354:, 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. The comparatively strict predetermination of the form plan is occasionally broken and altered through the use of insertions, additions, and small deviations and exceptions. 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.
837:
central pitch corresponding to the note of the mantra formula governing each of the thirteen large segments of the composition, and the modulated sound is played over loudspeakers placed behind and above the performers. The first pianist presents the upper thirteen tones, the second pianist the lower thirteen tones. Because the starting/ending pitch of the mantra is successively transposed onto these central pitches, they sound completely "consonant", like ordinary piano tones. The other mantra pitches sound "dissonant" to varying degrees, and differ also from a normal piano to varying degrees in their
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203:, and in March 1970 began to work out a score, but broke off after just three pages. 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. He jotted the melody down on an envelope at that time, but it only occurred to him after having abandoned
367:
voice consists of an intervallic inversion of the upper voice with transposed segments: the first segment of the lower voice corresponds to the inversion of second segment of the upper voice and vice versa; similarly, the third and fourth segments in the inverted voice are also exchanged. The pitches are shown in the example to the right, and the complete formula can be seen at
341:, the 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". Although "the cymbals have the same pitches as the
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43:
824:
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
361:
Thirteen-note tone row and its inversion. Everything in the work is based on this row and, in addition, it is used to define the large-scale structure of the piece by providing a series of tonics by means of the ring modulation. The prime form of the row is used in piano I's oscillator, the inversion
366:
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 12-tone row where the 13th note returns to the first note A. The lower
836:
company from
Rastatt, near Baden-Baden. 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
345:
and can thus mark the 13 form cycles of the two pianists … they are not identical", and "there are also some sections in which a larger number of cymbal strokes occurs". Though this mantra recurs constantly, the structure of the composition is not a theme and variations as found in classical
284:
in
Donaueschingen on 18 October 1970, and made the first recording of the work from 10 to 13 June 1971 at the Tonstudio Kreillerstraße 22 in Munich, for Deutsche Grammophon. The score first appeared in print only in 1975, as one of the first publications of the composer's newly founded
460:
In addition to its articulative characteristic, each of the thirteen notes is assigned a particular dynamic, in approximate inverse proportion to its duration—that is, the softer a note's dynamic is, the longer is its duration. The very first note is the sole exception to this rule:
909:
Mark Knoop, Roderick
Chadwick, Newton Armstrong (producer and sound engineer: David Lefeber; executive producers: Berhard "Benne" Vischer and Werner X. Uehlinger). Recorded 5 and 6 January 2013, Hall Two, Kings Place, London. CD recording. HatArt 190. Basel: Hat Hut Records, Ltd.,
305:
The piece is the first determinate work (that is, the score is completely written down, though there are some passages involving a modest degree of improvisation) that
Stockhausen composed after a long phase of indeterminate compositions.
198:
piano duo, and by early 1969 he had become determined to do so.) On a flight from the
Northeastern United States to Los Angeles in September 1969 or shortly before, he had sketched "a kind of theater piece for two pianos" titled
841:. "Hence one perceives a continual 'respiration' from consonant to dissonant to consonant modulator sounds, resulting from the precisely tuned relationships between the modulating sine tones and the modulated piano notes".
233:, for two pianists playing "four-hands" (on one piano), but 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
186:, and 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 32.
850:
Rosalind Bevan, Yvar
Mikashoff, Ole B. Ørsted (sound engineer: Mats Claessen; producer: Geir Johnson; executive producer: Foster Reed). CD recording. New Albion Records NAR 025. 1990.
272:, Stockhausen 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 1970 in
207:
that this might become the basis for his new two-piano composition. Stockhausen later recalled that this was early in
September 1969, but the sketch is in fact dated 26 February.
882:
Janka
Wyttenbach, Jürg Wyttenbach, Thomas Kessler (enregistrement: Jürg Jecklin; montage: Malgorzata Albinska; producer: Samuel Muller; mastering: Tritonus Studio ) – 1997,
949:
Ellen Corver, Sepp
Grotenhuis, Hans Tutschku (sound engineers: Bert Kraaijpoel, Jan Panis; producer: Maarten Hartveldt; digital editing: Chapel Studio Tilburg ) – ,
2904:
1586:
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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
2857:
374:
Each of the 13 notes of the mantra has an attached characteristic, or "pitch form"; the 13 notes of the upper voice have in order the following characteristics:
1604:
889:
Pascal Meyer, Xenia
Pestova, Jan Panis (engineer and editor: Jarek Frankowski; recording supervisor: Andrew Lewis; producer: Remy Franck) – 2010,
853:
Andreas Grau, Götz Schumacher, Bryan Wolf (Tonmeister: Udo Wüstendörfer; sound engineer: Rüdiger Orth; producer: Ernstalbrecht Stiebler) – 1995,
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and, toward the end of 1969, Strobel commissioned a work for two pianos for the 1970 Donaueschingen Festival. After abandoning
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arpeggio connecting the previously articulated pitch (E-flat in the other voice, an augmented eleventh lower) upward to A
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317:, which the composer calls a "formula". In this particular work (the first of a long succession of compositions to use
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Later in the year, on 22 September 1969 at the Couvent d'Alziprato in southern France, he had composed an
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1484:. Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International.
