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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His scores place enormous demands on performers, due to the plethora of techniques that he has invented for wind, brass and string instruments. January Out Now! The first piece is scored for brass and strings, according to its subtitle, but in German, Blech means both brass and sheet metal.

Explore your love for music with this essential guide to educational courses throughout the UK The title could mean so much: The final piece is the percussion concerto Air.

Although his chamber works are as intimate as any ever written, they are also among his most experimental works.

Both pianos and strings are wont to play in groups and in changing intervals and roles; the pianos play throughout the piece, but it is not overtly clear that there are three pianists; one might think there are only two or possibly only oneso sparse is their material. Discover the range of classical music competitions in the UK and Internationally with our exclusive Whether you pick up these recordings or come across others, I urge you to give this compelling composer a chance.


For the most part, it is a quiet, almost static piece the title, Fluctuations on the Fringeimplies that the fringe here is not only that between the instruments themselves, but also the border between noise and silencepunctuated by occasional brass outbursts; the pianos lead the way most of the time, however, their steady cluster pulse like a beacon. Share this article Share.

His music is therefore primarily derived from the most basic of sounds, which through processes of amplification serve as the basis for extended works. 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.

By using this site, you agree to the Terms of Use and Privacy Policy. From to he taught composition at the Musikhochschule Hannoverfrom to the Musikhochschule Stuttgart. 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. James MacMillan discusses his new oratorio.

The Schwankungen available here is the live recording from its premiere at Donaueschingen in October The big advantage is the overall improvement in recorded sound. Although this work is less than a decade old, it has already received stagings in various parts of Europe and in Japan.

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

Lachenmann Kontrakadenz; Klangschatten; Fassade

Work as an editor and translator, notably the latter for lachenman German label Cybeleallows him to explore his musicological and poetic interests. Retrieved from ” https: Lachenmann was born in Stuttgart and after the end of the Second World War when he was 11 started singing in his local church choir.


According to the composer, this is music. For these reasons, it is quite possible that average listeners will be disappointed when they kontrakadennz his music. A highlight of the performance occurred during the overture, when behind the scrim, lachenman dancers on wires simulated diving from the top of the stage to the bottom. Helmut Lachenmann, the German composer born in Stuttgart inhas been at the center of musical debates for nearly four decades and remains there, undaunted, today.

It is a strange moment of irony.

Thinking About Helmut Lachenmann, with Recommended Recordings | La Folia

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. My last pick is a Kairos recording of three important orchestral works, KontrakadenzKlangschatten — mein Kontakadenz and Fassaderev.

It is a passage repeated — with variations, naturally — several times before the work attains its proper end. Conductor and musicians are superb. Showing an lachenmanb aptitude for music, he was already composing in his teens. K to M Helmut Lachenmann. A short bio appears at the end of this piece.