Karlheinz Stockhausen’s Stimmung, showcased at the Lovely Music Festival in Dundalk, received a three-star rating. Subverting expectations of post-war avant-garde in 1968, Stimmung, which translates as Tuning or Mood, is far from rebarbative – an antiquated term once testament to the hostility of certain music.
The composition unfurls in a meditative, drawn-out rhythm, built upon a singular note and its subsequent overtones – elements responsible for providing differentiation and depth to musical sounds. Without these overtones, music would resemble a mere test tone. The incorporation of overtone singing enables performers to highlight one or multiple components of their vocals, using different lip and tongue positions to produce high pitches, and even invent overtone harmonies and tunes.
The overtone-singing technique has its roots in Mongolia, but can be found in various cultures worldwide. As Stockhausen recounts, the concept came to him during his late-night compositions, quietly humming to avoid disturbing his resting children.
Paul Griffiths, for the Neue Vocalsolisten’s Saturday performance, provided the English equivalent for the complex term, Stimmung. Suggesting the term “vibes,” a term emerging in the late 60s, Griffiths was able to encapsulate the essence of Stimmung.
When composing Stummung, Stockhausen drew significant influence from his recent fascination with Mexican culture and his marriage to Mary Bauermeister, to whom he dedicated the piece. The content, penned by Stockhausen himself, recalls “magical names” from across the globe, weekdays (later adopted as the titles for his seven-opera series, Licht), whimsical syllables, and sensual poetry.
Eroticism has historically been a subject of contention and the following quote paints a vivid picture as to why. “My masculinity is integral to my spirit / as I encompass you. / At the pinnacle / is where I reside (When I say ‘I’, I’m referencing my esteemed self) / in my solitary torpedo front. / I cease to know anything else, / save for the fact that I exist in the brilliant casing, / my gaze prominent at the fore / – I as a bird – reflection in your gaze / even the slightest sentiment. / And I navigate – a kamikaze journey – / through your silvery essence. . . . ”
There’s an allure in the gradually evolving discovery of what, in truth, is a harmony that’s likely familiar to most. The engaging process of adjusting to various resonances and the thorough detailing by Stockhausen brings an unexpected freshness to the auditory experience.
The Neue Vocalsolisten gave a superb performance at the St Nicholas Parish Church, exhibiting essential elements with lucidity and self-assuredness. The amplification, an integral element of the piece, was handled with finesse. However, the composition seems to have turned into a product of its era, and it fails to deliver on its potential. It mirrors a top-rated tourist site that’s been so overly promoted, it stands little chance of fulfilling the inflated expectations.