Pizzicato Magazine, November 2010
Diapason Magazine, November 2010
_Nominated for the 2011 International Classical Music Awards
ICMA, November 2010
_This is a highly accomplished presentation of one of the landmark pieces in the second half of the 20th century.
Andrew Clements, The Guardian, 2 September 2010
_...it is highly colourful (electronics make the music often seem to come from underwater), theatrical, humorous ... and wise. Captivating.
Paul Driver, The Sunday Times, 26 September 2010
_A focused, yet expansive, hence highly convincing and technically very accomplished performance of one of Stockhausen's key works.
Mark Sealy, MusicWeb, October 2010
_This is a very clean, precise and thoroughly captivating take on one of Stockhausen's strongest works… From the beginning the listener is aware of an unhurried and well-paced, confident stylistic approach… a new serenity… inexhaustible joy… played like clockwork
Amazon, 15 June 2010
_Pianists Xenia Pestova and Pascal Meyer really get into the spirit of the work. There is a complex serial dimension to the rhythms here, but more importantly, there is a wry sense of humour that underpins much of the music. The performance is at its most successful in the quieter passages, where the two pianists have a wonderful sense of poise, not rushing any of the effects or rhythms, but letting each of the motivic devices play out as a response to its situation, to the utterances of the other piano, and of course to the electronic manipulations.
Gavin Dixon, Classical CD Reviews, 22 September 2010
_I am lost in admiration for the brains and collective input of pianists, electronic engineer and the recording team who have collaborated in putting Mantra for 2010 on disc and on the internet! And for c. £5; ridiculous !
Peter Grahame Woolf, Musical Pointers, September 2010
_Überdies ist das Stück bei Xenia Pestova und Pascal Meyer in den besten Händen: präzise und transparent ... Wie die beiden sich die pianistischen Bälle zuwerfen und mit den Tönen und Klangfarben jonglieren, hat ebenso Referenzcharakter wie der Einsatz der Live-Elektronik.
Georg Henkel, Musik an sich, 17 October 2010