Created during a production between the 10th and 14th December 1969 in the Godorf/Cologne Studio
Based formally on the composition of "Kurzwellen": material is obtained from a regulating system (radio short waves), selected freely by the player and immediately developed. By "developed" is meant: spread, condensed, extended, shortened, differently coloured, more or less articulated, transposed, modulated, multiplied, synchronized.Stockhausen, from the attached sleeve text
Daniele Pollini is famous Italian pianist Maurizio Pollini’s son. He was born in 1978. He made his debut as a pianist at the Rossini Opera Festival in Pesaro in the summer of 1997. He also participated in the Salzburg Festival and the Ruhr Piano Festival and made his successful debut in Paris and in the United States.
Originating in 1969 with a short melodic fragment that grew into an elaborate piece that runs well over an hour, Karlheinz Stockhausen's Mantra for two pianos and electronics is recognized as one of his major keyboard works and an example of his increasingly liberal use of serial methods. The central idea operates on many levels throughout the composition, and the organization of Stockhausen's 13-pitch series a twelve-tone row with the first note repeated at the end takes place on small and large scales, with some permutations of the motive or "mantra" extending over so much time that their relationships become imperceptible.
The performers in Kurzwellen react to the completely unforeseeable events which they receive on short-wave radios while performing on their instruments. But this is not improvisation. Stockhausen s score instructs them how to transform what they hear: how they imitate amd modulate it, make it longer or shorter, how to rhythmically articulate it, higher or lower, louder or softer, darker or more playful. Whether they should play and as solo, duo, trio or quartet, etc. Though not so familiar now, at the time short-wave radios made it possible to listen to live radio stations from all over the world. The transmission was not always clean, but disturbed by noises and interferences. Moving from one station to another one could hear Morse-code signals, amateur radio communications and all kind of electronic sounds and noises. Stockhausen wanted this sound world to be part of Kurzwellen. This new version created by C.L.S.I., premiered at the Stockhausen Summer Course in Kurten on August 10th 2011, is a kind of updating of Stockhausen s one of the 1960s.
This end-of-the-millennium quartet session probably best defines all the inherent contradictions in who ECM attracts to the label – what kind of musician records for them – and what concerns these artists and ECM's chief producer (and creator) Manfred Eicher hold in common. This set, although clearly fronted by Markus Stockhausen and Arild Andersen on brass and bass, respectively, allows space for the entire quartet to inform its direction. Héral and Rypdal are not musicians who can play with just anybody; their distinctive styles and strengths often go against the grain of contemporary European jazz and improvised music. Of the 11 compositions here, four are collectively written, with two each by Andersen and Stockhausen.