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2420:
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1972:
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Karlheinz Stockhausen II: Die Werke 1950–1977; Gespräch mit Karlheinz Stockhausen, "Es geht aufwärts"
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and Jerzy Romaniuk, later became part of Stockhausen's second cycle of intuitive-music compositions,
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in piano II's oscillator, with one note from each row form in each of the work's thirteen sections.)
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1964:
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337:, as in a fugue" (Stockhausen 2003, 2), and "Mantra" also became the title of the entire work. In
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1996:
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Stockhausen, Karlheinz. 1978. "Mantra, für 2 Pianisten (1970)". In Karlheinz Stockhausen,
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2012:
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276:, Japan. He then completed the score in an unbroken stretch of work at his home in
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from 10 July to 18 August 1970. Alfons and Aloys Kontarsky gave the premiere of
1428:. 1986. "Stockhausen and the Kontarskys: A Vision, an Interval, and a Mantra".
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Stockhausen had been interested for several years in writing something for the
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a sharp accent (with a single repetition) at the beginning of a duration on G
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durations of the mantra notes are not incorporated into this overall plan.
277:
1444:. Cambridge Introductions to Music. New York: Cambridge University Press.
170:. It was composed in 1970 and premiered in autumn of the same year at the
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2345:
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2004:
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periodic repetition at the beginning (on A in the original transposition)
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1302:
Formel-Komposition: Zu Karlheinz Stockhausens Musik der siebziger Jahre
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42:
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1948:
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Musik für zwei Klaviere seit 1950 als Spiegel der Kompositionstechnik
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209:
1543:". City University, staff personal pages (accessed 25 July 2016).
1173:
1171:
1500:
Compositional Techniques in the Music of Stockhausen (1951–1970)
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833:
405:
a descending chromatic scale connecting the G to the following E
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1122:
1120:
178:
pianos; each player is also equipped with a chromatic set of
1349:. Berkeley and Los Angeles: University of California Press.
260:
to Heinrich Strobel, director of the Music Division of the
256:
Stockhausen mentioned his wish to write something for the
1403:, 154–166. DuMont Dokumente. Cologne: DuMont Buchverlag.
999:
997:
972:
970:
1285:. Ein Beispiel für eine symbiotische Kompositionsform."
951:
Stockhausen: Mantra, Supervised by Karlheinz Stockhausen
309:
This work involves the expansion and contraction of a
2867:
1510:
Six Lectures from the Stockhausen Courses Kürten 2002
266:
Donaueschinger Musiktage für Zeitgenossische Tonkunst
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1709:
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an accented chord at the end of the F–D oscillation
131:
123:
107:
89:
74:
66:
23:
1469:, 2nd revised edition. Saarbrücken: Pfau-Verlag.
421:irregular repetition ("Morse code") of the note C
914:Two recordings were supervised by the composer:
1580:
8:
1502:". PhD diss. Glasgow: University of Glasgow.
1327:Stockhausen: Conversations with the Composer
1368:)] (review of the Kontarsky recording)"
1261:
1225:
1177:
1162:
1126:
1111:
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1512:. Kürten: Stockhausen-Verlag. Lecture 3: "
1388:Mantra für 2 Pianisten (1970), Werk Nr. 32
1304:. Kölner Schriften zur Neuen Musik 1, ed.
41:
20:
1237:
1201:
1138:
1075:
976:
921:, Karlheinz Stockhausen (sound engineer:
393:a turn around the beginning of the note E
301:, Seraye Moshir, Shiraz, 2 September 1972
239:, as a member of Stockhausen's ensemble.
1189:
938:. Karlheinz Stockhausen Official Website
465:
166:is a composition by the German composer
2874:
1550:at the Imperial College, London, 1973.
1442:The Cambridge Introduction to Serialism
966:
953:TMD 950601. This recording received an
832:to the composer's specification by the
214:Stockhausen on 2 September 1972 at the
2905:Chamber music by Karlheinz Stockhausen
1150:
932:"Stockhausen Complete Edition no. 16:
368:
1249:
1063:
1027:
428:(trill nucleus) on the beginning of B
7:
1546:Lecture by Karlheinz Stockhausen on
1390:(score). Kürten: Stockhausen-Verlag.
