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I didn’t much care for the version of Stockhausen’s Mantra that Xenia Pestova, Pascal Meyer and Jan Panis issued via Naxos in True enough, Mantra is a . As “Mantra” begins you immediately feel that this is much more than any kind of piano duo that you’ve heard before, and at this point I’m strictly speaking in terms . Stockhausen – Mantra – Download as PDF File .pdf), Text File .txt) or read online .

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At times the ring modulation controls are also manipulated to create vibrato and glissando effects.

Stockhausen: Mantra CD review – virtuosity and immediacy

For five months I listened carefully to all works I had composed so far. Stockhausen explains it in detail in the CD booklet: Descending chromatic scale A formula is a very small musical structure, a kind of musical seed, which like a DNA is programmed with different and varied musical elements, from the raga and the tala to the themes of the fugues and the sonatas, from the musical cells of the impressionism to the serial series, from micro-tonality to electroacoustics.

I know Stockhausen-Verlag has plans to obtain the rights, to offer it together with the Kontarsky brothers’ CD, and I hope Stockhausen will succeed in this. Probably this CD was issued before Stockhausen retrieved the formal rights to his recordings from other recording companies, though.

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Yet another thing that didn’t fail to catch my attention was the emergence at 0: At certain instances it seems that some kind of metallic percussion is utilized.

You may also like Each of the 13 notes of the mantra has an attached characteristic, or “pitch form” Cott; Stockhausen4 ; the 13 notes of the upper voice have in order the following characteristics:.

Stockhausen: Mantra CD review – virtuosity and immediacy | Music | The Guardian

In formula composition Stockhausen found a way to let a musical miniature provide the framework, allowing for different ways of realizing the music. The first pianist presents the upper thirteen pitches of the mantra in succession, and the second pianist the lower thirteen pitches, the mantra-mirror. Gramophone’s expert reviews easier than ever before. Those are the facts of the arrangement, but that really says nothing about the splendid auditive effect that is achieved, and which is nothing short of magical!


Zeccola Only the words of the Professor are reprinted here: It is reported that some of his intuitive music collaborators were feeling unhappy about the open nature of the “free” music they were playing and beginning to contest ownership of the composition rights. He composed in his hotel room for three hours each morning, before heading for the German pavilion of the World Fair EXPO 70 and the spherical auditorium where he performed his music. On a flight from the Northeastern United States to Los Angeles in September or shortly before, he had sketched “a kind of theater piece for two pianos” titled Visionand in March began to work out a score, but broke off after just three pages Cott—23; Toop, Jorge Ben Sacundin Ben Samba.

One other technique to create a great variety of MANTRAs was that Stockhausen would sometimes enforce the rhythm of one phrase on another phrase, filling in any missing notes with repetition or grace notes. Though this mantra recurs constantly, the structure of the composition is not a theme and variations as found in classical composers such as Beethoven and Bach, because the material is never varied, only expanded and contracted both in duration and in pitch to different degrees; not a single note is ever added, it is never “accompanied” or embellished Stockhausen Near the end of the composition there is an extremely fast section that is a compression of the entire work into the smallest temporal space; in this section, all of the expansions and transpositions of the mantra formula are summarized as fast as possible and in four layers Stockhausen So, in any case I first present an analysis of MANTRA as a formula with multiple poly-structural layers, and then afterwards as a “highlights” narrative at the end.

Selected comparisons Stockhausen Mantra. After abandoning VisionStockhausen took up the melody he had jotted down the previous September and on its basis made a form plan and laid out the new work’s skeleton between 1 May and 20 June in OsakaJapan.

The Naxos version suffered from a narrow bandwidth of dynamics; here the opening woodblock crack, with its accompanying brouhaha of piano turbulence, hits you between the eyes.

The formula permeates at different speeds and rates; at the most subterranean level, the 13 notes transform electronically, the arrival of each new note heralding a new section. So why study the math? To this end, each of the pianists has an apparatus at his left into which a microphone amplifier, a compressor, a filter, a ring modulator, a scaled sine-wave generator and a volume control have been built. This mystery is also valid for the musical genetics.


It consists of a microphone amplifier with three microphone inputs, a compressor, a filter, a ring modulator, a scaled sine-wave generator, and a volume control. Flurries around center note In Mantrathe two-strand formula is stated near the outset of the piece by piano I.

On the other hand, Stockhausen has been described as being unhappy with the “dilettantish interpretations” he was getting stockhaisen his players. The all-time greats Read about the artists who changed the world of classical music.

Cymbal Events 1st 12 on left, remaining 13 on right, inverted.


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What I think happened here is that Stockhausen’s manipulation of the elements unregulated by the mathematics as well as a fair share of “cheating” was done with so much panache that his stylistic and musical “personality” became a bit more important than the underlying mathematical break points. I got the explanation from Kathinka Pasveer at Stockhausen-Verlag that this CD was among the first to appear in the Complete Stockhausen Editionand that they didn’t really have the knack of how to present the material then, which is why they left out some details in the booklet text.

Staccatto Db But Stockhausen gave lectures on these theories because he believed that learning of the techniques involved gave the listener an opportunity to expand one’s consciousness on some level musically and otherwise and would enrich stockyausen listening experience. The playing cuts through with knockout physicality; the sense that you are been shown multiple sides of an object that is perpetually evolving, spinning in and out of control, is secure.