Uploaded April 2016 | Updated September 2026, 2 weeks ago
Mikrophonie I:
Electronics [Filters, Potentiometers] – Hugh Davies, Jaap Spek, Karlheinz Stockhausen
Electronics [Microphones] – Harald Bojé, Johannes Fritsch*
Recording Supervisor – Hans-Georg Daehn*
Tam-tam [Tamtam] – Fred Alings*, Aloys Kontarsky
Technician – Jaap Spek
Mikrophonie II:
Bass Vocals – Arno Reichardt, Dietrich Satzky, Friedrich Himmelmann, Hermann Steigers, Peter Weber, Werner Engelhardt
Chorus – Studio Choir For New Music, Cologne*, West German Radio Chorus*
Conductor – Herbert Schernus
Conductor [Timer] – Johannes Fritsch*
Organ [Hammond] – Alfons Kontarsky
Recording Supervisor – Hans-Georg Daehn*
Soprano Vocals – Frigga Ditmar, Helga Hopf, Meta Ackermann, Mimi Berger, Monika Pick, Ulla Terhöven*
Cover photo by NASA from The New York Times.
Released: 1967
Mikrophonie is the title given by Karlheinz Stockhausen to two of his compositions, written in 1964 and 1965, in which “normally inaudible vibrations . . . are made audible by an active process of sound detection (comparable to the auscultation of a body by a physician); the microphone is used actively as a musical instrument, in contrast to its former passive function of reproducing sounds as faithfully as possible” (Stockhausen 1971a, 57).
Together with Stockhausen’s immediately preceding work Mixtur, for five orchestra groups, four sine-wave generators, four ring modulators, they form a tryptych of live-electronic works, where electronic transformations are accomplished during the performance (as opposed to studio-produced electronic music on tape). Similar to a group of three of the composer’s works from the previous decade, Gruppen, Zeitmaße, and Gesang der Jünglinge, there is one work each for orchestral, chamber, and vocal forces.
Mikrophonie I:
Electronics [Filters, Potentiometers] – Hugh Davies, Jaap Spek, Karlheinz Stockhausen
Electronics [Microphones] – Harald Bojé, Johannes Fritsch*
Recording Supervisor – Hans-Georg Daehn*
Tam-tam [Tamtam] – Fred Alings*, Aloys Kontarsky
Technician – Jaap Spek
Mikrophonie II:
Bass Vocals – Arno Reichardt, Dietrich Satzky, Friedrich Himmelmann, Hermann Steigers, Peter Weber, Werner Engelhardt
Chorus – Studio Choir For New Music, Cologne*, West German Radio Chorus*
Conductor – Herbert Schernus
Conductor [Timer] – Johannes Fritsch*
Organ [Hammond] – Alfons Kontarsky
Recording Supervisor – Hans-Georg Daehn*
Soprano Vocals – Frigga Ditmar, Helga Hopf, Meta Ackermann, Mimi Berger, Monika Pick, Ulla Terhöven*
Cover photo by NASA from The New York Times.
Released: 1967
Mikrophonie is the title given by Karlheinz Stockhausen to two of his compositions, written in 1964 and 1965, in which “normally inaudible vibrations . . . are made audible by an active process of sound detection (comparable to the auscultation of a body by a physician); the microphone is used actively as a musical instrument, in contrast to its former passive function of reproducing sounds as faithfully as possible” (Stockhausen 1971a, 57).
Together with Stockhausen’s immediately preceding work Mixtur, for five orchestra groups, four sine-wave generators, four ring modulators, they form a tryptych of live-electronic works, where electronic transformations are accomplished during the performance (as opposed to studio-produced electronic music on tape). Similar to a group of three of the composer’s works from the previous decade, Gruppen, Zeitmaße, and Gesang der Jünglinge, there is one work each for orchestral, chamber, and vocal forces.
