A controvérsia em torno da conferência
de imprensa de Stockausen em Estocolmo está viva, em
sangue, longe de sarar. Decidimos por isso, sem mais comentários,
elaborar apenas um pequeno dossier que não tem maior
ambição do que fazer um levantamento do percurso
dos factos e da discussão. As repetidas transcrições
de excertos da conferência de imprensa devem-se ao facto
de, no cerne da polémica, estar a discussão
em torno das exactas palavras proferidas por Stockhausen.
1 - O texto da agência noticiosa alemã que
deu origem à polémica, seguido das repercussões
que teve em todo o mundo.
According to the German news agency DPA, Karlheinz
Stockhausen said in an interview he gave on account of a concert
"What happened there is - now you must
readjust your brain - the biggest artwork of all times. That
spirits achieve in a single act what we in music cannot dream
of, that people rehearse ten years long like mad, totally
fanatical for a concert and then die. This is the biggest
artwork that exists at all in the whole universe... I couldn't
match it. Against that, we - as composers - are nothing."
Asked by a jorunalist whether he identified
art and crime, Stockhausen replied: "It's a crime because
the people were not consenting. They haven't come to the 'concert'.
This is evident. And nobody had announced them that they could
die in its process. What happened there spiritually, this
leap from security, from what's ordinary, from life, that
sometimes happens poco a poco in art. Or else it is nothing."
The Financial Times Germany quotes Stockhausen's
colleague Gyorgy Ligeti with the following reaction: "Stockhausen
has taken the side of the terrorists. [...] If he thinks this
atrocious mass murder is an artwork, I am sorry that I have
to say that he should be locked up in a psychiatric hospital".
"The composer Karlheinz Stockhausen caused
outrage in Germany when he described the terrorist attacks
in the United States last week as 'the greatest work of art
ever,' Agence France-Presse reported yesterday. Mr. Stockhausen,
73, who made the remark to journalists inHamburg on Sunday,
retracted it at once and asked that it not be reported. But
two Stockhausen concerts scheduled for yesterday and today
in a festival in Hamburg were canceled. 'Out of feeling for
the political culture of the city and the federal republic,
the concerts had to be canceled,' said Christina Weiss, Hamburg
Agence France-Presse reported that according
to the news agency DPA, Mr. Stockhausen responded to a question
about the attacks on the United States by saying: 'What happened
there is - they all have to rearrange their brains now - is
the greatest work of art ever. 'That characters can bring
about in one act what we in music cannot dream of, that people
practice madly for 10 year, completely, fanatically, for a
concert and then die. That is the greatest work of art for
the whole cosmos. 'I could not do that. Against that, we composers,
are nothing.' Mr. Stockhausen was reported to have left Hamburg
in distress" (The New York Times, September 19, 2001)
Stockhausen suscite de vives polémiques
suite à ses propos sur les attentats.
Deux concerts de Stockhausen Karlheinz prévus
à Hambourg ont été annulés mardi
après la controverse suscitée par des propos
du compositeur allemand, qui avait qualifié les attentats
perpétrés aux Etats-Unis de "plus grande
oeuvre d'art jamais réalisée". Les autorités
culturelles de la ville-Etat de Hambourg et la Fondation Die
Zeit, qui parraine des concerts prévus mardi et mercredi,
ont jugé que la présence de n'était "plus
acceptable, même après le démenti apporté".
Lors d'un entretien avec la presse dimanche à Hambourg,
le compositeur avait déclaré : "Ce à
quoi nous avons assisté, et vous devez désormais
changer totalement votre manière de voir, est la plus
grande oeuvre d'art jamais réalisée : que des
esprits atteignent en un seul acte ce que nous musiciens ne
pouvons pas concevoir, que des gens s'exercent fanatiquement
pendant 10 ans, comme des fous, en vue d'un concert, puis
meurent". "Imaginez-vous ce qu'il s'est passé.
5.000 personnes sont concentrées sur une représentation
et sont poussées, en un instant, vers la résurrection.
Je ne pourrais jamais y arriver. Face à cela, nous
autres compositeurs, nous ne sommes rien", avait ajouté
M. Stockhausen. Il avait ensuite retiré ses propos
et demandé à ce qu'ils ne soient pas utilisés.
