bassoon Jan Martanovic
cello František Tannenberger
clarinet Juraj Bureš
composed by [bassoon] Róbert Wittinger
composed by [cello] Mesias Maiguashca
composed by [clarinet] Nicolaus A. Huber
composed by [double bass] Jorge Peixinho
composed by [drums] Rolf Gehlhaar
composed by [flute] Tomás Marco
composed by [hammond organ] Johannes G. Fritsch
composed by [horn] John McGuire
composed by [oboe] Avo Somer
composed by [trombone] Gregory Biss
composed by [trumpet] Peter R. Farmer
composed by [violin] Jürgen Beurle
double bass Karol Illek
drums František Rek
ensemble Hudba Dneška
flute Ladislav Šoka
horn Jozef Švenk
leader Karlheinz Stockhausen
mixed by, edited by Mesias Maiguashca
oboe Milan Ježo
organ [hammond] Aloys Kontarsky
sleeve notes Karlheinz Stockhausen
sleeve notes Mesias Maiguashca
technician Alden Jenks
technician David Johnson
technician Harald Bojé
technician Petr Kotik
trombone Frantisek Hudeček
trumpet Vladimir Jurča
violin Viliam Farkaš
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