[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki12\/samstag-aus-licht-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki12\/samstag-aus-licht-wikipedia\/","headline":"Samstag aus Licht – Wikipedia","name":"Samstag aus Licht – Wikipedia","description":"before-content-x4 Samstag aus Licht Stockhausen in the WDR Studio, 1991 Librettist Stockhausen Language German Premiere May\u00a025,\u00a01984\u00a0(1984-05-25) Samstag aus Licht (Saturday","datePublished":"2017-09-03","dateModified":"2017-09-03","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki12\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki12\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/d\/df\/Stockhausen_1991_Studio.jpg\/260px-Stockhausen_1991_Studio.jpg","url":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/d\/df\/Stockhausen_1991_Studio.jpg\/260px-Stockhausen_1991_Studio.jpg","height":"175","width":"260"},"url":"https:\/\/wiki.edu.vn\/en\/wiki12\/samstag-aus-licht-wikipedia\/","wordCount":5734,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4Samstag aus LichtStockhausen in the WDR Studio, 1991LibrettistStockhausenLanguageGermanPremiereMay\u00a025,\u00a01984\u00a0(1984-05-25)Samstag aus Licht (Saturday from Light) is an opera by Karlheinz Stockhausen in a greeting and four scenes, and was the second of seven to be composed for the opera cycle Licht: die sieben Tage der Woche (Light: The Seven Days of the Week). It was written between 1981 and 1983, to a libretto written by the composer and incorporating a text by Saint Francis of Assisi, and was first staged in Milan in 1984.       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Table of Contents       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4History[edit]Synopsis[edit]Samstags-Gru\u00df[edit]Scene 1: Luzifers Traum[edit]Scene 2: Kathinkas Gesang als Luzifers Requiem[edit]Scene 3: Luzifers Tanz[edit]Scene 4: Luzifers Abschied[edit]Discography[edit]References[edit]Cited sources[edit]Further reading[edit]External links[edit]History[edit]  Teatro Regio, Turin, where Klavierst\u00fcck XIII was premiered in 1982Samstag is an opera for 13 solo performers (1 voice, 10 instrumentalists, and 2 dancers) plus a symphonic band (or symphony orchestra), ballet or mimes, and male choir with organ. It was composed between 1981 and 1983. Saturday is Lucifer’s day. Saturday’s exoteric colour is black.The first scene, Lucifer’s Dream, was composed between May and September 1981 as a commission for the 10\u00e8me Rencontres Internationales de Musique Contemporaines Metz 1981. The score is dedicated, on the occasion of her twentieth birthday, to the composer’s daughter Majella who, together with the bass Matthias H\u00f6lle, premiered the work in the Th\u00e9\u00e2tre Municipal Metz on 19 November 1981. A second version of this work, without the bass voice, is Stockhausen’s Klavierst\u00fcck XIII. In this form it was premiered by Majella Stockhausen on 10 June 1982 in the Teatro Regio in Turin.         (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Diani Beach, Kenya, where Kathinkas Gesang was composed in 1983Kathinka’s Chant as Lucifer’s Requiem was commissioned by the S\u00fcdwestfunk Baden-Baden for the Donaueschingen Musiktage, where it was given its concert premiere on 15 October 1983 by Kathinka Pasveer (flute) and the Kolberg Percussion Ensemble. Pasveer also performed in the staged premiere at La Scala on 25 May 1984, but with the Slagwerkgrorp Den Haag. The work was composed in collaboration with Pasveer in February and March 1983 at Diani Beach near Mombasa, Kenya. In May 1983 Stockhausen planned an alternate version of Kathinkas Gesang for flute and six-channel electronic music. In collaboration with Marc Battier, he realised this version using Giuseppe Digiugnio’s synth\u00e9tiseur 4X at IRCAM in Paris, in December 1983 and August 1984. A third version, for flute with five-channel recording of piano sounds and a live, concertante piano also exists, but has not yet been premiered. The work can also be performed as an unaccompanied flute solo.  