572398 bk Stockhausen 22/6/10 11:03 Page 5

The Pestova/Meyer Piano Duo The Pestova/Meyer piano duo has performed at the Festival Archipel (Switzerland), Festival Rainy Days STOCKHAUSEN (Luxembourg), Royaumont Voix Nouvelles (France), Festival Musikhøst (Denmark), and Festival Musica (France), and in concert in Ireland, Canada and New Zealand. Their collaborations have been praised for their sensitivity, clarity, intelligence, and exquisite coordination. Mantra www.pestovameyer.com Pascal Meyer Pestova/Meyer Piano Duo Pascal Meyer (Luxembourg) has performed worldwide as a soloist and chamber musician. He has appeared with orchestras such as the Luxembourg Philharmonic Orchestra, and is a member of the acclaimed contemporary music Jan Panis, Electronics ensemble United Instruments of Lucilin.

Xenia Pestova

Xenia Pestova (New Zealand/Canada) won First Prize at the 2004 Xavier Montsalvatge Contemporary Piano Competition, and a Special Mention at the 2003 Messiaen Piano Competition. In addition to an active concert career, she has an interest in music research, and holds a Doctorate from McGill University.

Jan Panis

Jan Panis (The Netherlands) worked extensively with Karlheinz Stockhausen as technician and sound projectionist from 1982 to 1992. He designed several versions of the ring modulators for Mantra, including the digital hardware and software used for this recording.

From left to right: Xenia Pestova, Jan Panis, Pascal Meyer. Photo: Isabelle Meister

1 Jonathan Cott, Stockhausen: Conversations with the Composer (London: Picador, 1974), p. 204.

2 ‘For two pianists’ is Stockhausen’s original designation, but the piece is really a trio including a sound projectionist whose equipment the score stipulates should be ‘completely inconspicuous’.

