HYMNEN / ANTHEMS (hind Region) Electronic Masie with Orchestra My work HYMNEN exists in 3 versions The first version, HYMNEN Electronic and Conerexe Music (1966-67) is realised as 4-teaek tape (duration 114 min.). A stereo- phonic recording of this version hasbeen released by the Stockhausen Vertag on Compact Dises (i0.A-B). Thore is aso a special study score The second version is entiled HYMNEN, Etecsronic amd Con- crete Music with Soloists (ca. 126 mip.). Up to nov, four soloists played with the tape. The version with soloists has been played hun ‘dreds of times since its world premigre in 1967. The recording on Compact Discs CITED) was made in 1969 withthe solcists Harald Bo (lecttonium), Johannes Fritsch (electric viola), Alfred Alings and Rolf Gebibaar (tam-tam), Aloys Kentarsky (piano). ‘The thitd version is entiled HYMNEN, Electronic Masie with Orchestra, The part with orchestra was composed in 1969, commis- sioned by the New York Philharmonie Orchestra, and the world pre miere took place on February 25th 1971 in New York with this ‘orchestra under my direction. This part by itself lasts 42 mites and may aso be performed independently. It starts in the Second Region with the centre of African anthems, mixed and alternating with the hoginning of the Russian anthem. A so-called Russian Bridge (an or a chestra solo) follows, lasting cies 9 aminuts, 1c leads into the actual Third Region. ‘The Thind Region has three centres. kc begins with the slow, now ‘unmixed continuation pf the Russian anthem, wich isthe only one ‘made entirely from eleetronie sounds, with the largest harmonic and rhythmic expansion which [had composed until 1966. The American anthem follows as second centre it has the most colourful relations to all other anthems ~ in fleeting collages aud pluralistic mixtures. The final short-wave sound whistles “in a few seconds across the ‘ocean and leads into the exalcd centre of the Spanish anthem. [National anthems sre the most familiar music imaginable, Everyone knows the anthem ef his own country, and perhaps those of several others, oat least thei beginnings ‘When familiar music is integrated imo x composition of un- ‘knowin, new music, it is possible to hear especially well how it was integrated: untransformed, more or less transformed, transposed, ‘modulated, ete. The more self-evident the wa, the more attentive ‘one becomes ta the how. In adalition to the national anthems, other “found objeeis” have been used: seraps oF speech, sounds of crowds, reordel conversations, 23events from short-wave radio receivers, recordings of public events, demonstrations. ‘Multilateral interactions have been composed! among the various anthems, as well as between these anthems and now abstract sound shapes, for which we have no nanies. The mixture ofthe electronically ‘ansformed secording withthe live playing oF a symphony orchestra Clearly results in literal explosion ofthe orchestra sound. Performance Practice HYMNEN with orchestra may be played with double or triple winds, Inscrumentation (double winds) WINDS 2 flutes (2 aso play piecolo); 2 cboest 2 clarinets: 2 hassoons; 2 honns 1; 2 homs I; 2 teumpets; 2 teombones (2 with F-attachment)s I tuba, STRINGS 8 violins I; 8 violins II; 6 violas; 6 violoneelt; 6 double basses (all with 5 stings) a Orchestra Seating Plan In the recording of CD. GE). the winds are doubled Play-Back of the Tape ‘A d-atuck tape of HYMINEN and a 2-ctck tape Zor rebeasls may be onlered from the Siootheusen- Verlag, 51515 KUren, Germany. 2sFor the 4-track play-back of the tape 4x 2 loudspeakers on 4 loud speaker towers inthe 4 comers ofthe auditorium are novessary. ‘The loudspeakers may also be suspended tape ack? stope te wie ew rom above Yog ining comets Ie» : mera Eee PY week 1 there isa seating aren atthe rear of the all honest « balcony with audience seating, hen itis necessary to install 2 loudspeaker towers ‘with 2 2 loudspeakers downstairs in the sear corners (as high a8 the ceiling allows) and 2 more towers with 2 loudspeakers each in the ear comers of the balcony. Channel 1 is then citeuited to the lower and upper left lovdspeckers, and channel IV to the lower and upper ‘ight loudspeakers, It is, hossever, necessary to adjust the balance of the lower and upper loudspeakers separately ‘Ths [2 loudspeakers are necessary forthe play-beck of the tape inthe event of such » downstairs-upstairs separation, 26 ‘A 2track copy can be ordered from the Stockhausen. Verlag for the sectional rehearsals, 2 loudspeaker towers with 2 loudspeakers each are installed at the right and left ofthe orchestra, The 2-track tape f= coder is then sc up atthe leit next to the conductor's music stand, so ‘thatthe conduetor ean operate the tape himself. Beside the tape recorder isa small mixer with 2 sliding faders for the balance ofthe left and right sides. In addition, 2 loudspeakers on stands are positioned tthe left ‘and right of the conductor's music stand, so that the loudspeakers point at him diagonally. A mono mix of the eleoimanie music is cie- ccuited onto both monitor loudspeakers. 