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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Dorothy Ashby Dorothy Ashby. For five months I listened carefully to all works I had composed so stockhausfn. Some people may get associations to a submerged state, into some kind of fluid; not necessarily water, but into some other kind of fluid, like TIME or what the ancients called the ETHER, or something else that bends the senses like gravity bends light, passing by dense celestial bodies.
The technician at that recording was Ole B. The thirteen cycles of the composition are based on the 13 notes of the mantra and the 13 characteristics detailed above.
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. The first pianist presents the upper thirteen pitches of the mantra in succession, and the second pianist the lower thirteen pitches, the mantra-mirror. 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.
This work involves the expansion and contraction of a counterpointed pair of melodieswhich the composer calls a “formula” Stockhausen3 and 6. This mystery is also valid for the musical genetics. The shots of light off of he surface of the sound even renders the stockhaussn an impressionistic quality, however farfetched that notion may seem.
Each part of the mantra is reflecting itself, shockhausen, upside down, stretched, compressed, twisted. Mantrawritten infinds Stockhausen at a point of transition. On mantr 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, 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.
Stockhausen: Mantra CD review – virtuosity and immediacy | Music | The Guardian
Slow Tremolo at There is an aura around each tone rising out of the manttra 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. Each artificial scale’s 12 notes take up more and more room on the keyboard become wideruntil the largest scale requires the entire keyboard to play just one artificial “octave”. Admittedly there are a few tables mantrs the analysis below, stocohausen at first don’t seem to add much to the listening experience.
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.
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. Later in stockhauen year, on 22 September mantar the Couvent d’Alziprato in southern France, he had composed an intuitive music text composition, Intervallstockhxusen two pianists playing “four-hands” on one pianobut it did not appeal to the Kontarsky brothers—especially to Alfons, who lacked the experience his brother Aloys had gained from performing text-pieces from Aus den sieben Tagenas a member of Stockhausen’s ensemble.
This page was last edited on 24 Juneat Jorge Ben Sacundin Ben Samba. Newer Post Older Post Home. 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” stockhahsen done with so much panache that his stylistic and musical “personality” became a bit more important than the underlying mathematical break points.
Mantra, for two pianos with ring modulation, was a watershed in Stockhausen’s development. Stockhausen explains it in detail in the CD booklet: During an automobile trip from Madison, Connecticut to Stockhauen, 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.
MANTRA is completely composed down to 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.
The ring modulator of the 1st pianist is tuned to the pitch “roots” for each of the 13 sections, and the more dissonant the note being played is to the section “tonic”, the more noisy the ring modulation effect is when playing a “root” note the effect is minimal.
Clone Spring – Electronix favorites. After that I have developed this idea much further.
The pitches are shown in the example to the right, and the complete formula can be seen at Dtockhausen [n. Sforzando accent Gb Skip to main content. Staccatto Db 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.
Mantra (Stockhausen) – Wikipedia
Irregular Repetition Morse Code C majtra Randomness had become more important than the work as such. Regular Repetition 12 A 2. Zeccola Only the words of the Professor are reprinted here: The score first appeared in print only inas one of the first publications of the composer’s newly founded Stockhausen-Verlag Conen 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.
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. Notice that Expansion I. The wooden percussive sounds stem from wood-blocks, scored too. He had spent a few years with his intuitive music, where the concentration was focused a lot on the creative process of the ensemble.
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.