8.572398 5 6 8.572398 572398 bk Stockhausen 22/6/10 11:02 Page 2

Karlheinz Karlheinz Stockhausen (1928-2007) 10. C seed for irregular repetition ‘Morse code’ This arrangement, with the same ‘gestalt’ present at Mantra for two pianists 11. B seed for trills every level, is an eloquent demonstration of STOCKHAUSEN 12. G sfz (fp) - attack Stockhausen’s theory of time, in which he asserts an (1928-2007) “One day I had to drive from Madison, Connecticut, to While Stockhausen’s formula technique represents 13. A arpeggio link equivalence of pitch, rhythm and form as different Boston, it was September 1969. There were four people a return to the quasi-serialist approach of much of his scales of periodicity in a unified time continuum. It is Mantra, Work No. 32 in the car, I was sitting next to the driver, and I just let earlier music, it nevertheless retains a good deal of the The many repetitions of the mantra appear in different also very like the recursive structures found in fractal my imagination completely loose … I was humming to sense of freedom, transcendental mysticism and playful, expansions at different levels. The most extreme mathematics and throughout nature, where the pattern of 1 Bars 1-2 0:22 myself … I heard this melody … I had the idea of one abandoned inventiveness which characterized the heady temporal expansion lasts for the whole piece, and thus veins in a leaf match those found in the stem, branch and single musical figure or formula that would be days of the Stockhausen Group. This combination of controls its large-scale structure. Each one of the tree. Such infinitely recursive structures guarantee an 2 Bars 3-10 1:10 expanded over a very long period of time … I wrote closely worked structural detail and wildly imaginative thirteen notes, with its dominant characteristic, becomes unparalleled unity of form and content. 3 Bars 11-70 4:27 down this melody on an envelope.” invention demands a great deal of the performers, who the basis for a whole musical section. So section one of The original analogue equipment specified by 4 Bars 71-108 2:38 must maintain absolute technical precision while the piece is based on ‘regular repetition’, section two on Stockhausen is no longer readily available, and this Karlheinz Stockhausen, 19711 embracing the vast range of dramatic – even comic – ‘accent at the end’, and so on. The section based on recording is the first to use digital technology, with 5 Bars 109-120 1:48 musical characterisations through which the composer’s ‘irregular repetition’ is especially striking, being equipment specially designed by Stockhausen’s former 6 Bars 121-131 0:55 Thus was born Karlheinz Stockhausen’s Mantra for two imagination soars. underpinned by the irregular repetition in recordings of assistant Jan Panis, and approved by the composer. 2 7 Bars 132-150 2:21 pianists . During the latter part of the 1960s such Stockhausen’s formula technique is admirable in its Morse code shortwave transmissions. Each of the Mantra now has a new lease of life for a digital century, journeys were a major part of Stockhausen’s life. He simplicity, and Mantra is its exemplar: the piece begins thirteen sections of the work also contains a whole thus helping to ensure that future generations are able to 8 Bars 151-188 5:29 spent a great deal of time touring internationally with with a short musical idea – the ‘mantra’ (Track 2 of this version of the mantra (again with its thirteen continue to enjoy performing and listening to this most 9 Bars 189-211 1:23 his own ensemble, the Stockhausen Group, performing recording). Within this simple fragment of music may characteristics), and within each of these shorter remarkable of works. 0 Bars 212-237 1:48 what he termed “Intuitive Music”, for which the only be found the seeds for the material of the entire piece, versions we hear twelve still quicker repetitions, 156 in After more than an hour of endlessly imaginative composed material was either a brief text or a structural but in microcosmic form. It is based on a melody of all. There is also yet another layer, played on crotales transformation of its original material, Mantra ! Bars 238-261 1:27 plan. Although in many ways this was the zenith of his thirteen pitches (a serial twelve-tone row with the first which sound out the thirteen notes of the mantra, and concludes with a moment of profound reflection and @ Bars 262-298 4:20 fame (his image had already appeared on the cover of pitch repeated at the end – a favourite Stockhausen their dominant characteristics, at twice the speed of the almost classical composure, as the mantra itself is # Bars 299-323 1:19 the Beatles’ Sgt. Pepper’s album) Stockhausen was device), superimposed upon its inversion. This is then ‘supermantra’, once forwards and once backwards. quietly intoned for the final time. Now untransformed, becoming increasingly disquieted by disagreements continually repeated and expanded – not developed or Central to Mantra is the electronic transformation and devoid even of its thirteen characteristics, it closes $ Bars 324-421 2:31 within the group over who really was the creator of this varied in the classical sense, Stockhausen insists. of the piano sounds using ring modulation, whereby the on a final, poignant, and undeniably tonic A. The % Bars 422-434 4:00 music – composer or performers. He silenced such Instead, it is stretched horizontally (that is, in duration) sound of each piano is modulated with a synthetic tone impact of this understated concluding return of the ^ Bars 435-491 3:37 disputes with characteristic decisiveness by writing his and vertically (that is, in pitch intervals). Each note of tuned to the central pitch of each section. This is the original idea has been compared with that of the aria da first fully notated work for many years, Mantra. The era the mantra has its own duration, dynamic and – crucially slowest mantra of all, whose pitches are heard not capo from Bach’s Goldberg Variations, and indeed the & Bars 492-529 5:19 of intuitive music was at an end. – its own musical characteristic. It is these thirteen directly, but only through the transformation of the comparison with Bach might be taken further: as with * Bars 530-577 3:00 Mantra is significant as the first mature example of characteristics which grow to become the defining piano timbres. The degree of sonic transformation Bach, Stockhausen’s music in the years immediately ( Bars 578-637 3:49 Stockhausen’s ‘formula’ technique, an approach to materials of the work: depends on the interval between the synthetic tone and following his death is less widely known than it was at composition which was to dominate his output from the piano note: with simple intervals (octaves, fifths…) the peak of his career. Perhaps its optimism, idealism ) Bars 638-640 1:00 Mantra in 1970 right through to his death in 2007. But 1. A regular repetition the transformation is subtle, but with more complex and experimental daring, so characteristic of the 1960s ¡ Bars 641-655 2:49 Mantra is also music theatre: two pianists face each 2. B accent at the end intervals (semitones, major sevenths…) it is more which gave it birth, now seems less relevant in our more ™ Bars 656-686 3:29 other, their pianos on either side of the stage: this is not 3. G ‘normal’ dramatic, resulting in metallic, bell-like sounds and pragmatic, even cynical era. It may be that, like the just a duet, it is a dialogue, a double act, a duel. During 4. E upbeat-group around a central note quasi-vibrato. Since the mantra within each section music of Bach, it will fall to some future generation to £ Bars 687-854 5:05 the performance the players strike crotales and 5. F ‘tremolo’ begins and ends on this same central pitch, we hear a rediscover this music of genius, and for Mantra to be ¢ Bars 855-880 1:50 woodblocks, make adjustments to electronic controls, 6. D chord (stressed) timbral ebb and flow which is somewhat akin to the idea widely and fully acknowledged as the timeless ∞ Bars 881-883 0:40 stand and chant mystic syllables, and engage in a 7. G accent at the beginning of tension and resolution in tonal music, and which masterpiece that it undoubtedly is. musical drama that ranges from the most intense depths 8. E ‘chromatic’ link Stockhausen himself has likened to tonal cadencing, or § Bars 884-887 0:57 of human experience to slapstick comedy. 9. D staccato breathing. Andrew Lewis