2 sliding faders, which con teol the dynamic levels of the monitor loudspeakers, are fastened to the lower left edge of the musie stand. A stereo mix citeuited onto the ‘nwo loudspeakers has proven not wo be reliable ‘Microphone Amplification “The orchestea is amplified by microphones so that it can be heard as clearly as the tape, With winds doubled, 28 microphones are neces- sary (see Orchestra Seating Plan), Corresponding to their positions on stage, the instruments are sistibuted by means of panorama potentiometers. 2‘The orctesta is projected over 4 loudspeaker groups at the front (soe drawing on page 25). In addition to is amplification over the four front loudspeaker groups, the orchestra should be played sofily — as a mono mix — ‘over the loudspeakers behind the audience is important tha from all seats the instruments are, 10 as great an ‘extent as possible, heard from where they are seen, ‘The amplified orchestra sound should completely mix with the direct oreesira sound. Also in the Russian Bridge (without tape) the ‘retest should sound as present and spatial as in the parts with tape, HYMNEN with orehestra should sound ample and full. For 24 microphone faders plus 4 faders forthe tape, a 28-channel ‘mixing console is necessary, which has, per channel treble and bass fillers und panorama potentiometer and 2 auxiliary outputs, For the 6 pairs of loudspeakers (possibly 8, if ~ due to a baleony’ ~ the rear ones have to be doubled downstairs and upstairs} 6 (or 8) sum outputs ace needed, 12 (or 16) loudspeakers are thus neded plus 2 monitor Youd~ speakers for the eonductor. For a performance at the Philharmonic Hel! in Cologne (1994) the loudspeaker groups TIL andl TV had to be doubled, since in te atl litorium the rows of seats climb steeply. For each of these two ey ‘soups, 2 loudspeakers were hung very high and 2 further loud speakers per group were placed at mid-height on the balustrades of the choir balcony atthe lef ancl right of the orehestra. Further, loud- speaker groups V and VI were supplemented by 2 further loud speakers per group (V+ and Vis) at the outside left and right whieh ‘were citcuted puallel, This resulted in 20 loudspeakers. Only by ding this, was it possible to hear the elecrronic music and the or~ chestra from everysthere in the hal ee alien C Spe iso gear wt ony ‘vit ‘Seo Ming console for HYINEN with ochstre (1904) on op 19 ofthis ool 29Sound Projection A sound projectionist is needed wha is thoroughly familiar withthe score (and if possible has performed HYMNEN himself as soloist tandfor as conductor}. This person should have adequate experience in mining electronic musie and amplified erchestra, and have learned the Sound projection of HYMNEN as assistant of another sound pro jectionist in numerous productions (until 1994 K. Stockhausen, Péter tvs, and Markus Stockhausen have been the sound projectionists for HYMNEN). ‘The sound projectioist chooses the collaborators of the sound equipment company and. well ahead of time, checks the performance hall AC that time it must be stipulated to the organizer of the concert that no one may be seated behind the orchestra a the sides of the or= chhestra, oF in any seats where the 4-tack tape cannot be heard. The sound projectionist decides all details concering the sound equipment and insallation, pre-arranges ~ together sith the conductor ~ the necessary rehearsals sith sound equipment. He directs the technical installation, and tests microphones and tape play-back before each uti chearsal and before the performance. In addition to wo sound technicians, he needs two musical asistants who, during the tut re hearsals, est the acoustics from all seats and make coresponding recommendations to the sound projectionist. Especially for the rear seas they should determine shich seats in front of the loudspeakers 30 ‘Should be possibly blocked, andl how loud the mone enix of the orchestra and soloists should be head in the rea rows, Closely collaborating with the conductor, the sound projectionist is responsible forthe total dynamic level of the orchestra and tape, the clarity and balance of all sound sources. It is his responsibility ‘that tbe listeners hear the entire composition well-balanced. Rehearsals A detailed plan for rehearsals is printed jn the published seore of HYMNEN Efectronie Music with Orchestra Recording and Mix-down “The WDR recorded the dress rehearsal January Sth 1984) and two ofthe thee concert performances (Janvary 9th and 10th) atthe Phitharmante Hall in. Cologne, perlormed by the municipal Gurzenich Orchestra conducted by K. Stockhausen, with Markus Stockhausen as sound pro- jectionst; recording supervisor Siegfried Spitder, recording engineer Christoph Gronare, recording technician Walhurga Dahrmen. From March 10th to 27th 1997, K. Stockhausen mixed down the 24-track recoding, ogether with reconling engineer Peter Esser and recording technician Katharina Kiefer, toa sereo 2-tack version whieh ison the present CDG. a