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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Mantra is a composition by the German composer Karlheinz Stockhausen. It was mantea in and premiered in autumn of the same year in Donaueschingen.

The work is scored for two ring-modulated pianos ; each player is also equipped with a chromatic set stocihausen 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.

In his catalogue of works, the composer designated it as work number 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, During an automobile trip from Madison, Connecticut stockhausn 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.

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

He jotted the melody down on an envelope at that time, but it only occurred to him after having abandoned Vision that this might become the basis for his new two-piano composition. Stockhausen later recalled that this was early in September Cott—23but the sketch is in stockhqusen dated 26 February Conen59— Later in the year, on 22 September at the Couvent d’Alziprato in southern France, he had composed an intuitive music text composition, Intervallfor two pianists playing “four-hands” on one pianobut it did not appeal to the Stockhusen brothers—especially to Alfons, who lacked the experience his brother Stockhausn had gained from performing text-pieces from Aus den sieben Tagenas a member of Stockhausen’s ensemble.

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 Manyra and 20 June in OsakaJapan. The score first appeared in print only inas one of the first publications of the composer’s newly founded Stockhausen-Verlag Conen This work involves the expansion and contraction of a counterpointed pair of melodieswhich the composer calls a “formula” Stockhausen3 and stlckhausen.


In this particular work the first of a long succession of compositions to use formula techniqueStockhausen chose the term ” mantra ” in order “to avoid the words themerow or subjectas in a fugue” Stockhausen2and “Mantra” also became the title of the entire work.

In Mantrathe two-strand formula is stated near the outset of the piece by piano I. 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— 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 The “mantra” melody formula is made of an upper and lower voice; it is divided temporally into 4 segments with rests of 3, 2, 1, and 4 crotchets’ duration following the segments.

The 13 notes of the mantra’s upper voice form a tone row where the 13th note returns to the first note A. The lower voice consists of an intervallic inversion of the upper voice with transposed segments: The pitches are shown in the example to the right, and the complete formula can be seen at Nordin [n.

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:.


In addition to its articulative characteristic, each of the thirteen notes is assigned a particular dynamic, in approximate inverse proportion stockhaysen its duration—that is, the softer a note’s dynamic is, the longer is its duration. The thirteen cycles of the composition are based on the 13 notes of the mantra and the 13 characteristics detailed above.

Each cycle is dominated by its corresponding note and characteristic.

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 incorporated into this overall plan Conen The sounds of each piano are picked up by microphones and fed into an apparatus at the player’s left side. This is called a Modul 69 B and was specially built for Mantra to the composer’s specification by the Lawo company from Rastatt, near Baden-Baden Stockhauseni, iv, and vii.

Stockhausen: Mantra CD review – virtuosity and immediacy

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. By means of this device, each piano’s sounds are ring modulated with a sine tone tuned to the central pitch corresponding to the note of the mantra formula governing each of the thirteen large segments of the composition, and the modulated stockausen is played over loudspeakers placed behind stockhaussen above the performers.

The first pianist presents the upper thirteen tones, the ztockhausen pianist the lower thirteen tones. The other mantra pitches sound “dissonant” to varying degrees, and differ also from a normal piano to varying degrees in their timbre.


Compositions by Karlheinz Stockhausen. From Wikipedia, the free encyclopedia. Herbstmusik Oben und Unten Originale.

Huber Alden Jenks David C. List of compositions by Karlheinz Stockhausen Category: Compositions by Karlheinz Stockhausen Portal: Retrieved from ” https: Views Read Edit View history.

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