Structure
The musical structure of the cycle is based on three counterpointed main melodies (or "formulas"), each associated with a central character. It follows the method of super-formula composition: these melodies define both the tonal centers and durations of scenes as a whole, as well as the melodic phrasing in detail. Each of the three central characters is also associated with an instrument: Michael with the trumpet, Eve with the basset horn, and Lucifer with the trombone.
The Licht Superformula
Stockhausen's conception of opera is more akin to the tableaux of the Renaissance masque and its hermetic cosmology than to traditional dramatic and climactic structures typical of the past two centuries (Godwin 1998, 354).
The cycle is constructed modularly. Not only is each of the seven operas a self-sufficient work, but so are the individual acts, scenes, and—in some cases—portions of scenes. These modules may be segments (e.g., the eleven instrumental solo sections from Orchester-Finalisten from Mittwoch), or layers (e.g., the electronic Oktophonie layer from the second act of Dienstag or the Klavierstück XIII version of the first scene of Samstag (Luzifers Traum), with the bass voice omitted), or a combination of the two (e.g., the vocal sextet Menschen, hört and the Bassetsu-Trio, which are two layers of the "Karusel" subscene from Michaelion, the fourth scene of Mittwoch).
Read more about this topic: Licht
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