Agé de 73 ans, le compositeur d'avant-garde a quitté
Hambourg mardi très affecté, selon l'agence
allemande DPA. Dans un communiqué publié par
les organisateurs du festival auquel il devait participer,
il a expliqué que ses propos avaient été
"sortis de leur contexte". "Interrogé
sur le caractère historique de certains de mes personnages,
j'ai répondu qu'ils étaient toujours d'actualité,
comme par exemple Lucifer à New York. J'ai rappelé
le rôle de la destruction dans l'art. Tout autre mot
en dehors de ce contexte n'a pas de rapport avec ce que je
pense", a expliqué le musicien, qui depuis 1977
travaille à l'immense cycle "Lumière".
LE MONDE.FR - 19.09.01 - 12h13
2- Reacção de Stockhausen
depois da polémica mundial:
Mensagem do professor KarlHeinz Stockhausen:
Depois de regressar de Hamburgo encontrei falsas
e difamatórias notícias na imprensa. Eu estou
tão consternado como toda a gente com os ataques na
América. Na conferência de Imprensa em Hamburgo,
perguntaram-me se MICHAEL, EVE e LUCIFER eram figuras históricas
do passado e eu respondi que elas existem agora, por exemplo
LUCIFER em New York.
No meu trabalho, eu defini Lucifer como o cósmico espirito
da rebelião, da anarquia. Ele usa elevados níveis
de inteligência para destruir a criação.
Ele não conhece o amor. Depois de mais algumas questões
sobre os acontecimentos na América eu respondi que
tal plano parecia ser a maior obra de arte de Lucifer. É
claro que utilizei a expressão "Obra de Arte"
para significar o trabalho de destruição personificado
em Lucifer. No contexto dos meus outros comentários
isto era inequívoco.
Não consigo encontrar um nome apropriado para tal "satânica
composição". No meu caso não era
minha intenção magoar alguém. Desde o
inicio do ataque que senti solidariedade com todos os seres
humanos que sofreram esta atrocidade. Em nenhum momento pensei
ou senti da maneira como as minhas palavras estão agora
a ser interpretadas pela imprensa.
O jornalista em Hamburgo extraiu completamente as minhas declarações
fora do contexto, que ele não gravou na totalidade,
para as usar como um vil ataque contra a minha pessoa e o
Festival de Musica de Hamburgo. Esta situação
é lamentável e estou profundamente arrependido
se as minhas observações foram adulteradas para
ofender as famílias enlutadas pelos brutais ataques
em New York e em Washington D.C. Continuo a rezar pelas vitimas
September 19, 2001
3 - Transcrição
da parte polémica da conferência de Imprensa
colocada no site oficial de Stockhausen. Também esta
versão provocou polémica porque evita os momentos
essenciais do que foi dito.
Here are the facts.
Eye and ear witness report of Stockhausen's experience in
Hamburg by Suzanne Stephens (American).
Sunday, September 16th
To the question (posed from the other side
of the room): "Are MICHAEL, EVE and LUCIFER historical
figures of the past
(Stockhausen: "No, no!) or are
they real apparitions?" Stockhausen answered: "I
pray daily to Michael, but not to Lucifer - I do not allow
myself to do that - but he is very present, like in New York
at the moment."
Q: Do you have visions of angels?
Stockhausen: Yes of course.
Q What do they look like?
Stockhausen: Similar to what you are all familiar with in
paintings and the other visual arts of the last 1000 years.
And sometimes also in a human being.
There was a moment of silence, until the journalist in front
of me broke the silence: "Now that the city of New York'
has been mentioned: In your notes to HYMNEN, you write of
a harmonious humanity made musically audible"
The same journalist: You have also just spoken about the languages,
in which you are composing, you have just said that Lucifer
is in New York - I believe that I have not misunderstood you
The same journalist: How do you feel personally about the
recent events and above all, how do you now view such notes
about a harmonious humanity as in HYMNEN, which is going to
Another moment of silence.
Stockhausen was biting his lip, which means he is close to
tears. This had happened a few minutes earlier, when he had
said that he sometimes saw an angel in a human being.
Then he said - in the context of his previous statement "for
instance Lucifer in New York" - "So: What happened
there is - now all of you must adjust your brains -, the biggest
work of art
" This statement and only part of what
Stockhausen then actually said is ALL that was broadcasted
by the NDR, i.e. there was none of the previously quoted context,
thus no mention of Lucifer. We will transcribe the press conference
in its entirety and make its translation available as soon
In what followed, Stockhausen expressed his amazement at the
deadly efficiency involved in (Lucifer's) art of war, of destruction.
Then, the same journalist asked Stockhausen if he considered
Lucifer's "work of art" to be a criminal act. Stockhausen
replied that of course it was a criminal act beacuse the innocent
who were killed had not been given a choice.