8.572398 23 8.572398 4 8.572398 572398 bk Stockhausen 22/6/10 11:02 Page 2

Karlheinz Karlheinz Stockhausen (1928-2007) 10. C seed for irregular repetition ‘Morse code’ This arrangement, with the same ‘gestalt’ present at Mantra for two pianists 11. B seed for trills every level, is an eloquent demonstration of STOCKHAUSEN 12. G sfz (fp) - attack Stockhausen’s theory of time, in which he asserts an (1928-2007) “One day I had to drive from Madison, Connecticut, to While Stockhausen’s formula technique represents 13. A arpeggio link equivalence of pitch, rhythm and form as different Boston, it was September 1969. There were four people a return to the quasi-serialist approach of much of his scales of periodicity in a unified time continuum. It is Mantra, Work No. 32 in the car, I was sitting next to the driver, and I just let earlier music, it nevertheless retains a good deal of the The many repetitions of the mantra appear in different also very like the recursive structures found in fractal my imagination completely loose … I was humming to sense of freedom, transcendental mysticism and playful, expansions at different levels. The most extreme mathematics and throughout nature, where the pattern of 1 Bars 1-2 0:22 myself … I heard this melody … I had the idea of one abandoned inventiveness which characterized the heady temporal expansion lasts for the whole piece, and thus veins in a leaf match those found in the stem, branch and single musical figure or formula that would be days of the Stockhausen Group. This combination of controls its large-scale structure. Each one of the tree. Such infinitely recursive structures guarantee an 2 Bars 3-10 1:10 expanded over a very long period of time … I wrote closely worked structural detail and wildly imaginative thirteen notes, with its dominant characteristic, becomes unparalleled unity of form and content. 3 Bars 11-70 4:27 down this melody on an envelope.” invention demands a great deal of the performers, who the basis for a whole musical section. So section one of The original analogue equipment specified by 4 Bars 71-108 2:38 must maintain absolute technical precision while the piece is based on ‘regular repetition’, section two on Stockhausen is no longer readily available, and this Karlheinz Stockhausen, 19711 embracing the vast range of dramatic – even comic – ‘accent at the end’, and so on. The section based on recording is the first to use digital technology, with 5 Bars 109-120 1:48 musical characterisations through which the composer’s ‘irregular repetition’ is especially striking, being equipment specially designed by Stockhausen’s former 6 Bars 121-131 0:55 Thus was born Karlheinz Stockhausen’s Mantra for two imagination soars. underpinned by the irregular repetition in recordings of assistant Jan Panis, and approved by the composer. 2 7 Bars 132-150 2:21 pianists . During the latter part of the 1960s such Stockhausen’s formula technique is admirable in its Morse code shortwave transmissions. Each of the Mantra now has a new lease of life for a digital century, journeys were a major part of Stockhausen’s life. He simplicity, and Mantra is its exemplar: the piece begins thirteen sections of the work also contains a whole thus helping to ensure that future generations are able to 8 Bars 151-188 5:29 spent a great deal of time touring internationally with with a short musical idea – the ‘mantra’ (Track 2 of this version of the mantra (again with its thirteen continue to enjoy performing and listening to this most 9 Bars 189-211 1:23 his own ensemble, the Stockhausen Group, performing recording). Within this simple fragment of music may characteristics), and within each of these shorter remarkable of works. 