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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Skip to main content. At times the ring modulation controls are also manipulated to create vibrato and glissando effects. Regular Repetition 12 A 2.

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

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 dtockhausen, Huber Alden Jenks David C.

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.

The vocals of index 20, by Alfons and Aloys Kontarskyare also scored and required. I have no idea if this video below is appropriate in mantar. Cymbals dominate the beginning half 12 occurrences, followed by 12 more inverted and an ending recap note see below tableand the woodblocks occur more often stockhausdn the later sections as an inversion. And this trio succeed precisely where that overly bureaucratic Naxos version falls down.

Stockhausen: Mantra CD review – virtuosity and immediacy

It amazes me to ponder the fact that a microscopic element, an mqntra sperm, is able to fertilize another human being, to generate a new complex being sgockhausen contains a plentiful genetic inheritance. Stockhausen explains it stockhauseen detail in the CD booklet: 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.


There is an aura around each tone rising out of the doubled keyboards, and the aura flutters and bulges, breaking the waves of the sound into millions of little glistenings, in a magic luster diffusing out of the core tone, three-dimensionally.

List of compositions by Karlheinz Stockhausen Category: However as indicated before, these Expansions are not single-threaded, they are actually played on top of each other, creating up to 3 simultaneous voices: Descending chromatic scale Staccatto Db 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.

In other words, this ca.

Stockhausen: Sounds in Space: MANTRA

The first pianist presents the upper thirteen pitches of the mantra in succession, and the second pianist the lower thirteen pitches, the mantra-mirror. The genesis of this work came from a melody which surfaced spontaneously while traveling by car many years before, as well as from his interest in refining ring modulation techniques. Some people may get associations to a submerged state, into some kind of fluid; not necessarily stockhauusen, but into some other kind of fluid, like TIME xtockhausen what the ancients called the ETHER, or something else that bends the senses like gravity bends light, passing by dense celestial bodies.

Stockhausen’s original sketch of the form plan. The fast event before the end of the piece which triggered my vision above with the wintry scene of moving people seen through an aquarium in Helsinki is a compression of the whole work into a short duration, where all the expansions and transpositions are collected and manfra very fast in four layers.


Flurries around center note Hence one perceives a continual respiration from consonant majtra dissonant to consonant modulator sounds, resulting from the precisely tuned relationships between the modulating sine tones and the modulated piano notes. 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.

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.

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One of the main reasons I find analysis of a huge piece like this to be useful is to identify “signposts” so that the listener can digest such a huge repast in platefuls, rather than as a huge buffet stretching off into the horizon. Stockhauesn 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.

When a performer was in a physically or mentally distracted state sick or depressedthe music suffered as well. Each part of the mantra is reflecting itself, mirror-like, upside down, stretched, compressed, twisted.

Randomness had become more important than the work as such. In this way, a single statement of the mantra is spread over the length of the entire composition, though the mantea of the mantra notes are not incorporated into this overall plan Conen The formula, therefore, is an integration of all these elements, constituting a cultural inheritance, prepared and produced by cultures, divergent between themselves, since the dawn of time.

MANTRA is completely composed down mahtra the last tenth of second, though in a sense it is “intuitively-composed” as the product of one person’s intuitively-based musical deliberations at a much slower pace. These are also, however, scored! Gramophone’s expert reviews easier than ever before. In fact, the entry sequence of the first set of 12 Expansion forms goes like this: According to the composer, the mantra “has thirteen notes, and each cymbal sound occurring once in the piece indicates the large sections—you hear the cymbal whenever a new central sound announces the next section of the work” Cott— Notice that Expansion I.

The first pianist presents the upper thirteen tones, the second pianist the lower thirteen tones.