The next-to-last sentence that was broadcast was "But
what happened SPIRITUALLY, this jump out of security, out
of the self-evident, out of the every day life, this sometimes
also happens in art
or it is worthless. "
As I remember, it was at this point that Stockhausen then
said, "But - please - do not publish this, people might
not understand this." And there was a general nodding
of heads. It was a moment where the division Stockhausen /
journalists = you / me was swept away, and "mankind is
in a crisis, but crisis can bring renewal" remained,
Then after this silence, Stockhausen looked the journalist
in front of me (who had asked the question) straight in the
eye and asked, reflecting: "Where did you want to lead
Are you a musician?" (Answer: "I
used to be.")
A few more reflective sentences followed, then Stockhausen
smiled slightly at Johannes Schulz and kidded, "Maybe
you are Lucifer."
4- A polémica e os boicotes que Stockhausen
sofreu na Alemanha ( a estação de televisão
alemã ZDF, por exemplo proibiu qualquer emissão
de obras do compositor ) e um pouco por toda a Europa , levaram
a que fosse disponibilizado no site oficial o texto, em alemão,
de toda a conferência de imprensa. Este excerto talvez
seja o que permite um melhor avaliação do sentido
e da intenção das palavras de Stockhausen:
Stockhausen - Surely, why not
Jornalist - For you rather figures from a common culture history
Stockhausen - No, no!
Jornalist - or [ one ] is materiale feature for you?
Stockhausen - No, no!
I pray each day to Michael, but not to Luzifer.
Jornalist - Thus that I malfunctioned myself.
Stockhausen - But that is very present, thus in New York at
Jornalist - Do they have visions of angels?
Stockhausen - Yes, certainly.
Jornalist - How look?
Stockhausen - Not dissimilarly what you all know, for more
than thousand years in the painting and in the bildnerischen
art, and [ hesitates ] sometimes also in humans.
Jornalist - Now the name of the city is nevertheless pleases,
In the notes to "Hymnen" you write from a musical
audible making of harmonious humanity,
and you spoke also straight of the world languages, in which
you compose, for which you
compose. They spoke straight of Luzifer in New York, I you
wrongly understood, do not believe I.
Stockhausen - No.
Jornalist - The events of the last days, how that affects
you personally and above all, how you regard
then such notes to the harmonious humanity in "Hymnen",
which are also specified, again?
Stockhausen - Thus which happened there, is natural - now
you must change all over your brain - the largest work of
art. What has happened is - now you all have to turn your
brains around - the greatest work of art there has ever been.
That minds could achieve something in one act, which we in
music cannot even dream of, that people rehearse like crazy
for ten years, totally fanatically for one concert, and then
die. This is the greatest possible work of art in the entire
cosmos. Imagine what happened there. There are people who
are so concentrated on one performance, and then 5000 people
are chased into the Afterlife, in one moment. This I could
not do. Compared to this, we are nothing as composers... Imagine
this, that I could create a work of art now and you all were
not only surprised, but you would fall down immediately, you
would be dead and you would be reborn, because it is simply
too insane. Some artists also try to cross the boundaries
of what could ever be possible or imagined, to wake us up,
to open another world for us
5 - Diversas leituras das palavras de Stockhausen.
Zlavov Zizek in Desert of The Real
) And was the bombing of the WTC with
regard to the Hollywood catastrophe movies not like the snuff
pornography versus ordinary sado-maso porno movies? This is
the element of truth in Karl-Heinz Stockhausen 's provocative
statement that the planes hitting the WTC towers was the ultimate
work of art: One can effectively perceive the collapse of
the WTC towers as the climactic conclusion of the XXth century
art 's "passion of the real" - the "terrorists"
themselves did not do it primarily to provoke real material
damage, but FOR THE SPECTACULAR EFFECT OF IT. The authentic
XXth century passion to penetrate the Real Thing (ultimately,
the destructive Void) through the cobweb of semblances which
constitute our reality thus culminates in the thrill of the
Real as the ultimate "effect", sought after from
digitalized special effects through reality TV and amateur
pornography up to snuff movies. Snuff movies which deliver
the "real thing" are perhaps the ultimate truth
of virtual reality. There is an intimate connection between
virtualization of reality and the emergence of an infinite
and infinitized bodily pain, much stronger that the usual
one: do biogenetics and Virtual Reality combined not open
up new "enhanced" possibilities of TORTURE, new
and unheard-of horizons of extending our ability to endure
pain (through widening our sensory capacity to sustain pain,
through inventing new forms of inflicting it)? Perhaps, the
ultimate Sadean image on an "undead" victim of the
torture who can sustain endless pain without having at his/her
disposal the escape into death, also waits to become reality.