0 Bars 212-237 1:48 what he termed “Intuitive Music”, for which the only be found the seeds for the material of the entire piece, versions we hear twelve still quicker repetitions, 156 in After more than an hour of endlessly imaginative composed material was either a brief text or a structural but in microcosmic form. It is based on a melody of all. There is also yet another layer, played on crotales transformation of its original material, Mantra ! Bars 238-261 1:27 plan. Although in many ways this was the zenith of his thirteen pitches (a serial twelve-tone row with the first which sound out the thirteen notes of the mantra, and concludes with a moment of profound reflection and @ Bars 262-298 4:20 fame (his image had already appeared on the cover of pitch repeated at the end – a favourite Stockhausen their dominant characteristics, at twice the speed of the almost classical composure, as the mantra itself is # Bars 299-323 1:19 the Beatles’ Sgt. Pepper’s album) Stockhausen was device), superimposed upon its inversion. This is then ‘supermantra’, once forwards and once backwards. quietly intoned for the final time. Now untransformed, becoming increasingly disquieted by disagreements continually repeated and expanded – not developed or Central to Mantra is the electronic transformation and devoid even of its thirteen characteristics, it closes $ Bars 324-421 2:31 within the group over who really was the creator of this varied in the classical sense, Stockhausen insists. of the piano sounds using ring modulation, whereby the on a final, poignant, and undeniably tonic A. The % Bars 422-434 4:00 music – composer or performers. He silenced such Instead, it is stretched horizontally (that is, in duration) sound of each piano is modulated with a synthetic tone impact of this understated concluding return of the ^ Bars 435-491 3:37 disputes with characteristic decisiveness by writing his and vertically (that is, in pitch intervals). Each note of tuned to the central pitch of each section. This is the original idea has been compared with that of the aria da first fully notated work for many years, Mantra. The era the mantra has its own duration, dynamic and – crucially slowest mantra of all, whose pitches are heard not capo from Bach’s Goldberg Variations, and indeed the & Bars 492-529 5:19 of intuitive music was at an end. – its own musical characteristic. It is these thirteen directly, but only through the transformation of the comparison with Bach might be taken further: as with * Bars 530-577 3:00 Mantra is significant as the first mature example of characteristics which grow to become the defining piano timbres. The degree of sonic transformation Bach, Stockhausen’s music in the years immediately ( Bars 578-637 3:49 Stockhausen’s ‘formula’ technique, an approach to materials of the work: depends on the interval between the synthetic tone and following his death is less widely known than it was at composition which was to dominate his output from the piano note: with simple intervals (octaves, fifths…) the peak of his career. Perhaps its optimism, idealism ) Bars 638-640 1:00 Mantra in 1970 right through to his death in 2007. But 1. A regular repetition the transformation is subtle, but with more complex and experimental daring, so characteristic of the 1960s ¡ Bars 641-655 2:49 Mantra is also music theatre: two pianists face each 2. B accent at the end intervals (semitones, major sevenths…) it is more which gave it birth, now seems less relevant in our more ™ Bars 656-686 3:29 other, their pianos on either side of the stage: this is not 3. G ‘normal’ dramatic, resulting in metallic, bell-like sounds and pragmatic, even cynical era. It may be that, like the just a duet, it is a dialogue, a double act, a duel. During 4. E upbeat-group around a central note quasi-vibrato. Since the mantra within each section music of Bach, it will fall to some future generation to £ Bars 687-854 5:05 the performance the players strike crotales and 5. F ‘tremolo’ begins and ends on this same central pitch, we hear a rediscover this music of genius, and for Mantra to be ¢ Bars 855-880 1:50 woodblocks, make adjustments to electronic controls, 6. D chord (stressed) timbral ebb and flow which is somewhat akin to the idea widely and fully acknowledged as the timeless ∞ Bars 881-883 0:40 stand and chant mystic syllables, and engage in a 7. G accent at the beginning of tension and resolution in tonal music, and which masterpiece that it undoubtedly is. musical drama that ranges from the most intense depths 8. E ‘chromatic’ link Stockhausen himself has likened to tonal cadencing, or § Bars 884-887 0:57 of human experience to slapstick comedy. 9. D staccato breathing. Andrew Lewis

