It is very important to outline that all the sound planes and sound trajectories are composed in terms of the manipulation of musical material in time supported mainly in stereophony
. Even though the piece was conceived specially for this very special Pavilion-listening-room it was necessary for the composer that the music had coherence in itself before being projected in space.
(23.) "Writing aloud is not phonological but phonetic; its aim is not the clarity of messages, the theatre of emotions; what it searches for...are the pulsional incidents, the language lined with flesh, a text where we can hear the grain of the throat, the patina of the consonants, the voluptuousness of vowels, a whole carnal stereophony
: the articulation of the body, of the tongue, not that of meaning, of language" (Barthes, Pleasure 66-67).
With all the means--of the scenic action in the play, of the multilayered spatialization, of the direct movement in space, of active stereophony
, of the newest technology, and so forth--Stockhausen is always trying to add in more movement--i.e., more process-like-ness, more life--into his music.
. The intertextual in which every text is held, it itself
This is what happens with the Text: it can be itself only in its difference (this does not mean its individuality), its reading is semelfactive (this renders any inductive-deductive science of texts illusory--there is no "grammar" of the text) and nonetheless entirely woven from quotations, references, and echoes, from cultural languages (what language would not be?), past or contemporary, that traverse it from one end to the other in a vast stereophony
Accordingly, in 1950 Dvorak's opera Rusalka, conducted by Jaroslav Krombholc, was recorded for the first time (Josef Keilbert's recording four years previously was originally a radio recording and was only commercially propagated after Krombholc's recording), in the same year Vaclav Talich recorded Stabat Mater, the first Dvorak oratorio recorded in a studio, while the accession of stereophony
in the second half of the 1950s accelerated the origination of Karel Aneerl's coproduction recording of the Requiem For Deutsche Grammophon Gesellschaft and Supraphon in 1959.
Thomson ("on style and experimentation"), Cage (on indeterminacy), and Varese (on "stereophony
"), (World Publishing rejected the proposal on 26 February I960.)