1213:
1099:
1039:
1015:
1003:
988:
381:accent at the end of a duration on B
16:Composition by Karlheinz Stockhausen
925:; producer: Rudolf Werner) – 1971,
413:staccato (very short duration) on D
2707:Center for Art and Media Karlsruhe
297:Stockhausen at the sound desk for
14:
2877:
2853:
2852:
1329:. New York: Simon and Schuster.
1281:. 1976. "Karlheinz Stockhausens
1165:, pp. I–II, IV–V, VII–VIII.
811:
795:
775:
759:
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678:
656:. with crescendo or decrescendo
640:
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596:
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508:
486:
929:DG LP 2530 208. Reissued 1991,
325:" in order "to avoid the words
321:), Stockhausen chose the term "
54:with Stockhausen (foreground),
1416:Stockhausen, Karlheinz. 2003.
1386:Stockhausen, Karlheinz. 1975.
1:
1420:. Kürten: Stockhausen-Verlag.
1364:"Stockhausen Edition no. 16 (
927:Karlheinz Stockhausen: Mantra
894:Karlheinz Stockhausen: Mantra
884:Karlheinz Stockhausen: Mantra
264:and artistic director of the
174:. The work is scored for two
2900:20th-century classical music
1432:47, no. 3 (August): 194–199.
1362:Nordin, Ingvar Loco (n.d.).
472:. with constant intensities
396:slow tremolo between F and D
218:, at the sound controls for
2920:Compositions for two pianos
436:sharp attack with an echo:
2936:
1742:Helikopter-Streichquartett
1295:137 (March–April): 94–104.
1292:Neue Zeitschrift für Musik
1264:, pp. i, iv, and vii.
919:Aloys and Alfons Kontarsky
560:= character I (exception)
390:without any characteristic
243:, eventually premiered by
48:Alfons and Aloys Kontarsky
2849:
2682:
2254:
1767:
1618:
1602:
1541:(1970): A Technical Guide
1535:Armstrong, Newton. n.d. "
1312:. Mainz: Schott's Söhne.
886:. Accord 4642692 (202252)
652:
468:
424:an inverted (upper-note)
93:18 October 1970
40:
30:
2762:Gottfried Michael Koenig
1347:The Music of Stockhausen
1279:Blumröder, Christoph von
182:(antique cymbals) and a
2211:Klavierstücke Nos. 1–19
1480:Frisius, Rudolf. 2008.
1465:Febel, Reinhard. 1998.
1401:Christoph von Blumröder
1372:Sonoloco Record Reviews
858:Mantra, für 2 pianisten
803:= character VII, where
172:Donaueschingen Festival
102:Donaueschingen Festival
1418:Introduction to Mantra
1325:Cott, Jonathan. 1973.
1300:Conen, Hermann. 1991.
1283:Mantra für 2 Pianisten
955:Edison Classical Award
767:= character II, where
363:
302:
222:
2712:Collegium Vocale Köln
1829:Hymnen (Third Region)
1596:Karlheinz Stockhausen
360:
296:
213:
168:Karlheinz Stockhausen
34:Karlheinz Stockhausen
2647:Stockhausen Ensemble
2282:Gesang der Jünglinge
1973:Aus den sieben Tagen
1624:Atmen gibt das Leben
1605:List of compositions
1018:, pp. 195, 197.
285:Stockhausen-Verlag.
236:Aus den sieben Tagen
216:Shiraz Arts Festival
56:Shiraz Arts Festival
2915:Serial compositions
1989:Für kommende Zeiten
1516:", pp. 75–98.
1180:, pp. 155–156.
1153:, pp. 126–127.
1102:, pp. 220–222.
1090:, pp. 3 and 6.
1042:, pp. 195–197.
1006:, pp. 222–223.
250:Für kommende Zeiten
2598:Markus Stockhausen
2548:Alphabet für Liège
2532:Musik für ein Haus
364:
346:composers such as
303:
258:Kontarsky brothers
229:text composition,
223:
119:Stockhausen-Verlag
2910:1970 compositions
2865:
2864:
2845:
2844:
2782:Mesías Maiguashca
2747:Nicolaus A. Huber
2702:Boudewijn Buckinx
2604:Simon Stockhausen
2592:Doris Stockhausen
2574:Mary Bauermeister
2511:
2510:
2322:Unsichtbare Chöre
2227:Natürliche Dauern
1890:
1889:
1705:
1704:
1490:978-3-7957-0249-6
1450:978-0-521-68200-8
1204:, pp. 96–97.
1030:, pp. 59–60.