8.572398 23 8.572398 4 8.572398 572398 bk Stockhausen 22/6/10 11:02 Page 2

Karlheinz Karlheinz Stockhausen (1928-2007) 10. C seed for irregular repetition ‘Morse code’ This arrangement, with the same ‘gestalt’ present at Mantra for two pianists 11. B seed for trills every level, is an eloquent demonstration of STOCKHAUSEN 12. G sfz (fp) - attack Stockhausen’s theory of time, in which he asserts an (1928-2007) “One day I had to drive from Madison, Connecticut, to While Stockhausen’s formula technique represents 13. A arpeggio link equivalence of pitch, rhythm and form as different Boston, it was September 1969. There were four people a return to the quasi-serialist approach of much of his scales of periodicity in a unified time continuum. It is Mantra, Work No. 32 in the car, I was sitting next to the driver, and I just let earlier music, it nevertheless retains a good deal of the The many repetitions of the mantra appear in different also very like the recursive structures found in fractal my imagination completely loose … I was humming to sense of freedom, transcendental mysticism and playful, expansions at different levels. The most extreme mathematics and throughout nature, where the pattern of 1 Bars 1-2 0:22 myself … I heard this melody … I had the idea of one abandoned inventiveness which characterized the heady temporal expansion lasts for the whole piece, and thus veins in a leaf match those found in the stem, branch and single musical figure or formula that would be days of the Stockhausen Group. This combination of controls its large-scale structure. Each one of the tree. Such infinitely recursive structures guarantee an 2 Bars 3-10 1:10 expanded over a very long period of time … I wrote closely worked structural detail and wildly imaginative thirteen notes, with its dominant characteristic, becomes unparalleled unity of form and content. 3 Bars 11-70 4:27 down this melody on an envelope.” invention demands a great deal of the performers, who the basis for a whole musical section. So section one of The original analogue equipment specified by 4 Bars 71-108 2:38 must maintain absolute technical precision while the piece is based on ‘regular repetition’, section two on Stockhausen is no longer readily available, and this Karlheinz Stockhausen, 19711 embracing the vast range of dramatic – even comic – ‘accent at the end’, and so on. The section based on recording is the first to use digital technology, with 5 Bars 109-120 1:48 musical characterisations through which the composer’s ‘irregular repetition’ is especially striking, being equipment specially designed by Stockhausen’s former 6 Bars 121-131 0:55 Thus was born Karlheinz Stockhausen’s Mantra for two imagination soars. underpinned by the irregular repetition in recordings of assistant Jan Panis, and approved by the composer. 2 7 Bars 132-150 2:21 pianists . During the latter part of the 1960s such Stockhausen’s formula technique is admirable in its Morse code shortwave transmissions. Each of the Mantra now has a new lease of life for a digital century, journeys were a major part of Stockhausen’s life. He simplicity, and Mantra is its exemplar: the piece begins thirteen sections of the work also contains a whole thus helping to ensure that future generations are able to 8 Bars 151-188 5:29 spent a great deal of time touring internationally with with a short musical idea – the ‘mantra’ (Track 2 of this version of the mantra (again with its thirteen continue to enjoy performing and listening to this most 9 Bars 189-211 1:23 his own ensemble, the Stockhausen Group, performing recording). Within this simple fragment of music may characteristics), and within each of these shorter remarkable of works. 