Hill Auditorium, Ann Arbor, where Luzifers Tanz was premiered on 9 March 1984The opera’s third scene, Lucifer’s Dance, was commissioned by the University of Michigan Symphony Band and their conductor, H. Robert Reynolds, who appeared in the staged premiere in Milan on 25 May 1984 after having given the concert premiere on 9 March 1984 in Hill Auditorium, Ann Arbor, with Luis Maldonado (euphonium), Markus Stockhausen (piccolo trumpet), Kathinka Pasveer (piccolo), and Laurence Kaptain (percussion). The score was composed from May to December 1983, and also exists in a version for symphony orchestra, which was first performed in the broadcasting hall of Radio Freies Berlin on 17 and 18 October 1987, by the Radio Symphony Orchestra with Michael Svoboda (euphonium), Markus Stockhausen, Kathinka Pasveer, and Andreas Boettger (percussion), conducted by the composer.  Chiesa di San Rufino, Assisi, where Luzifers Abschied was premieredLucifer’s Farewell was commissioned by the Associazione Sagra Musicale Umbra for the 800th anniversary of Saint Francis of Assisi, and was composed in August 1982. It is dedicated to Francesco Siciliani. The separate premiere of Lucifer’s Farewell was performed by the H\u00e4ndel Collegium K\u00f6ln on 28 September 1982 in the Chiesa di San Rufino in Assisi, where St. Francis was baptised. They were accompanied by Helmut Volke (Hammond organ) and seven trombonists led by Michael Struck.Samstag was given its staged premiere by the Teatro alla Scala on 25 May 1984, in the Palazzo dello Sport in Milan. Subsequent performances were on 26, 29, 30, and 31 May. The stage direction was by Luca Ronconi and Ugo Tessitore, with costume and stage design by Gae Aulenti. Karlheinz Stockhausen was the sound projectionist.A second staging was presented in Paris on 28 and 29 June 2019 by the ensemble Le Balcon, the first three scenes at the Cit\u00e9 de la musique and scene 4 at the \u00c9glise Saint-Jacques-Saint-Christophe de la Villette\u00a0[fr]. Maxime Pascal\u00a0[fr] was the music director, stage direction was by Damien Bigourdan, costumes by Pascale Lavandier, and sound projection by Florent Derex.)RolePerformerPremiere cast2019 Paris castLuciferbassMatthias H\u00f6lleDamien PassLuciferstilt dancerAdriano and Sebastiano Vianello (alternating)\u2014Diabolical Wind-PlayertrombonistMichael StruckMathieu AdamLucifer’s Dream-PlayerpianistMajella StockhausenAlphonse CeminBlack Cat KathinkaflautistKathinka PasveerClaire LuquiensThe Six Mortal SensespercussionistsSlagwerkgroep den HaagAlice Caubit, Akino Kamiya, Fr\u00e9d\u00e9ric Blondy, Arthur Lavandier, Othman Louati, Clotilde Lacroix (percussionists)Giant Human Facewind orchestraUniversity of Michigan Symphony Band, H. Robert Reynolds, cond.Le Balcon; Orchestre d’harmonie du Conservatoire \u00e0 rayonnement r\u00e9gional de ParisRibbon DancerdancerKama DevEmmanuelle GrachWing-of-the-Nosesolo percussionLaurence KaptainFran\u00e7ois-Xavier PlancqueelMichaelpiccolo trumpeterMarkus StockhausenHenri Del\u00e9gerSovrintendenteactorPiero Mazzarella\u2014Monksmale choirH\u00e4ndel Collegium K\u00f6ln, Dieter Gutknecht, dir.Ch\u0153ur de l’arm\u00e9e fran\u00e7aise, \u00c9milie Fleury, dir.Wild Black Birdwild black birdHimselfHimselfSynopsis[edit]  The four scenes of Samstag clearly present in concentrated form a process of the opening of space and the liberation of sound. The first scene has the most restricted space, with just two characters appearing from nothingness. The second scene expands into the centre area, left