820:
819:
709:= character VIII
516:= character XIII
319:formula technique
159:
158:
2927:
2882:
2881:
2880:
2873:
2856:
2855:
2757:David C. Johnson
2732:Karel Goeyvaerts
2659:Johannes Fritsch
2628:Cornelius Cardew
2618:
2586:Suzanne Stephens
2580:Kathinka Pasveer
2252:
1765:
1616:
1589:
1582:
1575:
1566:
1453:
1438:Whittall, Arnold
1433:
1430:The Music Review
1421:
1412:
1391:
1382:
1380:
1378:
1358:
1343:Harvey, Jonathan
1338:
1321:
1306:Johannes Fritsch
1296:
1265:
1262:Stockhausen 1975
1259:
1253:
1247:
1241:
1235:
1229:
1226:Stockhausen 2003
1223:
1217:
1211:
1205:
1199:
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1178:Stockhausen 1978
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1163:Stockhausen 1975
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1127:Stockhausen 1978
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1115:
1112:Stockhausen 2003
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1088:Stockhausen 2003
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1052:Stockhausen 1978
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898:. Naxos 8.572398
879:
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779:
764:
763:
738:= character XII
735:
734:
706:
705:
683:
682:
645:
644:
623:
622:
604:= character III
601:
600:
579:
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60:2 September 1972
45:
36:
21:
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2890:
2889:
2888:
2884:Classical music
2878:
2876:
2868:
2866:
2861:
2841:
2797:Costin Miereanu
2697:Fritz Bornemann
2678:
2669:Aloys Kontarsky
2642:
2609:
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2507:
2368:
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2198:
2168:Chöre für Doris
2147:
2037:In Freundschaft
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1607:
1598:
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1459:Further reading
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1397:Texte zur Musik
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1310:Dietrich Kämper
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677:
648:= character IX
639:
626:= character VI
617:
595:
582:= character XI
573:
551:
538:= character IV
529:
507:
485:
450:
449:
430:
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262:SWF Baden-Baden
227:intuitive music
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32:
31:Piano music by
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2807:Jorge Peixinho
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2772:Mauricio Kagel
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2734:
2729:
2727:Vinko Globokar
2724:
2722:Herbert Eimert
2719:
2714:
2709:
2704:
2699:
2694:
2689:
2683:
2680:
2679:
2677:
2676:
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2666:
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2656:
2650:
2648:
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2497:
2489:
2481:
2473:
2465:
2457:
2449:
2441:
2433:
2425:
2417:
2409:
2401:
2393:
2389:Mikrophonie II
2385:
2376:
2374:
2370:
2369:
2367:
2366:
2358:
2350:
2342:
2334:
2326:
2318:
2310:
2302:
2294:
2286:
2278:
2270:
2262:
2259:Konkrete Etüde
2255:
2249:
2243:
2242:
2240:
2239:
2231:
2223:
2215:
2206:
2204:
2200:
2199:
2197:
2196:
2188:
2180:
2172:
2164:
2155:
2153:
2149:
2148:
2146:
2145:
2137:
2129:
2121:
2113:
2105:
2097:
2089:
2081:
2073:
2065:
2057:
2049:
2041:
2033:
2025:
2017:
2013:Musik im Bauch
2009:
2001:
1993:
1985:
1977:
1969:
1961:
1953:
1945:
1937:
1929:
1921:
1913:
1905:
1898:
1896:
1892:
1891:
1888:
1887:
1885:
1884:
1876:
1868:
1859:
1857:
1853:
1852:
1850:
1849:
1841:
1833:
1825:
1817:
1809:
1801:
1793:
1785:
1777:
1768:
1762:
1758:
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1755:
1754:
1746:
1738:
1730:
1722:
1713:
1711:
1707:
1706:
1703:
1702:
1700:
1699:
1691:
1683:
1675:
1667:
1659:
1651:
1642:
1640:
1632:
1631:
1629:
1628:
1619:
1613:
1609:
1608:
1603:
1600:
1599:
1594:
1592:
1591:
1584:
1577:
1569:
1563:
1562:
1544:
1537:Stockhausen's
1531:
1530:External links
1528:
1526:
1525:
1503:
1493:
1478:
1462:
1460:
1457:
1455:
1454:
1434:
1422:
1413:
1392:
1383:
1359:
1339:
1322:
1297:
1274:
1267:
1266:
1254:
1242:
1238:Blumröder 1976
1230:
1218:
1216:, p. 227.
1206:
1202:Blumröder 1976
1194:
1192:, p. 211.
1182:
1167:
1155:
1143:
1141:, p. 102.
1139:Blumröder 1976
1131:
1129:, p. 155.
1116:
1104:
1092:
1080:
1076:Blumröder 1976
1068:
1056:
1054:, p. 154.
1044:
1032:
1020:
1008:
993:
991:, p. 194.
