Licht - Auxiliary Works

Auxiliary Works

Apart from the versions of various scenes that can be performed separately, and arrangements of such scenes, there are some pieces that lie outside of the Licht cycle proper, and yet are closely related to it. For example, the Licht superformula itself is adapted as a brief "signalling" piece:

  • Licht-Ruf, Nr. 67, for variable ensemble (1995)

Other pieces are "source" compositions, intermediate between the superformula and final compositional elaboration into parts of one of the operas.

  • Michaels-Ruf, 1. ex Nr. 48½, for variable ensemble (1978), the unscored basic material for the Donnerstags-Gruß
  • Xi, 1. ex Nr. 55, for a melody instrument with microtones (1986), the "seed" material for the Montags-Gruß

Some others are themselves elaborated from such source compositions, but follow a separate line of development:

  • Traum-Formel, Nr. 51⅔, for basset horn (1981) a recomposition of the formula of the first scene of Samstag
  • Flautina, ex 56½, for flute with piccolo and alto flute (1989), related to the scene "In Hoffnung" from the first act of Montag
  • Quitt, for alto flute, clarinet, and trumpet, Nr. 1 ex 59 (1989), composed out from the basic plan of the Montags-Abschied
  • Ypsilon, Nr. 2 ex 59, for a melody instrument with microtones (1989), also elaborated from the Montags-Abschied plan
  • Sukat, Nr. 2 ex 60, for alto flute and basset horn (1989), based on the portion of the Tuesday formula used for the Dienstags-Gruß
  • Vibra-Elufa, Nr. 9¾ ex 64, for vibraphone (2003), based on the ninth "real scene" of Freitag (itself used as a source composition for other parts of that opera)
  • Thinki, Nr. 1 ex 70, for flute (1997), recomposed from material in Michaelion, the final scene of Mittwoch

There are four pieces made of versions of the formula for Mittwoch:

  • Europa-Gruß, Nr. 72, for winds (1992/2002)
  • Trumpetent, Nr. 73, for four trumpets (1995)
  • Mittwoch-Formel, Nr. 73½, for percussion trio (2004)
  • Klavierstück XVIII (Mittwoch-Formel), Nr. 73⅔, for synthesizer (2004)

Also, there is

  • Strahlen, Nr. 80½, for a percussionist and ten-channel sound recording (2002), fashioned from Hoch-Zeiten for choir

Finally, there is:

  • Litanei 97, Nr. 74, for choir and conductor (1997)

which sets a text from Aus den sieben Tagen (1968), incorporating fragments of the Licht superformula.

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