The partial performance of Karlheinz Stockhausen’s multi-day, megalomaniac opera cycle LIGHT was one of the highlights of the Holland Festival of 2019. The logistical nightmare that preceded it is captured in the fascinating documentary light van Oeke Hoogendijk. Hoogendijk follows those involved in the ambitious project, from director Pierre Audi to the more than 200 students of the Royal Conservatoire in The Hague who have to master the demanding music in a relatively short time. A big advantage is that two of Stockhausen’s widows are present at the rehearsals: Kathinka Pasveer and Suzanne Stephens-Janning. Both worked closely with the strict Stockhausen (1928-2007) and through the project they can pass on their knowledge of his music and the ins and outs of performance practice. In a drawing scene we see them arguing with Audi about the use of acting musicians. He doesn’t like that, but according to the two women it is an essential part of Stockhausen’s concept in which actors and musicians are equal.
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In addition, Hoogendijk pays a lot of attention to the complex private and love life of Stockhausen, which is justifiable. For example, one of his daughters says:LIGHT is his life, LIGHT is Karlheinz.” The opera cycle cannot be understood without knowledge of the biographical context. Something that is difficult anyway. In a telling scene we see lighting designer Urs Schönebaum thinking for minutes about what the opera is about.
Two fronts
Stockhausen had many women in his life, in addition to the two widows – with whom he formed a ménage à trois – several ex-wives and many mistresses. He got into trouble with some of his six children. They paint an uncomplimentary picture of their father: he was harsh, selfish and interested in them only if they meant something to him and his music. Daughter Julika is the most critical, begging men with a “huge ego” like her father to “please don’t have children”. When son Markus, a great trumpet player, released his debut album Continuum (1984) had recorded for the prestigious ECM label, his father was happy, because now he finally had music that was “nice for breakfast”.
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Scene from Oeke Hogendijk’s documentary light.
Photo Dinand van der Wal
All in all, the documentary works on two fronts. He aptly illustrates that Stockhausen’s demanding, difficult music arose from a demanding, difficult person who suffered from his war traumas. But above all, Hogendijk’s wonderful documentary reflects on the pros and cons of ‘difficult men’, which actually includes Pierre Audi. “I never prepare,” he says proudly. No wonder he clashes with the widows again and again.