and right, with seven characters (flute and six percussionists). The third scene layers everyone in the vertical dimension with a stilt dancer and a wind band in six levels, forming a gigantic face. Finally, the fourth scene presents both static and rotating events surrounding the audience, as well as diagonal movements, and the release of a wild bird who flies away. The four scenes do not have a traditional dramatic structure, but rather present a succession of dramatic situations that are discontinuous amongst themselves. This is an example of what the composer called moment form, in which the surface events give the impression of entirely different situations, held together by the structural connections of the music.[10]Samstags-Gru\u00df[edit]The Saturday Greeting is performed from the four cardinal points of the theatre by 26 brass players divided into four choirs, two of which each have an added percussionist. The opening of space characteristic of the opera is forecast in the gradual intervallic expansion in thirteen phases from an opening major third toward an interval of an octave plus a major seventh. The musical content is derived from the opera’s third scene, Lucifer’s Dance, specifically from the section with the text “Augen gegen Augen” (eye against eye), which similarly involves four groups of the wind orchestra.[12]Scene 1: Luzifers Traum[edit]In the opening scene, Lucifer dreams Klavierst\u00fcck XIII, a composition in five temporal layers with increasing “compressions of figures of human music, extensions and rests, for the abolition of time”. Toward the end he listens, enraptured, to a simple melody, fends it off, enjoys it, again wards it off, and finally succumbs and dies a feigned death.Scene 2: Kathinkas Gesang als Luzifers Requiem[edit]  Lucifer’s Requiem is a Requiem for every person who seeks the eternal light. In Kathinka’s Chant, Kathinka sings with flute and voice at Lucifer’s grave a chant that protects the soul of the deceased by means of musical exercises regularly performed for 49 days after the death of the body, and leads it to clear consciousness. The ritual is a 22-fold expansion of the Lucifer formula, reflecting the two sets of repeated-note unceduplets that begin that formula. The flautist, costumed as a cat, is the shamanistic celebrant, and is accompanied by six percussionists representing the six mortal senses of sight, hearing, smell, taste, touch, and thought. The percussionists play on a set of tuned sound plates (initially eleven of them, arranged in the order of the notes of the Lucifer formula), as well as on a total of at least 30 specially created “magic instruments” which are attached to or form parts of their costumes. The flautist begins with a “salute” and then, following the segments of two mandalas, performs a series of 22 exercises, with two interspersed pauses at positions 7 and 13 out of 24 marked on the two mandalas. The number 7 is emblematic for Licht as the number of the days of the week, but is also the number of letters in the name “Lucifer”, while 13 is not only a number traditionally associated with misfortune, but is also the number up to which Lucifer repeatedly counts throughout the opera cycle. As the percussionists continue playing through this second pause, the flautist performs an “exchange of the senses”, reordering the sound plates and adding a twelfth note, in order to transform Lucifer’s formula into that of Eve. She then resumes the exercises and continues without further interruption straight through to the end. The exercises are followed by a “Release of the Senses”, a gradual exit, a series of eleven “trombone tones” on the flute, and a final scream.Scene 3: Luzifers Tanz[edit]In Lucifer’s Dance, Lucifer causes an orchestra to appear in the form of a gigantic