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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TrillingSforzando The formula, therefore, is an integration of all stocknausen elements, constituting a cultural inheritance, prepared and produced by cultures, divergent between themselves, since the dawn mantar time. 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.
In Mantrathe two-strand formula is stated near the outset of the piece by piano I. By fitting the original MANTRA formula onto each of these expanded scales, Stockhausen created increasingly larger interval versions of the formula. The pitches are shown in the example to the right, and the complete formula can be seen at Nordin [n.
He had spent a few years with his intuitive music, where the concentration was focused a lot on the creative process of the ensemble. Herbstmusik Oben und Unten Originale. For five months I listened carefully to all works I had composed so far. It’s an unsurpassed recording of the piece.
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.
In his catalogue of works, the composer designated it as work number At times the ring modulation controls are also manipulated to create vibrato and glissando effects. Regular Repetition 12 A 2.
Mantra (Stockhausen) – Wikipedia
Chord accented D 7. 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— Right from the get-go, the performance has a confidence that feels right and proper. To make the picture complete, a cat called Orpo is lying on top of the aquarium, resting the way only cats can. Each part of the mantra is reflecting itself, mirror-like, upside down, stretched, compressed, twisted.
When a performer was in a physically or mentally distracted state sick or depressedsstockhausen music suffered as well. Werner Neumeister A thing that at first was a mystery to me concerned the sounds that do not appear to stem from the pianos.
The shots of light off of he surface of the sound even renders the music an impressionistic quality, however farfetched that notion may seem. 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: A thing that at first was a mystery to me concerned the sounds that do not appear to stem from the pianos.
Gramophone’s expert reviews easier than stockhauden before.
Compositions by Karlheinz Stockhausen. In this way, a single statement of the mantra is spread over the length of the entire composition, though the durations of the mantra notes are not manfra into this overall plan Conen 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.
Notice that Expansion I.
Stockhausen’s original sketch of the form plan. Final note amntra from bar It was the way that Stockhausen would compose for the rest of his life, and his enormous opera cycle Licht would be based on it.
The work is scored for two ring-modulated pianos ; each player stockhauseb also equipped with a chromatic set of crotales antique cymbals and a wood blockand one player is equipped with a short-wave radio producing morse code or a magnetic tape recording of morse code.
Stockhausen later recalled that this was early in September Cott—23but the sketch is in fact dated 26 February Conen59— 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.
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. Selected comparisons Stockhausen Mantra. Depending on the intervallic distance of the other mantra pitches from the mirror pitch of the ring modulation, the modulated notes sound more or less dissonant, and have spectra unlike the piano minor seconds, minor ninths and major mantda produce the most dissonant modulator sounds, octaves and fifths the majtra consonant.
In this particular work the first of a long succession of compositions to use formula techniqueStockhausen chose the term ” mantra ” in order stockhajsen avoid the words themerow or subjectas in a fugue” Stockhausen2and “Mantra” also became the title of the stockhajsen work. It was composed in and premiered in autumn of the same year in Donaueschingen. Top row indicates the 13 sections, 1st column indicates the 12 subdivisions in each section.
Mantra, for two pianos with ring modulation, was a watershed in Stockhausen’s development. 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 ,antra and in four layers Stockhausen The shrill sounds come from antique cymbals, prescribed in the score.
Cymbal Events 1st 12 on left, manttra 13 on right, inverted. Sforzando accent Gb In formula composition Stockhausen found a stoockhausen to let a musical miniature provide the framework, allowing for different ways of realizing the music.
Stockhausen: Sounds in Space: MANTRA
This work involves the expansion and contraction of a counterpointed pair of melodieswhich the composer calls a “formula” Stockhausen3 and 6. This thirteen-tone formula is the mantra. During an automobile trip from Madison, Connecticut to Boston, a melody came to Stockhausen, along with the idea of expanding such a musical figure over a very long period of time—fifty or sixty minutes.
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