I believe in letting an invader in and then setting a good example. That is the reply Benjamin Britten gave to a tribunal for the registration of conscientious objectors in 1942 when asked "What would you do if Britain was invaded?" I was reminded of it when researching my recent article on Marco Pallis , who was an authority on both Tibetan Buddhism and early music, and, together with Britten, a champion of Purcell . In his best-selling book Peaks and Lamas , which was written in 1939, Pallis tells this story about the Sakyas , the ethnic group of which Gautama Buddha was a member which inhabited the foothills of the Himalayas. News was brought to them of an impending attack by a hostile tribe and it was debated anxiously whether resistance should be offered or not. Eventually they decided that, as followers of [Buddhist] Doctrine, they were debarred from offering armed resistance, but must welcome the invaders as friends, so they threw down their arms... The Tibetans, how...
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That's for sure--but wow, that would be quite an experience if they do.
I've heard that Stockhausen was not adverse to taking LSD in the late 60's/early 70's. That interview seems to confirm it! :-)
I heard Stockhausen's Oktophonie (1991) at Berlin's New National Gallery in 2003, and I have little recollection of it (though I have an extensive, beautiful little program booklet from the evening). While before reading the Guardian interview, I had recalled that the work involved 8 loudspeakers situated at the corners of a darkened cube, I had forgotten about the theatrical sliver of moonlight and Stockhausen dressed all in white.
That evening before the concert in 2003, I spoke briefly with Stockhausen downstairs at the Museum. He looked distracted (in his white costume), and I thought to myself "Oh my", the two years since his 9/11 comment must have been disturbing for him. However, once on stage, he commanded the evening's audience with his charisma and spoke clearly and crisply for 25 minutes about the technology of the work and its "vertical" sound innovation. He struck me then as a composer-engineer, and not the distressed shaman that he had appeared an hour earlier. Again, I recall little of the evening's music, though I will say that I do continue to respect Mr Stockhausen for his contributions as an experimental sound and musical artist.
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(I recall much stronger, Jenny Holzer's huge LED installation on the ceiling of Berlin's New National Gallery, the previous year.)