0 Bars 212-237 1:48 what he termed “Intuitive Music”, for which the only be found the seeds for the material of the entire piece, versions we hear twelve still quicker repetitions, 156 in After more than an hour of endlessly imaginative composed material was either a brief text or a structural but in microcosmic form. It is based on a melody of all. There is also yet another layer, played on crotales transformation of its original material, Mantra ! Bars 238-261 1:27 plan. Although in many ways this was the zenith of his thirteen pitches (a serial twelve-tone row with the first which sound out the thirteen notes of the mantra, and concludes with a moment of profound reflection and @ Bars 262-298 4:20 fame (his image had already appeared on the cover of pitch repeated at the end – a favourite Stockhausen their dominant characteristics, at twice the speed of the almost classical composure, as the mantra itself is # Bars 299-323 1:19 the Beatles’ Sgt. Pepper’s album) Stockhausen was device), superimposed upon its inversion. This is then ‘supermantra’, once forwards and once backwards. quietly intoned for the final time. Now untransformed, becoming increasingly disquieted by disagreements continually repeated and expanded – not developed or Central to Mantra is the electronic transformation and devoid even of its thirteen characteristics, it closes $ Bars 324-421 2:31 within the group over who really was the creator of this varied in the classical sense, Stockhausen insists. of the piano sounds using ring modulation, whereby the on a final, poignant, and undeniably tonic A. The % Bars 422-434 4:00 music – composer or performers. He silenced such Instead, it is stretched horizontally (that is, in duration) sound of each piano is modulated with a synthetic tone impact of this understated concluding return of the ^ Bars 435-491 3:37 disputes with characteristic decisiveness by writing his and vertically (that is, in pitch intervals). Each note of tuned to the central pitch of each section. This is the original idea has been compared with that of the aria da first fully notated work for many years, Mantra. The era the mantra has its own duration, dynamic and – crucially slowest mantra of all, whose pitches are heard not capo from Bach’s Goldberg Variations, and indeed the & Bars 492-529 5:19 of intuitive music was at an end. – its own musical characteristic. It is these thirteen directly, but only through the transformation of the comparison with Bach might be taken further: as with * Bars 530-577 3:00 Mantra is significant as the first mature example of characteristics which grow to become the defining piano timbres. The degree of sonic transformation Bach, Stockhausen’s music in the years immediately ( Bars 578-637 3:49 Stockhausen’s ‘formula’ technique, an approach to materials of the work: depends on the interval between the synthetic tone and following his death is less widely known than it was at composition which was to dominate his output from the piano note: with simple intervals (octaves, fifths…) the peak of his career. Perhaps its optimism, idealism ) Bars 638-640 1:00 Mantra in 1970 right through to his death in 2007. But 1. A regular repetition the transformation is subtle, but with more complex and experimental daring, so characteristic of the 1960s ¡ Bars 641-655 2:49 Mantra is also music theatre: two pianists face each 2. B accent at the end intervals (semitones, major sevenths…) it is more which gave it birth, now seems less relevant in our more ™ Bars 656-686 3:29 other, their pianos on either side of the stage: this is not 3. G ‘normal’ dramatic, resulting in metallic, bell-like sounds and pragmatic, even cynical era. It may be that, like the just a duet, it is a dialogue, a double act, a duel. During 4. E upbeat-group around a central note quasi-vibrato. Since the mantra within each section music of Bach, it will fall to some future generation to £ Bars 687-854 5:05 the performance the players strike crotales and 5. F ‘tremolo’ begins and ends on this same central pitch, we hear a rediscover this music of genius, and for Mantra to be ¢ Bars 855-880 1:50 woodblocks, make adjustments to electronic controls, 6. D chord (stressed) timbral ebb and flow which is somewhat akin to the idea widely and fully acknowledged as the timeless ∞ Bars 881-883 0:40 stand and chant mystic syllables, and engage in a 7. G accent at the beginning of tension and resolution in tonal music, and which masterpiece that it undoubtedly is. musical drama that ranges from the most intense depths 8. E ‘chromatic’ link Stockhausen himself has likened to tonal cadencing, or § Bars 884-887 0:57 of human experience to slapstick comedy. 9. D staccato breathing. Andrew Lewis

