![Karlheinz Stockhausen - HYMNEN Dritte Region (Elektronische Musik mit Orchester) [1969] @SebastianArsAcoustica](https://i.ytimg.com/vi/qHVgAQR72qM/maxresdefault.jpg)
Uploaded November 2015 | Updated September 2026, 4 days ago
PLEASE SUPPORT THE ARTIST. You can order this music on 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 Stockhausen's live soloists accompanying the HYMNEN tape for Regions I, II and IV, while Region III was performed with the orchestra from Stockhausen's 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 Region's 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.
PLEASE SUPPORT THE ARTIST. You can order this music on 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 Stockhausen's live soloists accompanying the HYMNEN tape for Regions I, II and IV, while Region III was performed with the orchestra from Stockhausen's 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 Region's 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.
![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.")
![François Bayle - Toupie Dans Le Ciel (New Version 2009) [1979-1980]](https://i.ytimg.com/vi/tyCfJbJ8ZSI/mqdefault.jpg "François Bayle - Toupie Dans Le Ciel (New Version 2009) [1979-1980]
00:00 Eros Noir 1
01:16 Part 1
07:58 Part 2
13:21 Part 3
21:13 Eros Noir 1
The substance of this extraordinary piece of music was developed from the actual sound of a spinning top, a melodic rhythmic pattern, and simple electronic fluxes. There is an inversion of traditional modes of musical composition. While the high-pitches and the rhythmic swing remain imperturbably constant which means it can be heard as minimalist variations (stressing, de-synchronisation, variations in density and mobility, etc.) create constant movement, turning the sound material into something virtually living, constantly reaffirming itself, always the same yet renewed. Out attention is caught in a sound nest, defined in the bass by a rolling pedal, and in the treble by uninterrupted cooing, voluble an iridescent, that continuously swells and falls off. But if this music is a lullaby, it is the lullaby of the tiger! This protection conceals ferocity and threat all the more powerful because it does not show itself in the light of day. It is only interrupted by big sounds of rubbing rolling arc, passing slowly, and sometime triggering electric outbursts rising in zigzags. During these sound rifts (which the author calls skies), the inexorable comes to an end and suddenly freedom and lightness surges forth. (Bayle)
Video created with Sonic Visualizer, Vokoscreen, Kdenlive and Audacity on an OpenSUSE 12.3 Linux System.")
![Farthest South - Spheres & Constellations [Excerpt] (2013)](https://i.ytimg.com/vi/u58CHUgKgVc/mqdefault.jpg "Farthest South - Spheres & Constellations [Excerpt] (2013)
On their sophomore album Spheres & Constellations, Israeli psychedelic improv group Farthest South sound like a completely different band. Whereas their debut Omens & Talismans generated a somewhat free-jazz meets electronica vibe, the new recording by the exploratory trio comes from a radically different aesthetic. With no rhythmic foundation to speak of, Spheres & Constellations instead treads a path of ambient synth washes, abstract harmonies, impressionistic melodic fragments, processed vocal samples and mystical drones. Influenced by a highly personal and spiritual experience shared by the band members during one long night spent in the Israeli desert, S&C is the culmination of a collective transformation on the most basic level.
Consisting of one nearly 35 minute long track, the album tells the story of a journey into inner space through 3 spheres of consciousness external, internal and eternal to the essence of Being, that place at the core of every human where time and space hold no meaning. This is an expedition to reach the archetypal home, the home we all carry within us, by navigating non-physical constellations not those which are formed by stars, but rather personal ones, the ones all individuals create for themselves and which stem from the very ability we all possess to choose our own destiny.
(http://farthest-south.com/)")
