Lachenmann – Kontrakadenz Aesthetic Apparatus: Clarinet Chamber Music of Helmut Lachenmann · See the Sound (Hommage to Helmut Lachenmann). Helmut Lachenmann, the German composer born in Stuttgart in , .. The first work is, in my opinion, Lachenmann’s finest: Kontrakadenz. View credits, reviews, tracks and shop for the SmartPac CD release of Kontrakadenz / Klangschatten – Mein Saitenspiel / Fassade on Discogs.
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Thinking About Helmut Lachenmann, with Recommended Recordings | La Folia
According to the composer, this is music. Toward the beginning, one hears various percussive rustlings, including falling ping-pong balls, coins, lachenmahn. His scores place enormous demands on performers, due to the plethora of techniques that he has invented for wind, brass and kontrakadnez instruments. Now a glimpse at two important recent chamber works by Lachenmann: I know, picking two recordings is technically cheating, but the pieces are somewhat different and each interpretation merits a listen.
These combine to make a compelling statement about the world today, a pointed but oblique criticism of a world which cares not enough for its people.
Thinking About Helmut Lachenmann, with Recommended Recordings
The result is a piece which depends not so much on showy virtuosity but rather on a more personal, intimate skill. A short bio appears at the end of this piece. It is shorter than the other two and also, I believe, more immediately accessible. Allegro sostenutorev. He achieves this musical bouleversement by asking his listeners and performers to suspend, or perhaps completely reject, their inherited beliefs about music, because they serve only to hinder and distort the listening experience.
The title could mean so much: He has also contributed booklet notes to the British label Metier and articles for German and Russian publications. The piece is also notable for its unusually prolonged climax, one employing what could be called motifs: His music is therefore primarily derived from the most basic of sounds, which through processes of amplification serve as the basis for extended works. They perform exceptionally well, which is not a surprise.
A highlight of the performance occurred during the overture, when behind the scrim, graceful dancers on wires simulated diving from the top of the stage to the bottom. You might think that the Italians invented music, such is their constant reassessment of the past.
Although this work is less than a decade old, it has already received stagings in various parts of Europe and in Japan. The best recordings of Mozart’s Clarinet Concerto.
Plucking introduces the nine plucked string instruments gradually, completing a grid governed by mathematical patterns.
HELMUT LACHENMANN: Kontrakadenz
For instance, his clarinet concerto Accantorev. Retrieved from ” https: The composer calls it a secret march and indeed it has forward propulsion throughout most of its minute course.
Ernst von Siemens Music Prize. He began composing soon after and wrote many large-scale pieces, including a large symphony, but all of these early scores are now lost.
A sustained Hammond organ figure, commented on by the electric guitar and percussion, then leads to a crescendo tam-tam strike, after which roaring brass and strings enter the fray. Vital to his aesthetic belief is the reformulation and renewal of musical traditions; why simply accept the hierarchy of traditions the evolution of music has handed down to us? Most Popular Most Recent. The first is abrasive, almost scolding; the second is an atmospheric, nearly hollowed-out world of sonic minutiae; and the third combines elements of both, but certainly leans toward the sound of the second.
This page was last edited on 29 Decemberat The second work, Serynadeis also a half-hour in duration but for only one instrument; it could be called a duo for piano and pedals, as the pianist must navigate an almost ungodly web of pedal requirements. It is a showcase of virtuosity, one not to be undertaken by easily fatigued pianists, and is throughout a beautiful work, fully engaging the listener in turns both serene and tempestuous.
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Whether you pick up these recordings or come across others, I urge you to give this compelling composer a chance. Monthly Choices Roll over covers to find out more. Helmut Friedrich Lachenmann born 27 November is a German lachenmnan of contemporary classical music.
Lachenmamn do not exist as effects, however, but instead as characters in the musical dramaturgy, so to speak, as they do in most works of the traditional repertoire. They are replete with new techniques and ideas, but are all vastly different in nature. Kontrakadenz; Klangschatten – mein Saitenspiel; Fassade. It sounds almost like a direct dialogue with the music of the past, presented through the eyeglass of the modern world.
Kontrakadnz is not a mature work, but still noteworthy.
Lachenmann Kontrakadenz; Klangschatten; Fassade |
This radio recording was made soon after its premiere. Consequently those qualities, such as timbre, volume, etc. His works offer both listeners and performers tremendous challenges — insurmountable challenges, some would say — but his music nonetheless is performed and people do listen to it perhaps in the ways in which the composer intends.
Thus, in addition to brass and strings, some of which are deployed throughout the concert space, there are two pianos and four thunder sheets played by two percussionists, not to mention an additional member of the string family: It is a passage repeated — with variations, naturally — several times before the work attains its proper end.
Explore your love for music with this essential guide to educational courses throughout the UK Retrieved 31 December A definite turning point in his career occurred away from the classroom, when he attended the summer courses at Darmstadt for the first time inwhere he found a mentor in the form of Luigi Nono, one of the few composers at that time of rampant serialism who openly embraced the past.