Kompositionsstudio Karlheinz Stockhausen - Ensemble
Review by Rogerio Amendola
Ensemble by Kompositionsstudio Karlheinz Stockhausen is a groundbreaking album that showcases the composer's innovative approach to music. The album features 13 tracks that explore Stockhausen's unique blend of electronic and acoustic sounds, creating a mesmerizing soundscape that is both complex and immersive.
The album starts with "Kontakte," a piece that combines percussion instruments, piano, and electronic sounds to create a dynamic and engaging composition. The use of electronic sounds is particularly impressive, adding a futuristic and otherworldly dimension to the music.
Other highlights of the album include "Mikrophonie I," a piece that features amplified percussion instruments and explores the possibilities of sound manipulation and "Mikrophonie II," which uses a similar approach but with the addition of a choir.
Table of Contents
Download
Filename: kompositionsstudio-karlheinz-stockhausen-ensemble.rar- MP3 size: 3.1 mb
- FLAC size: 38.8 mb
Tracks
| Track | Duration | Preview |
|---|---|---|
| Ensemble | 30:25 |
Images
Catalog Numbers
- PA-1093
- WER 60065
- WER 60 065
Labels
WERGOListen online
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Formats
- Vinyl
- LP
- Album
Companies
| Role | Company |
|---|---|
| Pressed By | Schallplattenfabrik Pallas GmbH |
Credits
| Role | Credit |
|---|---|
| Bassoon | Jan Martanovic |
| Cello | František Tannenberger |
| Clarinet | Juraj Bureš |
| Composed By | Róbert Wittinger |
| Double Bass | Karol Illek |
| Drums | František Rek |
| Ensemble | Hudba Dneska Ensemble |
| Flute | Ladislav Šoka |
| Horns | Jozef Švenk |
| Leader | Karlheinz Stockhausen |
| Mixed By | Mesias Maiguashca |
| Edited By | Mesias Maiguashca |
| Oboe | Milan Ježo |
| Organ | Aloys Kontarsky |
| Technician | Alden Jenks, David Johnson , Harald Bojé, Petr Kotik |
| Trombone | Frantisek Hudeček |
| Trumpet | Vladimir Jurča |
| Violin | Viliam Farkaš |
Notes
- "Ensemble" for single performer and tape or shortwave-receiver.
- Recorded 28th (rehearsal) & 29th (concert) August 1967, each lasting 4 hours. Mixed and edited 26th August to 22nd September 1971 at Studio für elektronische Musik WDR.
- "ENSEMBLE attempts adding to the traditional form of "concert" a new one. We're used to compare different compositions played successively. In ENSEMBLE "pieces" of 12 compositions are played simultaneously.
- These "pieces" are not completed objects ("works"), but sound structures (on tape or created with shortwave-receivers), individual rules, actions and reactions, quoted "events", brought in by each single composer during the performance.
- Each composer created for one performer and tape or shortwave-receiver. General concept and inserts, leading to the temporary synchronization of the ENSEMBLE, were written by Stockhausen. The 12 systems and their coordination were verbalised daily. The resulting process of 4 hours is more than the "pieces" summed: it's a composition of compositions, ranging from completely isolated events to overall dependency of layers, as well as interfering between extreme determination and unpredictability.
- Besides those 12 composers and performers virtually acting as 12 "duos" (distributed over the room), further 4 musicians at mixers are challanged in amplifying and swaying certain details / moments through microphones or the 8 speakers spread over the room. The listener's position is not fixed: he can freely move through the room choosing his own acoustic perspective.
- Simultaneity of compositions demands simultaneous listening and relating of different "pieces".
- The "verticalization" of perceiving happenings and the relativization of definite form (a "piece" signed by a single person) prevail not only in music." Karlheinz Stockhausen
- Japanese release. Has different cover to European release + obi strip.
- Besides those 12 composers and performers virtually acting as 12 "duos" (distributed over the room), further 4 musicians at mixers are challenged in amplifying and swaying certain details / moments through microphones or the 8 speakers spread over the room. The listener's position is not fixed: he can freely move through the room choosing his own acoustic perspective.
- Simultaneity of compositions demands simultaneous listening and relating of different "pieces."
- The "verticalization" of perceiving happenings and the relativization of definite form (a "piece" signed by a single person) prevail not only in music." (Karlheinz Stockhausen)
- Label variation:
- "GEMA" in rounded-corner box.
- Incorrectly credits Aloys Kontarsky for "Klavier"
- SCHALLPLATTENFABRIK PALLAS G.M.B.H., DIEPHOLZ at bottom of labels.
