* 2021 Stock * Packaged in two Multiboxes, with a 124 page booklet (in English language), in a 2" thick slip box. Karlheinz Stockhausen – “Aus den sieben Tagen” for six players (1968) (From the Seven Days) is a collection of 15 text compositions by Karlheinz Stockhausen, composed in May 1968, in reaction to a personal crisis, and characterized as "Intuitive music"—music produced primarily from the intuition rather than the intellect of the performer(s).." This type of composition or instruction or whatever one might call it (resulting in the music that Stockhausen calls “Intuitive”), represented a radical change in Stockhausen’s way of working, even though the two, three previous compositions he did pointed in this direction. Stockhausen’s new method would prove difficult for players who weren’t very attuned to the idea (or to Stockhausen) to grasp, and even players very familiar with Stockhausen had problems, like for instance Aloys Kontarsky, but an in depth guidance by Stockhausen led to the full participation of Kontarsky too, who only needed to be able to see things in a way that he could relate to. It’s all in your mind, and like “The Tibetan Book of the Dead” says; the thoughts are real, much more so than the material world, for all that we do, all that we build etcetera, originate in our thoughts (an old conception that for example also Plato reflected). Kontarsky could play according to Stockhausen’s new kind of instructions as soon as he could think about them in a certain way that fitted his personality. Stockhausen’s deep-rooted pedagogical talent reveals itself in the way he could guide Kontarsky on to that way of thinking, resulting in excellent playing of something that Kontarsky at first found impossible.
A basic idea of Sri Aurobindo was to restrain all the impulses, all the stimuli, that usually tumbles through our mind – to clean house – and make the mind accessible to a higher level of consciousness. Stockhausen saw the need for the gradual development into a higher consciousness within the performers of his new music. On the British premier of “Mantra” Stockhausen selected some paragraphs out of Satprem’s “Sri Aurobindo or the adventure of consciousness” (which can be studied in Jonathan Cott’s very immediate and interesting book “Stockhausen – Conversations With the Composer”) where Aurobindo – through Satprem - says that in India there is a knowledge based on the study of sounds and their connections to our different planes of consciousness. This would also mean that we, by repeating certain sounds, might put ourselves in communication with these levels of consciousness. The sounds, the vibrations – at a higher level – develop the possibility of experience and realization; the thorough sense of inner vision. Sri Aurobindo also maintains that we, by learning how to compose music as a product of a conscious handling of higher vibrations, may shape works of initiatory powers, bringing the gods into our lives. Aurobindo says that true poetry makes holes in the consciousness where the Real may enter. It is said that great music comes from the overmind, which is the source of all creative – and spiritual - acts. Aurobindo goes on to explain that poets, writers, artists who consciously enter into a higher level of consciousness hear; they do not try to translate ideas – they HEAR. They sense a vibration, and when they form art, music, words from that initial vibration, those occurrences are just secondary effects of that real vibration. When the consciousness is transparent, the book says, the sound becomes clearly audible. Then all is full, all is contained in a single vibration. The book says that these vibrations seem to be born out of the Infinite and disappear into the Infinite; that they enter the mind with a halo of eternity that vibrates ahead and continues to vibrate long after" (Excerpt from Ingvar Nordin / Sonoloco extensive review)