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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Each cycle is dominated by its corresponding note and characteristic. Jorge Ben Ben e Samba Bom. By fitting the original MANTRA formula onto each of these expanded scales, Stockhausen created increasingly larger interval versions of the formula.

The technician at that recording was Ole B. Accent at the End 61 B 3.

Stockhausen in the CD booklet: The top staff has circled numbers, 1 through 13, which label the parts of the formula and their special properties the pink numbers are duration measurements. This will all be fixed in a new printing later.

Stockhausen: Sounds in Space: MANTRA

Randomness had become more important than the work as such. 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.

For five months I stockhause carefully to all works I had composed so far. Chord accented D 7.

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Stockhausen: Mantra CD review – virtuosity and immediacy

Newer Post Older Post Home. Dorothy Ashby Dorothy Ashby. The thirteen cycles of the composition are based on the 13 notes of the mantra and the 13 characteristics detailed above. Those are manttra facts of the arrangement, but that really says nothing about the splendid auditive effect that is achieved, and which is nothing short of magical!

The first pianist presents the upper thirteen pitches of stockhusen mantra in succession, and the second pianist the lower thirteen pitches, the mantra-mirror. Flurries around center note Stockhausen explains it in detail in the CD booklet: The all-time greats Read about the artists who changed the world of classical music.

The stockuausen 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 displayed very fast in four layers.

Drone; Two Fragments from Acolypse; Water.

STOCKHAUSEN Mantra

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

Mantra, for two pianos with ring modulation, was a watershed in Stockhausen’s development.

The sounds of each piano are picked up by microphones and fed into an apparatus at the player’s left side. The woodblock hits also “have the function of marking and emphasizing certain attack and decay accents” interview with Jonathan Cott.

Stockhausen’s original sketch of the form plan. Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database.

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I became very tired of the so-called Alea. By using this site, you agree to the Terms of Use and Privacy Policy. Behind him lay all those early responses to serialism — GruppenKontakteRefrain etc; ahead was Lichthis vast and wacky opera cycle, pinned around a network of melodic formulas, an idea about controlling musical material that had its roots in Mantra.

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 atockhausen would enrich the listening experience.

Karlheinz Stockhausen – Edition No Mantra

The score first appeared in print only inas one of the first publications of the composer’s newly founded Stockhausen-Verlag Conen 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.

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In other words, this ca.