Uploaded January 2017 | Updated September 2026, 3 days ago
Video created with Sonic Visualizer, OpenShot and vokoscreen on an openSUSE 13.2 Linux System.
for two variable-speed turntables, frequency recordings, muted piano, and cymbal
All of the Imaginary Landscape pieces include instruments or other elements requiring electricity. Although all five of the Imaginary Landscape pieces were included in a Mode recording of "Percussion Works I", two of the pieces do not use percussion as such. The booklet included with the aforementioned Mode recording includes a quote from Cage; "It's not a physical landscape. It's a term reserved for the new technologies. It's a landscape in the future. It's as though you used technology to take you off the ground and go like Alice through the looking glass."
The Mode recording includes two versions of No. 4 and No. 5. One version of No. 5 uses period jazz recordings which would have been available to Cage at the time he composed it, and the other version uses recordings of Cage's work. The Mode recording of the Landscapes is No. 43 in their series of CDs of Cage's work, so the previous 42 recordings provide the correct number needed for a realization of No. 5.
Imaginary Landscape No. 1 was written in 1939 at the Cornish College of the Arts in Seattle, Washington. The work premiered on March 24, 1939 at Cornish College by John Cage, Xenia Cage, Doris Dennison, and Margaret Jansen. Scored for four performers who play a muted piano and cymbal as well as two variable-speed phonographs with amplifiers, the piece is important for being one of the first examples of electroacoustic music.
Video created with Sonic Visualizer, OpenShot and vokoscreen on an openSUSE 13.2 Linux System.
for two variable-speed turntables, frequency recordings, muted piano, and cymbal
All of the Imaginary Landscape pieces include instruments or other elements requiring electricity. Although all five of the Imaginary Landscape pieces were included in a Mode recording of "Percussion Works I", two of the pieces do not use percussion as such. The booklet included with the aforementioned Mode recording includes a quote from Cage; "It's not a physical landscape. It's a term reserved for the new technologies. It's a landscape in the future. It's as though you used technology to take you off the ground and go like Alice through the looking glass."
The Mode recording includes two versions of No. 4 and No. 5. One version of No. 5 uses period jazz recordings which would have been available to Cage at the time he composed it, and the other version uses recordings of Cage's work. The Mode recording of the Landscapes is No. 43 in their series of CDs of Cage's work, so the previous 42 recordings provide the correct number needed for a realization of No. 5.
Imaginary Landscape No. 1 was written in 1939 at the Cornish College of the Arts in Seattle, Washington. The work premiered on March 24, 1939 at Cornish College by John Cage, Xenia Cage, Doris Dennison, and Margaret Jansen. Scored for four performers who play a muted piano and cymbal as well as two variable-speed phonographs with amplifiers, the piece is important for being one of the first examples of electroacoustic music.
![WDR3 Studio Elektronische Musik: François Bayle [1/2]](https://i.ytimg.com/vi/pC9RXtltfVc/mqdefault.jpg "WDR3 Studio Elektronische Musik: François Bayle [1/2]
Profil [44]: François Bayle
Friedl, Reinhold
2014.02.05
deutsch / german")
![Karlheinz Stockhausen - KONTAKTE für elektronische Klänge, Klavier und Schlagzeug [1958-1960]](https://i.ytimg.com/vi/pkmsnaP_d8g/mqdefault.jpg "Karlheinz Stockhausen - KONTAKTE für elektronische Klänge, Klavier und Schlagzeug [1958-1960]
PLEASE SUPPORT THE ARTIST. You can order this music on http://stockhausencds.com/. Thank you!
KONTAKTE für elektronische Klänge, Klavier und Schlagzeug
(4-Spur-Magnet., 12 Mikr., 4 x 2 Lautspr., 2 Monitorlautspr., Mischpult / Klangr.)
[35 30]
Video created with Sonic Visualizer, Vokoscreen, Kdenlive and Audacity on an OpenSUSE 12.3 Linux System.")
![Karlheinz Stockhausen - HYMNEN Dritte Region (Elektronische Musik mit Orchester) [1969]](https://i.ytimg.com/vi/qHVgAQR72qM/mqdefault.jpg "Karlheinz Stockhausen - HYMNEN Dritte Region (Elektronische Musik mit Orchester) [1969]
PLEASE SUPPORT THE ARTIST. You can order this music on http://stockhausencds.com/. Thank you!
HYMNEN (Dritte Region) / Anthems (Third Region)
Elektronische und Konkrete Musik mit Orchester
Electronic and Concrete Music with Orchestra
Leonard Bernstein commissioned a work from Stockhausen for the New York Philharmonic, and HYMNEN 3rd Region with Orchestra was premiered in 1971 at the longest-ever concert ever held there at that time. This performance featured Stockhausens live soloists accompanying the HYMNEN tape for Regions I, II and IV, while Region III was performed with the orchestra from Stockhausens newly completed work.
An independent version of this work (without a performance of the full 2- hour HYMNEN tape) covers only the anthem Centers of Africa, Russia, the USA and Spain. Also, this version of the tape starts with a small, unique shortwave radio upbeat, before proceeding into the 2nd Regions Africa section (CD A, track 21, 20:28). After the fade out of Region II, an orchestra-only section (a newly composed Russian Bridge) is performed by the orchestra, which basically covers for the tape as it it switched to the next reel. After the Bridge, the 3rd Region tape enters and the orchestra accompanies this to the end of that Region (Spain).
The orchestra parts to be played during the tape portions were originally scored using symbolic, aleatoric notation somewhat similar in spirit to the score for STOP or PROZESSION. The orchestra musicians were to become familiar enough with the tape so that they could freely choose pitches heard in the tape part, and use them in tremolo and ostinato figures as cued in the score. The score also indicated graphic shapes (slopes and wavy lines) to guide pitch transpositions of these tremoli/ostinati. Though the actual pitch material is aleatory, the symbolic notation basically serves as an orchestration of elements in the tape.
However, because there were never enough rehearsals for the orchestra musicians to become familiar enough with the tape to pick out and play tape pitches in rhythmic unison (attacking with the tape attacks), Stockhausen eventually notated the pitches in the published score which, for the most part, the orchestra musicians simply play. This notated version also has some extra anthemic melodic material not present on the tape. In other words, some new anthem fragments (or echoes of other anthems) are played live by the orchestra (for example 2nd bar of cue 11 or 2nd bar of cue 14). This orchestral accompaniment to the HYMNEN tape is actually very involved and is perhaps comparable to the notated piano and percussion parts to the live accompaniment version of KONTAKTE.
Video created with Sonic Visualizer and vokoscreen on an openSUSE 13.2 Linux System.")