face, gradually bringing its ten parts into contrary dances, with the motto: “If you, Man, have never learned from Lucifer \/ how the spirit of contradiction and independence \/ distorts the expression of the face, . . . you cannot\u2014in harmony\u2014turn your countenance toward the Light.” Michael then appears and protests with a piccolo-trumpet solo against Lucifer’s pleasure in the grimacing face, but is beaten back with tamtam beats, and the face responds with a dance of streaming tears. A black cat playing a piccolo appears on the tip of the face’s extended tongue, and hails Satan’s children. The dance resumes, but is broken off by an orchestra strike and ends in chaos.Scene 4: Luzifers Abschied[edit]  Victory of St. Francis over Lucifer’s temptations (Sacro Monte, Orta, Chapel 10)Lucifer’s Farewell concludes the opera with a ceremony of exorcism, performed by 3 x 13 monks, singing the “Salutatio Virtutum” by St. Francis of Assisi, in Italian translation as “Lodi delle virt\u00f9” (The Praises of the Virtues). The 39 choir members wear wooden shoes, and also require mass bells, Good-Friday clappers, a large tamtam, a bag of coins, a caged wild bird, and a large sack of 39 coconuts.At the beginning, 13 tenors dressed in white monks’ habits enter in procession, softly singing the words “Lodi delle virt\u00f9” over and over, followed by 13 basses in black habits and another 13 basses in brown habits. Line by line, individual monks step forward to sing the text by St. Francis, in Italian. When they reach the words “la santa sapienza confonde satana”, they are stopped by a roll on the tamtam and, when a bass voice continues, “e tutte le sue insidie”, seven staccato organ chords answer, followed by a series of thirteen chords from seven trombones. The monks resume singing and, at the seventh trombone chord, a sack full of something and tied shut falls out of the sky. After the last words of the text bells begin to peal, the monks free a caged black bird, and then open the sack, which proves to be filled with coconuts. One after another, the monks each take a coconut and smash it on a centrally placed stone, as they repeat fragments of the text.Discography[edit]Stockhausen, Karlheinz. Samstag aus Licht. Matthias H\u00f6lle (bass); Majella Stockhausen (piano); Kathinka Pasveer (flute and piccolo); Markus Stockhausen (piccolo trumpet); Kolberg Percussion Ensemble; The University of Michigan Symphony Band, H. Robert Reynolds (cond.); Piero Mazarella (actor); H\u00e4ndel Collegium K\u00f6ln, Dieter Gutknecht (choir director); G\u00fcnther Hempel (electric organ); Karlheinz Stockhausen (sound projection). DGG 423 596-2. Hamburg: Deutsche Grammophon, 1988. Reissued Stockhausen Complete Edition, CD 34 A\u2013D (4CDs). K\u00fcrten: Stockhausen-Verlag, 1992.Sch\u00f6pfung und Ersch\u00f6pfung. Musik in Deutschland 1950\u20132000. Mauricio Kagel; Karlheinz Stockhausen. CD. 74321 73635 2. [Munich]: BMG Ariola Classics, 2003. Includes Samstags-Gru\u00df with the University of Michigan Symphony Band.Stockhausen, Karlheinz. Zungenspitzentanz, from Samstag aus Licht, for piccolo, euphonium, synthesizer player, and percussionist. Kathinka Pasveer (piccolo); Antonio P\u00e9rez Abell\u00e1n (synthesizer) etc. (With: Stockhausen, Klavierst\u00fcck XVI, Freia, Komet als Klavierst\u00fcck XVII, Entf\u00fchrung, Fl\u00f6te, and Thinki). Stockhausen Complete Edition CD 57 (single CD). K\u00fcrten: Stockhausen-Verlag, 2000.Stockhausen, Karlheinz. Rechter Augenbrautanz, for clarinets, bass clarinets, percussionist, and synthesizer. Antonio P\u00e9rez Abell\u00e1n (synthesizer). (With: Stockhausen, Capricorn, for bass and electronic music.) Compact Disc 59 (single CD). K\u00fcrten: Stockhausen-Verlag, 200?.Stockhausen, Karlheinz. Suzanne Stephens: Traum-Formel, In