981:
977:Blumröder 1976
965:
963:
960:
959:
958:
947:
912:
911:
907:
887:
880:
851:
846:
843:
822:
821:
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791:
782:
781:
765:
755:
740:
739:
736:
726:
711:
710:
707:
697:
688:
687:
686:= character X
684:
674:
658:
657:
650:
649:
646:
636:
628:
627:
624:
614:
606:
605:
602:
592:
584:
583:
580:
570:
562:
561:
558:
548:
540:
539:
536:
526:
518:
517:
514:
504:
496:
495:
494:= character V
492:
482:
474:
473:
458:
457:
454:
434:
422:
419:
411:
403:
400:
397:
394:
391:
382:
379:
311:counterpointed
290:
287:
245:Roger Woodward
191:
188:
176:ring-modulated
157:
156:
154:
153:
148:
143:
140:ring-modulated
135:
133:
129:
128:
125:
121:
120:
109:
105:
104:
91:
87:
86:
76:
72:
71:
68:
64:
63:
46:
38:
37:
28:
27:
15:
13:
10:
9:
6:
4:
3:
2:
2932:
2921:
2918:
2916:
2913:
2911:
2908:
2906:
2903:
2901:
2898:
2897:
2895:
2885:
2875:
2871:
2860:
2859:
2848:
2838:
2835:
2833:
2830:
2828:
2825:
2823:
2820:
2818:
2817:Roger Smalley
2815:
2813:
2810:
2808:
2805:
2803:
2802:Nam June Paik
2800:
2798:
2795:
2793:
2790:
2788:
2785:
2783:
2780:
2778:
2777:György Ligeti
2775:
2773:
2770:
2768:
2765:
2763:
2760:
2758:
2755:
2753:
2750:
2748:
2745:
2743:
2742:Hans G. Helms
2740:
2738:
2735:
2733:
2730:
2728:
2725:
2723:
2720:
2718:
2715:
2713:
2710:
2708:
2705:
2703:
2700:
2698:
2695:
2693:
2690:
2688:
2685:
2684:
2681:
2675:
2672:
2670:
2667:
2665:
2664:Rolf Gehlhaar
2662:
2660:
2657:
2655:
2652:
2651:
2649:
2645:
2639:
2636:
2634:
2631:
2629:
2626:
2625:
2623:
2619:
2616:
2614:Collaborators
2612:
2605:
2602:
2599:
2596:
2593:
2590:
2587:
2584:
2581:
2578:
2575:
2572:
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2526:
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2498:
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2426:
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2418:
2415:
2414:
2410:
2407:
2406:
2402:
2399:
2398:
2394:
2391:
2390:
2386:
2383:
2382:
2381:Mikrophonie I
2378:
2377:
2375:
2373:With soloists
2371:
2364:
2363:
2359:
2356:
2355:
2354:Cosmic Pulses
2351:
2348:
2347:
2343:
2340:
2339:
2335:
2332:
2331:
2327:
2324:
2323:
2319:
2316:
2315:
2311:
2308:
2307:
2303:
2300:
2299:
2295:
2292:
2291:
2287:
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2279:
2276:
2275:
2271:
2268:
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2263:
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2257:
2256:
2253:
2250:
2248:
2244:
2237:
2236:
2232:
2229:
2228:
2224:
2221:
2220:
2216:
2213:
2212:
2208:
2207:
2205:
2201:
2194:
2193:
2189:
2186:
2185:
2181:
2178:
2177:
2173:
2170:
2169:
2165:
2162:
2161:
2157:
2156:
2154:
2150:
2143:
2142:
2138:
2135:
2134:
2130:
2127:
2126:
2122:
2119:
2118:
2114:
2111:
2110:
2106:
2103:
2102:
2098:
2095:
2094:
2090:
2087:
2086:
2082:
2079:
2078:
2074:
2071:
2070:
2066:
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2062:
2058:
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2054:
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2047:
2046:
2042:
2039:
2038:
2034:
2031:
2030:
2026:
2023:
2022:
2018:
2015:
2014:
2010:
2007:
2006:
2002:
1999:
1998:
1994:
1991:
1990:
1986:
1983:
1982:
1978:
1975:
1974:
1970:
1967:
1966:
1962:
1959:
1958:
1954:
1951:
1950:
1946:
1943:
1942:
1938:
1935:
1934:
1930:
1927:
1926:
1922:
1919:
1918:
1917:Kontra-Punkte
1914:
1911:
1910:
1906:
1903:
1900:
1899:
1897:
1893:
1882:
1881:
1877:
1874:
1873:
1869:
1866:
1865:
1861:
1860:
1858:
1856:With soloists
1854:
1847:
1846:
1842:
1839:
1838:
1834:
1831:
1830:
1826:
1823:
1822:
1818:
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1807:
1806:
1802:
1799:
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1782:
1778:
1775:
1774:
1770:
1769:
1766:
