense trill g1–a-

flat1, from which they emerge perfectly synchronous, gradually slowing

down until they come to a complete standstill.

(End of the Second Act)

ASCENSION

38



41/74

MICHAEL in triple guise – Tenor, Trumpeter, Dancer – has returned to his celestial residence.

Invisible Choirs sing from all directions.

EVE – likewise in triple guise: Soprano, Basset-horn player, Dancer – has organized a FESTIVAL

for MICHAEL’s HOME-COMING. The three EVES together with 5 choral groups of delegates from

different parts of MICHAEL’s universe and 5 orchestral groups of winds, percussion, solo-strings, as

well as a string orchestra in the background – await the 3 MICHAELS and on their entrance greet

them with a HYMN:

39

Third Act: MICHAEL’s HOME-COMING

First Scene: FESTIVAL

q1«

q2« MI–KA–EL Welcome

Son of love

q3« MI–CHA–EL Son of God

Guardian spirit

of humanity

LIGHT

Hermes–Christos

Thor–Donar

q4«

q5« Sirius composed

this hymn for you.

Don’t you

like it?

EVE

≤I∞–∞V≥ MI–KA–EL

≤I≥ MI–CHA–EL≤I∞II≥ Son of God≤II≥ Guardian spirit

of humanity

≤IV≥ LIGHT≤V≥ Hermes–Christos≤I∞–∞V≥ Thor–Donar

(tacet )

CHOIRS I–V(left –π right)

Thank you

friends

of Light

Sevensense

MICHAEL

Then shall

my reign begin

over all my creatures

And thenshall be

the end

of Satan.

And when he goes, with

him will go all sorrow

because the LORD in

Heaven will rise from

His throne and the Earth

will tremble, the sun no

longer give forth

[: LIGHT :] (5x)

INVISIBLECHOIRS



42/74

40

q6« Holy be your work

MICHAEL

Musi–chel!

q7«

EVE

≤I∞–∞V≥ (humming)

(humming)

(tacet )

CHOIRS I–V

(left –π right)

Thursday: Holyday of

MICHAEL’s incarnation.

Returned!

Let us unite our

Light,

Libretto Donnerstag Eng

Documents

Transcript of Libretto Donnerstag Eng