Freundschaft, Amour. Suzanne Stephens (clarinet and basset horn) DG 423 378-2 (single CD). Hamburg: Deutsche Grammophon, 1988. Reissued on Stockhausen Complete Edition CD 27. K\u00fcrten: Stockhausen-Verlag, 200?.Stockhausen, Karlheinz. Musik f\u00fcr Fl\u00f6te: Kathinka Pasveer spielt 9 Kompositionen. (Kathinkas Gesang als Luzifers Requiem, version for flute and electronic music; In Freundschaft, for flute; Piccolo, solo for piccolo; Amour, for flute; Susanis Echo, for alto flute; Xi, for flute; Zungenspitzentanz, for piccolo; Flautina, for flute with piccolo and alto flute; Ypsilon, for flute.) Stockhausen Complete Edition CD 28 A\u2013B (2CDs). K\u00fcrten: Stockhausen-Verlag, 1992.Karlheinz Stockhausen for Basset Horn. Michele Marelli, basset horn. (Traum-Formel and five other compositions.) Times Future. CD recording, stereo. Stradivarius STR 33958. [Cologno Monzese (Milan)]: Stradivarius, 2013.Stockhausen, Karlheinz. Linker Augentanz; In Freundschaft for oboe; Taurus; Taurus-Quintett; Kamel-Tanz; Rotary-Bl\u00e4serquintett. In the Linker Augentanz: Ensemble Konsax, Wien; Lars Mlekusch, dir. Recorded 5 February 2015, at the Konservatorium Wien Privatuniversit\u00e4t. CD recording, 1 disc: digital, 12\u00a0cm, stereo. Stockhausen Complete Edition CD 105. K\u00fcrten: Stockhausen-Verlag, 2015.References[edit]Cited sources[edit]Bandur, Markus. 1999. “The Composition of Meaning: Construction and Semantics in Karlheinz Stockhausen’s Luzifer-Gruss  [sic] vom Samstag aus Licht.” Perspectives of New Music 37, no. 1 (Winter): 157\u2013178. German version, as “Luzifers Gr\u00fc\u00dfe: Konstruktion und Semantik in Karlheinz Stockhausens SAMSTAG aus LICHT”. In Gedenkschrift f\u00fcr Stockhausen, edited by Suzanne Stephens and Kathinka Pasveer, 1\u201317. K\u00fcrten: Stockhausen-Stiftung f\u00fcr Musik, 2008. ISBN\u00a0978-3-00-023528-3.Mastropietro, Alessandro. 2019. “Lucifero secondo Stockhausen: A Parigi successo per Samstag aus Licht“. Il giornale della musica (1 July; accessed 3 July 2019).Stallknecht, Michael. 2019. “Lasst uns Kokosn\u00fcsse spenden“. S\u00fcddeutsche Zeitung (1 July; accessed 3 July 2019).Stockhausen, Karlheinz. 1984. “Samstag aus Licht: Introduzione generale”. In Stockhausen: Samstag aus Licht (Sabato da Luce), edited by Luigi Ferrari, 8\u201337. Stagione 1983\u201384. Milan: Teatro alla Scala.Stockhausen, Karlheinz. 1985. “Electronic Music for Kathinka’s Chant as Lucifer’s Requiem“, translated by Jerome Kohl. Perspectives of New Music 23, no. 2 (Spring-Summer): 41\u201360.Stockhausen, Karlheinz. 1989a. Texte zur Musik, vol. 5, edited by Christoph von Blumr\u00f6der. DuMont Dokumente. Cologne: DuMont Buchverlag. ISBN\u00a03-7701-2249-6.Stockhausen, Karlheinz, and Jerome Kohl. 1985. “Stockhausen on Opera.” “Perspectives of New Music” 23, no. 2 (Spring-Summer): 24\u201339.Toop, Richard. 2005. Six Lectures from the Stockhausen Courses K\u00fcrten 2002. K\u00fcrten: Stockhausen-Verlag. ISBN\u00a03-00-016185-6.Further reading[edit]Anon. 1984. “Applausi al Palasport di Milano per la nuova opera di Stockhausen”. Il Messaggero (Sunday, 27 May).Arruga, Lorenzo. 1984. “Questo immenso, strepitoso e quasi inutile Stockhausen”. Il Secolo XIX (Sunday, 27 May).Bigourdan, Damien. 2019. “L’exil et la perdition”. In Karlheinz Stockhausen: Samstag aus Licht, programme book for the Paris premiere, 10\u201311. Paris: IRCAM \u2013 Centre Pompidou, Le Balcon, Cit\u00e9 de la musique \u2013 Philharmonie de Paris.Breault, Marie-H\u00e9l\u00e8ne. 2008. “The Timbre of the Flute and the Character of the Cat in Karlheinz Stockhausen’s SATURDAY from LIGHT”. In Gedenkschrift f\u00fcr Stockhausen, edited by Suzanne Stephens and Kathinka Pasveer, 31\u201344. K\u00fcrten: Stockhausen-Stiftung f\u00fcr Musik. ISBN\u00a0978-3-00-023528-3.Cavallotti, Enrico. 