His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company.
Some of his notable compositions include the series of nineteen Klavierstücke (Piano Pieces), Kontra-Punkte for ten instruments, the electronic/musique-concrète Gesang der Jünglinge, Gruppen for three orchestras, the percussion solo Zyklus, Kontakte, the cantata Momente, the live-electronic Mikrophonie I, Hymnen, Stimmung for six vocalists, Aus den sieben Tagen, Mantra for two pianos and electronics, Tierkreis, Inori for soloists and orchestra, and the gigantic opera cycle Licht.
As an orphaned teenager, Stockhausen experienced true horror and carnage on active service near the end of WWII. He then went on to redefine contemporary music: from Kreuzspiel, the early electronic Kontakte, the intuitive works, the hour-long a-capella Stimmung, to the Licht cycle of seven operas. His influence is widely felt, even in unexpected places within the world of popular music.
After dealing first-hand with the victims of conflict and allied bombing out in the field and in the hospital, he began his post-war musical studies in Europe. He had thoughts of being a writer, and did a stint as a travelling magician's pianist. This life gave way in the early-1950s to the project of redesigning music, from the bottom-up, on his own terms. Melody, regular rhythm, and literal repetition were not to be found, while fearsome serial structures (and philosophical paradigms) underpinned the sparsest surface texture. Stockhausen's frequent cosmic flights of philosophical and moral fancy are important to his works.
The sharp practicality of his musical thinking is in its own league among post-war composers. By the mid-50s Stockhausen was enjoying huge success as leader of the avant garde. Dedicated festivals soon sprung up around the globe, and they continue. For some though, even now, this is one musical emperor who walks unclothed.
Recommended for starters may be: the electronic Telemusik, all the early chamber pieces, the erotic ode Stimmung (arguably the finest of all takes on mimimalism), Mantra for two pianos, the epic Hymnen, Trans, Gruppen (for 3 orchestras), Carré (for 4 orchestras and choirs), Unsichtbare Chöre, Mixtur. From 1975 on, his work was centred around the opera cycle, Licht. He may be at his best in quiet moods, but the unprecedented live Stockhausen sound-happening, with overwhelming sonic swirlings in all directions, is something everyone should try at least once before they leave the planet. The composer has issued nearly all of his music on his own label.
42
Karlheinz Stockhausen Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Gangster whitewalls tv antenna in the back
You may not have a car at all
But just remember brothers and sisters
You can still stand tall
Just be thankful for what you've got
Though you may not drive a great big cadillac
Diamonds in the back, sunroof top, diggin the scene
For what you've got
You may not have a car at all
But just remember brothers and sisters
You can still stand tall
Just be thankful for what you've got
Diamonds in the back, sunroof top, diggin' the scene
With the gangster lean ooh ooh ooh
Though you may not drive a great big cadillac
Gangster whitewalls tv antenna in the back
You may not have a car at all
But just remember brothers and sisters
You can still stand tall
Just be thankful for what you've got
Diamonds in the back, sunroof top, diggin the scene
With the Gangster lean
(x3)
The lyrics to Karlheinz Stockhausen's song "42" are a tribute to gratitude and contentment with what one has, rather than being envious of what others possess or achieve. The first verse sets the tone with a nod to material possessions, specifically the great big Cadillac with gangster whitewalls and a TV antenna in the back, which is often seen as a symbol of success and status. The second verse immediately establishes a contrast, asserting that some people may not have a car at all, but they can still stand tall and be grateful for what they have. The third verse reinforces this message, urging listeners to appreciate the diamonds in the back, sunroof top, and the scene with a gangster lean.
Stockhausen's choice of imagery and phrasing is interesting in that it reflects both a celebration of a particular cultural milieu and a subversion of its values. Gangster whitewalls, TV antennas, and the gangster lean are all nods to a specific period in American history, but the song encourages listeners to embrace a different set of values - ones that prize humility, gratitude, and an appreciation for the simple things in life. Additionally, the repetition of the chorus underscores the song's message, echoing the idea of being thankful for what you have rather than what you don't.
Line by Line Meaning
Though you may not drive a great big Cadillac
Even though you may not possess lavish and fashionable things, like a big Cadillac car
Gangster whitewalls tv antenna in the back
Referring to vintage cars that were often associated with infamous figures and had white tires and an antenna on the back
You may not have a car at all
Some people may not have a car or any other form of transportation
But just remember brothers and sisters
Here, the musician is addressing everyone, regardless of their race, sex or origin, as brothers and sisters.
You can still stand tall
One can still be proud of oneself even if their material possessions are limited
Just be thankful for what you've got
Gratitude is key to finding happiness and appreciating the things one already has
Diamonds in the back, sunroof top, diggin the scene
A poetic line that roughly translates to taking pleasure in cruising around in a luxurious car with a sunroof
With the gangster lean ooh ooh ooh
A reference to a specific way of sitting that is often associated with gangsters, which exudes confidence and power
Though you may not drive a great big Cadillac
A repetition of the first line for emphasis and continuation of the theme
Gangster whitewalls tv antenna in the back
Reiteration of the second line for emphasis and continuation of the theme
You may not have a car at all
Reiteration of the third line for emphasis and continuation of the theme
But just remember brothers and sisters
Reiteration of the fourth line for emphasis and continuation of the theme
You can still stand tall
Reiteration of the fifth line for emphasis and continuation of the theme
Just be thankful for what you've got
Reiteration of the sixth line for emphasis and continuation of the theme
Diamonds in the back, sunroof top, diggin the scene
Reiteration of the seventh line for emphasis and continuation of the theme
With the Gangster lean
Reiteration of the eighth line for emphasis and continuation of the theme
(x3)
An indication to repeat the last four lines of the song as a refrain
Contributed by Elliot J. Suggest a correction in the comments below.