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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The orchestral works are thus colorful, but not at all excessive in their treatment. 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 final piece is the percussion concerto Air. A short bio appears at the end of this piece. The big advantage is the overall improvement in recorded sound.

Retrieved 31 December 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? The best classical music for New Year’s Eve.

Thinking About Helmut Lachenmann, with Recommended Recordings | La Folia

Originally written for Ensemble InterContemporain and premiered by this group under the present conductor, this piece has been recorded elsewhere, equally brilliantly, but its inclusion here makes this disc even more kontrqkadenz. As in Kontrakadenzthere is another element at work in this piece; instead of a radio, it is a tape which features mostly radio static, white noise and occasionally a sliver of a voice.

Here Lachenmann is at his most sublime, still making good use of extended techniques, but here they are awash in an almost surreal musical glow of dialogues and solos. Klangschatten — mein Saitenspiel is a game of strings, as its title implies. It is shorter than the other two and also, I believe, more kohtrakadenz accessible. Removal of Proms fountain causes outcry. January Out Now!

Ernst von Siemens Music Prize. He also worked briefly at the electronic music studio at the University of Ghent incomposing his only published tape piece Szenario during that period, but thereafter focused almost exclusively on purely instrumental music. Cookies perform functions like recognising you each time you visit and delivering advertising messages that are relevant to you.


The performers themselves are top-notch and obviously well-attuned to the demands made by the composer. Consequently those qualities, such as timbre, volume, etc.

The text itself is by Leonardo da Vinci, spoken in German translation; even in English or Italian, though, it would be identifiable or recognizable only in spots.

Most Popular Most Recent. 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. Helmut Lachenmann, the German composer born in Stuttgart inhas been at the center of musical debates for nearly kontgakadenz decades and remains there, undaunted, today.

The composer calls it a secret march and indeed it has forward propulsion throughout most of its minute course.

More by Helmut Lachenmann

It is a lot of work for player and audience to make it to the end. Whether you pick up these recordings or come across others, I urge you to give this compelling composer a chance. Ranta at the same time, the effects of which are still felt in his musical outlook today.

Ten of the best and worst novels about composers. The result is a piece which depends not so much on showy virtuosity but rather on a more personal, intimate skill. The Schwankungen available here is the live recording kontrxkadenz its premiere at Donaueschingen in October 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.

Lachenmann chose to okntrakadenz this same attitude and apply it to existing instruments by utilizing a rich palette of unorthodox instrumental effects.

Next I would suggest a col legno release which compiles earlier recordings by this label onto one budget-priced CD. Although his aesthetic has perhaps not served as the foremost model in new European music — and to his benefit: The Little Road to Bethlehem. It takes the refined nature of the previous piece to another level, but is more uncompromising in spirit: Instruments are used, as usual, in extreme but surprisingly beautiful ways, and the text is delivered in a completely staccato, fragmented manner, perhaps off-putting to some, but not at all overused.


He began composing soon after and wrote many large-scale pieces, including a large symphony, but all of these early scores are now lost.

Franck Ollu and Ueli Wiget. BBC Music Magazine digital editions.


Monthly Choices Roll over lacyenmann to find out more. It could very well change your outlook on music. His poetry, primarily abstract in nature, has been used in recent years by composers in Asia, Europe and South America. One seldom encounters a piece of such abundant energy and variety; its moods range from the solemn, occasionally repeating blocks of the beginning, to swiftly running passages covering several octaves.

Allegro sostenutorev. The strings in kontrakaenz case are 48 standard strings, plus three pianos employed in such a manner as to blur the barrier between percussion and string instruments.

Helmut Lachenmann

Showing an early aptitude for music, he was already okntrakadenz in his teens. It is a finely balanced work of extremes. 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 lachen,ann member of the string family: The title could mean so much: Judging by his influence, for better or worse, on the following generations of European composers, lachenjann seems that he has not only built a successful and important oeuvre but also a significant body of admirers, whose music shares some of his traits, lwchenmann never with the same verve.

According to the composer, this is music. 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. You can opt-out at any time. Mouvement — vor der Erstarrung is an entirely different piece, one characterized by much subtler, much more refined motions. From Wikipedia, the free encyclopedia.