8.572398 23 8.572398 4 8.572398 572398 bk Stockhausen 22/6/10 11:03 Page 5

The Pestova/Meyer Piano Duo The Pestova/Meyer piano duo has performed at the Festival Archipel (Switzerland), Festival Rainy Days STOCKHAUSEN (Luxembourg), Royaumont Voix Nouvelles (France), Festival Musikhøst (Denmark), and Festival Musica (France), and in concert in Ireland, Canada and New Zealand. Their collaborations have been praised for their sensitivity, clarity, intelligence, and exquisite coordination. Mantra www.pestovameyer.com Pascal Meyer Pestova/Meyer Piano Duo Pascal Meyer (Luxembourg) has performed worldwide as a soloist and chamber musician. He has appeared with orchestras such as the Luxembourg Philharmonic Orchestra, and is a member of the acclaimed contemporary music Jan Panis, Electronics ensemble United Instruments of Lucilin.

Xenia Pestova

Xenia Pestova (New Zealand/Canada) won First Prize at the 2004 Xavier Montsalvatge Contemporary Piano Competition, and a Special Mention at the 2003 Messiaen Piano Competition. In addition to an active concert career, she has an interest in music research, and holds a Doctorate from McGill University.

Jan Panis

Jan Panis (The Netherlands) worked extensively with Karlheinz Stockhausen as technician and sound projectionist from 1982 to 1992. He designed several versions of the ring modulators for Mantra, including the digital hardware and software used for this recording.

From left to right: Xenia Pestova, Jan Panis, Pascal Meyer. Photo: Isabelle Meister

1 Jonathan Cott, Stockhausen: Conversations with the Composer (London: Picador, 1974), p. 204.

2 ‘For two pianists’ is Stockhausen’s original designation, but the piece is really a trio including a sound projectionist whose equipment the score stipulates should be ‘completely inconspicuous’.

8.572398 5 6 8.572398 572398 bk Stockhausen 22/6/10 11:03 Page 5

The Pestova/Meyer Piano Duo The Pestova/Meyer piano duo has performed at the Festival Archipel (Switzerland), Festival Rainy Days STOCKHAUSEN (Luxembourg), Royaumont Voix Nouvelles (France), Festival Musikhøst (Denmark), and Festival Musica (France), and in concert in Ireland, Canada and New Zealand. Their collaborations have been praised for their sensitivity, clarity, intelligence, and exquisite coordination. Mantra www.pestovameyer.com Pascal Meyer Pestova/Meyer Piano Duo Pascal Meyer (Luxembourg) has performed worldwide as a soloist and chamber musician. He has appeared with orchestras such as the Luxembourg Philharmonic Orchestra, and is a member of the acclaimed contemporary music Jan Panis, Electronics ensemble United Instruments of Lucilin.

Xenia Pestova

Xenia Pestova (New Zealand/Canada) won First Prize at the 2004 Xavier Montsalvatge Contemporary Piano Competition, and a Special Mention at the 2003 Messiaen Piano Competition. In addition to an active concert career, she has an interest in music research, and holds a Doctorate from McGill University.

Jan Panis

Jan Panis (The Netherlands) worked extensively with Karlheinz Stockhausen as technician and sound projectionist from 1982 to 1992. He designed several versions of the ring modulators for Mantra, including the digital hardware and software used for this recording.

From left to right: Xenia Pestova, Jan Panis, Pascal Meyer. Photo: Isabelle Meister

1 Jonathan Cott, Stockhausen: Conversations with the Composer (London: Picador, 1974), p. 204.

2 ‘For two pianists’ is Stockhausen’s original designation, but the piece is really a trio including a sound projectionist whose equipment the score stipulates should be ‘completely inconspicuous’.

8.572398 5 6 8.572398 NAXOS NAXOS Karlheinz Stockhausen recalled that one day in September 1969 ‘I had the idea of one single musical figure or formula that would be expanded over a very long period of time… I wrote down this melody on an envelope.’ Thus was born Mantra, the first mature example of Stockhausen’s ‘formula’ technique which was to dominate his output until his death in 2007. Effectively a trio including a sound projectionist, Mantra retains a good deal of freedom, 8.572398 STOCKHAUSEN: transcendental mysticism and playful, abandoned inventiveness within its quasi-serialist STOCKHAUSEN: approach. This recording is the first to use digital technology, with equipment specially designed DDD by Stockhausen’s former assistant Jan Panis, and approved by the composer. Playing Time Karlheinz STOCKHAUSEN 67:33 (1928-2007) Mantra (1970) Mantra Mantra

1-§ Mantra for two pianists 67:33 Pestova/Meyer Piano Duo www.naxos.com Disc made in Canada. Printed and assembled USA. Booklet notes in English

Xenia Pestova and Pascal Meyer, Pianos &

Jan Panis, Electronics 2010 Naxos Rights International Ltd.

This recording was sponsored by Fonds culturel national Luxembourg, Philharmonie Luxembourg A complete list of private donors can be found at www.pestovameyer.com/donors.htm A detailed track list can be found on page 2 of the booklet Recorded at Espace Découverte, Philharmonie Luxembourg, from 7th-10th September, 2009 8.572398 Producer: Remy Franck • Engineer and editor: Jarek Frankowski 8.572398 Recording supervisor: Andrew Lewis • Booklet notes: Andrew Lewis Publisher: Stockhausen-Verlag (www.stockhausen.org) Cover: Gespalten by Milena Rehborn (www.milena-rehborn.de) CMYK

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