Pablo Helguera in Haciendo Himnos
entre Ruinas (Sobre el sentido de la obra de arte y el valor
de la poesía a partir del 11 de septiembre.)
¿Qué yerba, que agua
de vida ha de darnos la vida,
dónde desenterrar la palabra, la proporción
al himno y al discurso, al baile, a la ciudad y a la balanza?
Himno entre Ruinas
En una cita que causó una controversia
internacional, Karlheinz Stockhausen dijo que el incidente
del World Trade Center había sido mayor obra de arte
jamás hecha. Cualquiera que haya sido el contexto del
comentario del compositor alemán (y que le ha causado
muchos problemas), seguramente se refería al hecho
que el impacto de este acto terrorista sobrepasó la
magnitud de cualquier otra experiencia, ya fuera artística
o no. De cualquier manera, este terrible atentado evidenció
más que nunca el papel marginal del quehacer artístico
en nuestra sociedad. Después de casi una década
de virtualidad, un golpe de realidad nos obligó a reconocer
la caída de nuestra torre virtual de idilios con experiencias
Date: Thu, 20 Sep 2001 21:36:07 +0200
From: "Michael Benson" <email@example.com>
Stockhausen's (mis)quote underlines that like courage, 'creativity'
morally neutral (re Susan Sontag, who in this week's New Yorker
that whatever they were, the terrorists were not cowards).
Ok, so it
turns out that Stockhausen was speaking of Lucifer as an artist
terror - Lucifer the fallen angel. But "Every angel is
(Rilke). One thought after the events of last week was how
skillfully ingenious - how creative in destruction - the masterminds
of what happened were. Also in the NYer is a line by Jonathan
"Somewhere - you can be absolutely sure of this - the
who planned this attack were rejoicing over the terrible beauty
towers' collapse." Death artists. Benjamin states that
there is no
document of civilization which is not at the same time a document
barbarism. The technology propelling those civilian jet airplanes
into terror weapons was first developed in its early form
impetus of the need to protect the Third Reich from air-raids
production jet was the Messerschmitt 262). Leonardo spent
a good part of
his time designing weapons systems. One source of the fascination
fascism (described by Sontag among others), lay of course
aestheticization of terrible power, its appropriation of the
neutral means of artistic expression. In the 80's Ljubljana's
went a long way in exploring this aestheticized fascination.
of beauty being "but the start of terror, which is beautiful
serenely disdains to destroy us." (Another translation
has it like this:
"For the beautiful/ Is nothing but a terrible beginning
that we continue
to endure. And we cherish it, its calm refusal. To destroy
us. A single
beautiful idea fills us with terror.") In his book Inside
Reich, Albert Speer recalls writing a book called "A
Theory of Ruin
Value" (1938), which argued that Third Reich structures
should be built
in such a way as to look good when they lay in ruins (by which
to look like Roman ruins). Speer thought that modern materials
methods of construction wouldn't make aesthetically pleasing
Instead of considering Speer's depictions of Third Reich monuments
the wrecked, ivy-covered reviewing stands at the Zeppelin
Field to be
blasphemous, Speer writes, Hitler "accepted my ideas
as logical and
illuminating. He gave orders that in the future the important
of his Reich were to be erected in keeping with the principles
'law of ruins.'" (Speer, Inside the Third Reich, quoted
by V. A.
Podoroga in his essay Machines of Disorder).
Rainer Maria Rilke: Duino Elegies
Who, if I cried out, would hear me among
the angels' hierarchies?
and even if one of them pressed me suddenly against his
I would be consumed in that overwhelming existence.
For beauty is nothing but the beginning of terror, which
we are still just able to endure,
and we are so awed because it serenely disdains to annihilate
Every angel is terrifying.
And so I hold myself back and swallow the call-note of my
Ah, whom can we ever turn to in our need?
Not angels, not humans, and already the knowing animals
that we are not really at home in our interpreted world.
Perhaps there remains for us some tree on a hillside, which
every day we can take into
there remains for us yesterday's street and the loyalty
of a habit so much at ease
when it stayed with us that it moved in and never left.
Oh and night: there is night, when a wind full of infinite
space gnaws at our faces.
Whom would it not remain for - that longed-after, mildly
which the solitary heart so painfully meets.
Is it any less difficult for lovers?
But they keep on using each other to hide their own fate.
Don't you know yet?
Fling the emptiness out of your arms into the spaces we
perhaps the birds will feel the expanded air with more passionate
Stockhausen, Abril 2001, consultando a Homepage