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1759:
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1739:
1736:
1735:
1731:
1728:
1727:
1723:
1720:
1719:
1715:
1714:
1712:
1708:
1697:
1696:
1692:
1689:
1688:
1684:
1681:
1680:
1676:
1673:
1672:
1668:
1665:
1664:
1660:
1657:
1656:
1652:
1649:
1648:
1644:
1643:
1641:
1639:
1638:
1633:
1626:
1625:
1621:
1620:
1617:
1614:
1610:
1606:
1601:
1597:
1590:
1585:
1583:
1578:
1576:
1571:
1570:
1567:
1561:
1557:
1553:
1549:
1545:
1542:
1540:
1534:
1533:
1529:
1523:
1522:3-00-016185-6
1519:
1515:
1511:
1507:
1506:Toop, Richard
1504:
1501:
1497:
1496:Kelsall, John
1494:
1491:
1487:
1483:
1479:
1476:
1475:3-930735-55-5
1472:
1468:
1464:
1463:
1458:
1451:
1447:
1443:
1439:
1435:
1431:
1427:
1426:Toop, Richard
1423:
1419:
1414:
1410:
1409:3-7701-1078-1
1406:
1402:
1399:4, edited by
1398:
1393:
1389:
1384:
1373:
1369:
1367:
1360:
1356:
1355:0-520-02311-0
1352:
1348:
1344:
1340:
1336:
1335:0-671-21495-0
1332:
1328:
1323:
1319:
1318:3-7957-1890-2
1315:
1311:
1307:
1303:
1298:
1294:
1293:
1288:
1284:
1280:
1276:
1275:
1273:
1272:
1263:
1258:
1255:
1252:, p. 86.
1251:
1246:
1243:
1239:
1234:
1231:
1227:
1222:
1219:
1215:
1210:
1207:
1203:
1198:
1195:
1191:
1190:Whittall 2008
1186:
1183:
1179:
1174:
1172:
1168:
1164:
1159:
1156:
1152:
1147:
1144:
1140:
1135:
1132:
1128:
1123:
1121:
1117:
1113:
1108:
1105:
1101:
1096:
1093:
1089:
1084:
1081:
1078:, p. 98.
1077:
1072:
1069:
1066:, p. 62.
1065:
1060:
1057:
1053:
1048:
1045:
1041:
1036:
1033:
1029:
1024:
1021:
1017:
1012:
1009:
1005:
1000:
998:
994:
990:
985:
982:
979:, p. 94.
978:
973:
971:
967:
961:
956:
952:
948:
937:
935:
928:
924:
923:Klaus Hiemann
920:
917:
916:
915:
908:
897:
895:
888:
885:
881:
869:
865:
861:
859:
852:
849:
848:
844:
842:
840:
835:
831:
826:
814:
808:
807:
802:
798:
792:
789:
788:
784:
783:
778:
772:
771:
766:
762:
756:
754:
753:
748:
747:
742:
741:
737:
733:
727:
724:
723:
718:
717:
713:
712:
708:
704:
698:
696:
695:
690:
689:
685:
681:
675:
672:
671:
666:
665:
660:
659:
655:
651:
647:
643:
637:
635:
634:
630:
629:
625:
621:
615:
613:
612:
608:
607:
603:
599:
593:
591:
590:
586:
585:
581:
577:
571:
569:
568:
564:
563:
559:
555:
549:
547:
546:
542:
541:
537:
533:
527:
525:
524:
520:
519:
515:
511:
505:
503:
502:
498:
497:
493:
489:
483:
481:
480:
476:
475:
471:
467:
464:
463:
462:
455:
447:
446:
441:
440:
435:
427:
423:
420:
412:
404:
401:
398:
395:
392:
383:
380:
377:
376:
375:
372:
370:
359:
355:
353:
349:
344:
340:
336:
332:
328:
324:
320:
316:
312:
307:
300:
295:
288:
286:
283:
279:
275:
271:
267:
263:
259:
254:
252:
251:
246:
242:
238:
237:
232:
228:
221:
217:
212:
208:
206:
202:
197:
189:
187:
185:
181:
177:
173:
169:
165:
164:
152:
149:
147:
144:
141:
137:
136:
134:
130:
126:
122:
110:
106:
103:
92:
88:
77:
73:
69:
65:
57:
53:
49:
44:
39:
35:
29:
26:
22:
19:
2851:
2832:Thomas Wells
2792:John McGuire
2692:Junsang Bahk
2654:Péter Eötvös
2633:Richard Toop
2554:
2546:
2538:
2530:
2522:
2499:
2491:
2483:
2475:
2467:
2459:
2451:
2443:
2435:
2427:
2419:
2411:
2403:
2395:
2387:
2379:
2360:
2352:
2344:
2336:
2328:
2320:
2312:
2304:
2296:
2288:
2280:
2272:
2264:
2233:
2225:
2218:
2217:
2209:
2190:
2182:
2174:
2166:
2158:
2139:
2131:
2123:
2115:
2107:
2099:
2091:
2083:
2075:
2067:
2060:
2051:
2045:Europa-Gruss
2043:
2035:
2027:
2019:
2011:
2003:
1995:
1987:
1981:Dr K–Sextett
1979:
1971:
1963:
1955:
1947:
1939:
1931:
1923:
1915:
1907:
1878:
1870:
1862:
1843:
1835:
1827:
1819:
1811:
1803:
1795:
1787:
1779:
1771:
1748:
1740:
1732:
1724:
1716:
1693:
1685:
1677:
1669:
1661:
1653:
1645:
1635:
1622:
1547:
1538:
1513:
1509:
1481:
1466:
1441:
1429:
1417:
1396:
1387:
1375:. Retrieved
1371:
1365:
1346:
1326:
1301:
1290:
1286:
1282:
1270:
1269:
1257:
1245:
1233:
1228:, p. 4.