1984. “Sabato: \u00e8 qualcosa di pi\u00f9 d’un giorno della settimana. Il Tempo (Sunday, 27 May).Courir, Duilio. 1984. “La gran partita di Stockhausen col Diavolo”. Corriere della Sera (Sunday, 27 May).Cohen-Levinas, Danielle. 1996. “Des formes lyriques au XXe si\u00e8cle: fissure et utopie du Gesamtkunstwerk“. Musurgia 3, no. 1 (Dossiers Baccalaur\u00e9at 1996): 85\u2013103.Dirmeikis, Paul. 1999. Le Souffle du temps: Quodlibet pour Karlheinz Stockhausen. [La Seyne-sur-Mer]: \u00c9ditions Telo Martius. ISBN\u00a02-905023-37-6.Draus, Agnieszka. 2012. “Luzifers-Abschied from Samstag aus Licht: Stockhausen and the Italian Affair”. Interdisciplinary Studies in Musicology 12: 150\u2013161.Drew, Joseph. 2014. “Michael from Light: A Character Study of Karlheinz Stockhausen’s Hero”. Ph.D. diss. New York: New York University.Ferrari, Luigi. 1984. “Samstag, giorno di Lucifer”. In Stockhausen: Samstag aus Licht (Sabato da Luce), edited by Luigi Ferrari, 38\u201341. Stagione 1983\/84. Milan: Teatro alla Scala.Frisius, Rudolf. 2013. Karlheinz Stockhausen III: Die Werkzyklen 1977\u20132007. Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Music. ISBN\u00a0978-3-7957-0772-9.Gottardi, Roberta. 2004. “Rechter Augenbrauentanz (Right-Eyebrow Dance)”. The Clarinet 31, no. 4 (September): 52\u201355.Hunter, Mark. 1985. “Latest Stockhausen Work: A Musical Book of the Dead“. International Herald Tribune (15 May). Abridged reprint in Stockhausen 70: Das Programmbuch K\u00f6ln 1998, edited by Imke Misch and Christoph von Blumr\u00f6der, 155\u2013156. Signale aus K\u00f6ln: Beitr\u00e4ge zur Musik der Zeit 1. Saarbr\u00fccken: PFAU-Verlag, 1998. ISBN\u00a03-89727-047-1.Kiejman, Gaspart. 2019. “Le d\u00e9filement du temps, cl\u00e9 de Licht”. In Karlheinz Stockhausen: Samstag aus Licht, programme book for the Paris premiere, 7\u20139. Paris: IRCAM \u2013 Centre Pompidou, Le Balcon, Cit\u00e9 de la musique \u2013 Philharmonie de Paris.Kohl, Jerome. 1983\u201384a. “The Evolution of Macro- and Micro-Time Relations in Stockhausen’s Recent Music”. Perspectives of New Music 22, nos. 1 and 2:147\u2013185.Kohl, Jerome. 1983\u201384b. “Stockhausen at La Scala: Semper idem sed non eodem modo”. Perspectives of New Music 22, nos. 1 and 2:483\u2013501.Kohl, Jerome. 1990. “Into the Middleground: Formula Syntax in Stockhausen’s Licht“. Perspectives of New Music 28, no. 2 (Summer): 262\u2013291.Kohl, Jerome. 1993. “Time and Light.” Contemporary Music Review 7, no. 2:203\u2013219.Kurtz, Michael. 1992. Stockhausen: A Biography, translated by Richard Toop. London and Boston: Faber and Faber. ISBN\u00a00-571-14323-7 (cloth) ISBN\u00a00-571-17146-X (pbk).Maconie, Robin. 2005. Other Planets: The Music of Karlheinz Stockhausen. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press. ISBN\u00a00-8108-5356-6.Maconie, Robin. 2010. “Facing the Music: Stockhausen’s Wizard of Oz”. Tempo 64, no. 251: 2\u20137.Maconie, Robin. 2012. Avant Garde: An American Odyssey from Gertrude Stein to Pierre Boulez. Lanham, Maryland; Toronto; Plymouth (UK): Scarecrow Press. ISBN\u00a0978-0-8108-8312-3.Mead, Philip. 1989. “Lucifer’s Dream as a Concert Work: Preparing, Performing, and Recording Stockhausen’s Thirteenth Piano Piece” Ideas and Production, no. 11:87\u201389. ISSN\u00a00264-4940.Messinis, Mario. 1984. “Vince sempre la musica: Sabato da Luce di Stockhausen in prima mondiale al Palasport di Milano”. Il Gazzettino (Sunday, 27 May).Mila, Massimo. 1984. “Stockhausen in Prima Mondiale in Milan: Lucifero al Palasport”. La Stampa 118, no. 125 (27 May): 3.Minardi, Gian Paolo. 1984. “La musica esorcizza la morte: Lo spettacolo al Palazzo dello sport \u00e8 stato firmato da Luca Ronconi”. Gazzetta di Parma (Sunday, 27 May).Oehlschl\u00e4gel, Reinhard. 