1221:
1209:
1197:
1185:
1158:
1146:
1134:
1114:, p. 9.
1107:
1095:
1083:
1071:
1059:
1047:
1035:
1023:
1011:
984:
950:
940:. Retrieved
933:
926:
913:
900:. Retrieved
893:
883:
872:. Retrieved
868:Schott Music
857:
829:
827:
823:
805:
804:
786:
785:
769:
768:
751:
750:
745:
744:
721:
720:
715:
714:
693:
692:
669:
668:
663:
662:
653:
632:
631:
610:
609:
588:
587:
566:
565:
544:
543:
522:
521:
500:
499:
478:
477:
469:
459:
444:
443:
438:
437:
373:
365:
342:
338:
334:
330:
326:
308:
304:
298:
281:
269:
255:
248:
240:
234:
230:
224:
219:
204:
200:
193:
162:
161:
160:
51:
24:
18:
2822:Tim Souster
2787:Tomás Marco
2767:Jerome Kohl
2752:Alden Jenks
2737:Georg Heike
2717:Hugh Davies
2687:David Ahern
2674:David Tudor
2516:Other works
2235:Himmelfahrt
2214:(1952–2003)
2176:Drei Lieder
1750:Himmels-Tür
1718:Herbstmusik
1377:22 February
1151:Harvey 1975
870:. WER 62672
369:Nordin n.d.
151:wood blocks
50:performing
2894:Categories
2812:Otto Piene
2638:Jill Purce
2621:Assistants
2594:(1st wife)
2576:(2nd wife)
2540:Sternklang
2413:Kurzwellen
2405:Prozession
2330:Oktophonie
2247:Electronic
2192:Litanei 97
2053:Trumpetent
1957:Plus-Minus
1925:Schlagtrio
1909:Kreuzspiel
1761:Orchestral
1647:Donnerstag
1289:43, no. 2/
1250:Conen 1991
1240:, 97, 104.
1064:Conen 1991
1028:Conen 1991
962:References
942:2008-09-04
902:2010-09-27
845:Recordings
184:wood block
127:70 minutes
97:1970-10-18
2827:Avo Sõmer
2588:(partner)
2582:(partner)
2306:Telemusik
2274:Studie II
2093:Schönheit
2077:Harmonien
2021:Tierkreis
1726:Originale
1498:. 1975. "
1214:Cott 1973
1100:Cott 1973
1040:Toop 1986
1016:Toop 1986
1004:Cott 1973
989:Toop 1986
348:Beethoven
289:Structure
241:Intervall
231:Intervall
196:Kontarsky
108:Published
90:Performed
67:Catalogue
2858:Category
2559:(2004–7)
2524:Ensemble
2493:Paradies
2485:Orvonton
2445:Strahlen
2346:Strahlen
2338:Weltraum
2290:Kontakte
2266:Studie I
2203:Keyboard
2184:Stimmung
2133:Hoffnung
2109:Erwachen
2085:Katikati
2005:Harlekin
1933:Zeitmaße
1902:Sonatine
1845:Jubiläum
1687:Mittwoch
1671:Dienstag
1508:. 2005.
1440:. 2008.
1345:. 1975.
957:in 1996.
451:♭
431:♭
416:♭
408:♭
387:♯
315:melodies
313:pair of
180:crotales
146:crotales
124:Duration
75:Composed
2477:Nebadon
2469:Jerusem
2453:Edentia
2101:Balance
1941:Refrain
1895:Chamber
1864:Momente
1789:Gruppen
1710:Theatre
1695:Sonntag
1679:Freitag
1655:Samstag
1271:Sources
874:1 March
448:), on G
426:mordent
335:subject
190:History
132:Scoring
113: (
95: (
80: (
2870:Portal
2567:Family
2551:(1972)
2543:(1971)
2535:(1968)
2527:(1967)
2504:(2007)
2501:Uversa
2496:(2007)
2488:(2007)
2480:(2007)
2472:(2007)
2464:(2007)
2461:Havona
2456:(2007)
2448:(2002)
2440:(1970)
2432:(1970)
2424:(1968)
2421:Spiral
2416:(1968)
2408:(1967)
2400:(1966)
2392:(1965)
2384:(1964)
2365:(2006)
2357:(2006)
2349:(2002)
2341:(1994)
2333:(1991)
2325:(1979)
2317:(1967)
2314:Hymnen
2309:(1966)
2301:(1964)
2298:Mixtur
2293:(1960)
2285:(1956)
2277:(1954)
2269:(1953)
2261:(1952)
2238:(2005)
2230:(2006)
2222:(1970)
2219:Mantra
2195:(1997)
2187:(1968)
2179:(1950)
2171:(1950)
2163:(1950)
2160:Choral
2144:(2007)
2136:(2007)
2128:(2007)
2120:(2007)
2112:(2007)
2104:(2007)
2096:(2006)
2088:(2006)
2080:(2006)
2072:(2005)
2069:Freude
2064:(1997)
2061:Rotary
2056:(1995)
2048:(1992)
2040:(1977)
2032:(1976)
2024:(1975)
2016:(1975)
2008:(1975)
2000:(1972)
1992:(1971)
1984:(1969)
1976:(1968)
1968:(1966)
1960:(1963)
1952:(1959)
1949:Zyklus
1944:(1959)
1936:(1956)
1928:(1952)
1920:(1952)
1912:(1951)
1904:(1951)
1883:(1974)
1875:(1964)
1872:Mixtur
1867:(1964)
1848:(1977)
1840:(1971)
1832:(1969)
1824:(1969)
1821:Fresco
1816:(1965)
1808:(1962)
1805:Punkte
1800:(1960)
1792:(1957)
1784:(1952)
1776:(1951)
1773:Formel
1753:(2005)
1745:(1993)
1737:(1977)
1734:Sirius
1729:(1961)
1721:(1974)
1698:(2003)
1690:(1997)
1682:(1994)
1674:(1991)
1666:(1988)
1663:Montag
1658:(1983)
1650:(1980)
1627:(1977)
1612:Operas
1560:Part 3
1556:Part 2
1552:Part 1
1548:Mantra
1539:Mantra
1520:
1514:Mantra
1488:
1473:
1452:(pbk).
1448:
1407:
1366:Mantra
1353:
1333:
1316:
934:Mantra
839:timbre
830:Mantra
809:= 1 ×
773:= 1 ×
484:5.5 ×
343:mantra
339:Mantra
323:mantra
299:Mantra
282:Mantra
278:Kürten
270:Vision
220:Mantra
205:Vision
201:Vision
163:Mantra
142:pianos
52:Mantra
25:Mantra
2606:(son)
2600:(son)
2556:Klang
2362:Türin
2152:Vocal
2141:Treue
2125:Glück
2117:Glanz
2029:Amour
1965:Adieu
1880:Inori
1837:Trans
1797:Carré
1781:Spiel
1637:Licht
1287:Melos
910:2014.
864:Wergo
691:<
327:theme
274:Osaka
2437:Pole
2429:Expo
2397:Solo
1997:Ylem
1813:Stop
1518:ISBN
1486:ISBN
1471:ISBN
1446:ISBN
1405:ISBN
1379:2010
1351:ISBN
1331:ISBN
1314:ISBN
1308:and
876:2021
834:Lawo
793:5 ×
790:>
757:2 ×
728:2 ×
699:2 ×
676:7 ×
673:>
638:1 ×
616:1 ×
594:3 ×
572:4 ×
550:1 ×
528:4 ×
506:6 ×
352:Bach
350:and
115:1975
111:1975
82:1970
78:1970
716:sfz
439:sfz
333:or
331:row
2896::
1558:,
1554:,
1370:.
1170:^
1119:^
996:^
969:^
862:.
806:ff
787:ff
749:)–
722:fp
694:mf
611:mf
589:mp
567:mp
479:pp
445:fp
371:.
329:,
253:.
138:2
70:32
58:,
2872::
1588:e
1581:t
1574:v
1524:.
1492:.
1477:.
1411:.
1381:.
1357:.
1337:.
1320:.
945:.
936:"
905:.
896:"
892:"
878:.
866:/
860:"
856:"
770:f
752:f
746:p
743:(
725:)
719:(
670:p
667:)
664:m
661:(
654:b
633:f
545:p
523:p
501:p
470:a
442:(
384:G
117:)
99:)
84:)
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