1984. “Wohlformulierte Teufelsmusik: Zu Karlheinz Stockhausens Samstag aus Licht“. MusikTexte: Zeitschrift f\u00fcr Neue Musik, no. 5:50\u201352.Rigoni, Michel. 2001. Le r\u00eave de Lucifer de Karlheinz Stockhausen. La trace des silences. [Paris]: M. de Maule. ISBN\u00a0978-2-87623-103-0.Schreiber, Wolfgang. 1984. “Musik f\u00fcr kommende Zeiten: Karlheinz Stockhausens Samstag aus Licht in Mailand uraufgef\u00fchrt”. S\u00fcddeutsche Zeitung (30\u201331 May). Reprinted in Stockhausen 70: Das Programmbuch K\u00f6ln 1998, edited by Imke Misch and Christoph von Blumr\u00f6der, 152\u2013155. Signale aus K\u00f6ln: Beitr\u00e4ge zur Musik der Zeit 1. Saarbr\u00fccken: PFAU-Verlag, 1998. ISBN\u00a03-89727-047-1.Stockhausen, Karlheinz. 1989b. Texte zur Musik, vols. 6, edited by Christoph von Blumr\u00f6der. DuMont Dokumente. Cologne: DuMont Buchverlag. ISBN\u00a03-7701-2249-6.Pappini, Maurizio. 1984. “Un Lucifero alla noce di cocco”. Il Giornale (Sunday, 27 May).Parsons, Ian Lawrence. 2019. “The Phenomenology of Light: an Interpretation of Stockhausen’s Opera Cycle Drawing on Heidegger’s Fourfold and Lacanian Psychoanalysis”. Ph.D. diss. Melbourne: Monash University.Pascal, Maxime. 2019. “Une c\u00e9r\u00e9monie de l’invisible”. In Karlheinz Stockhausen: Samstag aus Licht, programme book for the Paris premiere, 9\u201310. Paris: IRCAM \u2013 Centre Pompidou, Le Balcon, Cit\u00e9 de la musique \u2013 Philharmonie de Paris.Rossi, Luigi. 1984. “Samstag: l’interminabile opera di Stockhausen su Lucifero ieri al Palasport per La Scala”. La Notte (Saturday, 26 May).{Saracino, Enrico. 1984. “Ecco il Lucifer Day”. Avvenire (Sunday, 27 May).Spini, Daniele. 1984. “Inno a Lucifero: Stockhausen, atto secondo”. La Nazione (Sunday, 27 May).Stockhausen, Karlheinz. 1998. “Freiheit\u2014das Neue\u2014das Geistig-Geistliche”. Neue Zeitschrift f\u00fcr Musik 159, no. 4 (July\u2013August): 18\u201325.Tedeschi, Rubens. 1984. “Un sabato da Lucifero”. L’Unit\u00e0 (Sunday, 27 May).Tempo, Claudio. 1984. “Quando Lucifero perde la grinta”. Il Secolo XIX (Sunday, 27 May).Toop, Richard. 2003. “Licht-Emanation: Stockhausens Licht-Zyklus au\u00dferhalb des Opernhauses”. Neue Zeitschrift f\u00fcr Musik 164, no. 4 (July\u2013August): 38\u201341.Toop, Richard. 2008. “Samstag aus Licht (‘Saturday from Light’)”. Grove Music Online: The New Grove Dictionary of Opera (updated 15 July) (Subscription access) (Accessed 17 April 2013).Ulrich, Thomas. 2004. “Moral und \u00dcbermoral in Stockhausens Licht“. In Internationales Stockhausen-Symposion 2000: LICHT. Musikwissenschaftliches Institut der Universit\u00e4t zu K\u00f6ln, 19. bis 22. Oktober 2000. Tagungsbericht, edited by Imke Misch and Christoph von Blumr\u00f6der, 74\u201388. M\u00fcnster: Lit-Verlag. ISBN\u00a03-8258-7944-5.Ulrich, Thomas. 2008. “Anmerkungen zu Luzifer”. In Gedenkschrift f\u00fcr Stockhausen, edited by Suzanne Stephens and Kathinka Pasveer, 202\u201311. K\u00fcrten: Stockhausen-Stiftung f\u00fcr Musik. ISBN\u00a0978-3-00-023528-3.Ulrich, Thomas. 2012a. “Lucifer and Morality in Stockhausen’s Opera Cycle Licht“, translated by Jerome Kohl. Perspectives of New Music 50, nos. 1 & 2 (Winter\u2013Summer): 313\u2013341.Ulrich, Thomas. 2012b. Stockhausen: A Theological Interpretation, translated by Jayne Obst. K\u00fcrten: Stockhausen-Stiftung f\u00fcr Musik. ISBN\u00a0978-3-9815317-0-1.Ulrich, Thomas. 2017. Stockhausens Zyklus LICHT: Ein Opernf\u00fchrer. Cologne, Weimar, and Vienna: B\u00f6hlau Verlag. ISBN\u00a0978-3-412-50577-6.Zurletti, Michelangelo. 1984. “Qui giace Lucifero: E sulla barba siede il pubblico”. La Repubblica (Sunday, 27 May).External links[edit]     (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki12\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki12\/samstag-aus-licht-wikipedia\/#breadcrumbitem","name":"Samstag aus Licht – Wikipedia"}}]}]