Helmut Lachenmann

Helmut Friedrich Lachenmann ( born November 27, 1935 in Stuttgart ) is a German composer and teacher of composition.

Learning and Teaching

Helmut Lachenmann comes from a music-loving pastor's family. He studied from 1955 to 1958 at the Musikhochschule Stuttgart theory of composition, music theory and counterpoint with Johann Nepomuk David and piano with Jürgen Uhde. After completing his studies in composition he learned during the Darmstadt Summer Courses 1957 Italian composer Luigi Nono, and became his only pupil 1958-1960; therefore, he moved to Venice.

1960 returned Lachenmann back to Germany to work in Munich, first as a freelance composer and pianist. From 1966 to 1976 he taught at the Musikhochschule in Stuttgart music theory; the teaching interrupted Lachenmann for a call 1972/1973 as head of a composition class at the Music Academy of Basel. From 1976 to 1981 he took a composition class at the State University of Music and Theatre in Hanover, before he held the same job at the State University of Music and Performing Arts in Stuttgart until his retirement in 2002. Among his pupils were, inter alia, Orm Finnendahl, Cornelius Schwehr, Mark Andre, Alvaro Carlevaro, Nikolaus Brass, Clemens Gadenstätter, Harald Muenz, Manuel Hidalgo, Shigeru Kan -no, Max E. Keller, Juliane Klein Jan Kopp, Mayako Kubo, Kunsu Shim, Wolfram G. Schurig Juan María Solare and Stefan prank.

Artistic career and stylistic features

Major inspiration for his serial method of composition received Lachenmann by Karlheinz Stockhausen during the so-called " Cologne Courses " and by Luigi Nono, who drew his attention to the problems of the social function of music. Unlike Nono Lachenmann sees his music as follows: " should occur in my music sound types from different type take the place of the rigidly punctual sound: A and Ausschwingprozesse, pulses, static colors, fluctuations, textures, structures. " ( Lachenmann, The endangered communication, 1973)

Lachenmann's work is on the one hand, the examination of serial techniques and random manipulations, on the other hand, reflecting the self-understanding as a freelance composer. This shows the use of noise as an integral part of the sound when Lachenmann " misused " in Guero (1970 ) the piano as a percussion and plucked instrument. He wants the " impaired " Handset rid of his listening habits and develop a new composition and listening skills. This happens when Lachenmann in the manner of John Cage, and the French musique concrète of the early 1950s. It's Lachenmann to the extension of the concept of music to its detachment from a fixed to tonality and pitch musical conception, each acoustic event can be formed into music.

Lachenmann consistently developed a musique concrète instrumental, produced by the new playing techniques for traditional orchestral instruments, a sonority that is often closer to the sound than the symphonic tradition. In the confrontation of the " Philharmonic apparatus " with sounds that reveal their acoustic processes, the perception of players and listeners to be drawn to the structure of the concrete sounds. Not experiencing beautiful sound is the goal of his composition, but the experience of assembly and transformation of unusual because of unusual sound events.

The most successful stage of Lachenmann's work was in the world premiere of the stage work The girl with the matches (1997) at the Hamburg State Opera, also in Paris, Stuttgart, and Tokyo (Revised 2003) has been enacted. In the course of his 70th birthday found all over the world with his music concerts take place. Despite numerous honors for his work, it came with individual composers ( Henze / Bose ) to polemical.

Lachenmann has a whole generation of composers with its aesthetics influenced ( beauty and truth criteria / material level ). His tonal distortions and new techniques, he called about today like " touristy already developed " than. In works since about Allegro sostenuto Lachenmann refers again to a greater extent traditional pitch constellations to which now the previously instrumental in the musique concrète lessons learned are applied ( by himself as " transition in the lion's den " labeled ). This led to the inevitable controversy whether Lachenmann had his earlier avant-garde position now abandoned in favor of a " Back to".

Awards

List of Works

  • Five Variations on a Theme of Franz Schubert [ Waltz in C sharp minor, D643 ] for piano (1956 ) 7 min.
  • Rondo for Two Pianos (1957 )
  • Souvenir. Music for 41 instruments (1959 ) 15 min.
  • Due Giri. Two Studies for Orchestra ( 1960) unperformed, unpublished
  • Tripelsextett for six woodwind, brass and string instruments ( 1960-61 ) unperformed, unpublished
  • Five verses for nine instruments (1961 )
  • Echo Andante for Piano ( 1961-62 ) 12 min.
  • Angelion for 16 instruments ( 1962-63 ) unperformed, unpublished
  • Weigh Music for Piano (1963 ) 4 min.
  • Introversion I for 18 instruments ( 1963) aleatoric and advertised version
  • Intro Version II for eight instruments ( 1964)
  • Scenario for tape (1965 ) 12.5 min, unpublished.
  • String Trio I for violin, viola and cello (1965 ) 12 min.
  • Fluido Trio for clarinet, viola and percussion ( 1966) 19 min.
  • Intérieur I for a percussion soloist ( 1965-66 ) 16 min.
  • Consolation I for 12 voices and 4 percussionists (1967 ) 9 min.
  • Consolation II for 16 vocal parts ( mixed chorus ) ( 1968) 6 min.
  • Tema for Flute, Voice (mezzo soprano) and cello ( 1968) 16 min.
  • Notturno for small orchestra with cello solo ( music for Julia ) ( 1966-68 ) 19 min.
  • Air music for large orchestra with percussion solo ( 1968-69/94 ) 20 min.
  • Pression for a cellist ( 1969-70/2010 ) 9 min.
  • Dal niente ( Intérieur III) for solo clarinet (1970 ) 17 min.
  • Guero. Study for piano (1970 /88) for 5 min.
  • Kontrakadenz for large orchestra ( 1970-71 ) 18 min.
  • Installation of Dal Niente, Guero and Pression for clarinet, piano and cello (1971 ) unpublished
  • Gran Torso. Music for String Quartet ( 1971-72/78/88 ) 23 min.
  • Sound shadow - my song for 48 strings and three grand pianos (1972 ) 28 min.
  • Facade for large orchestra (1973 ) 22 min.
  • Withdrawn Two studies for solo violin (1974 )
  • Fluctuations in the margin. Music for brass and strings ( 1974-75 ) 30 min.
  • Accanto. Music for a solo clarinetist with Orchestra ( 1975-76 ) 26 min.
  • Salut für Caudwell. Music for two guitars (1977 ) 26 min.
  • Les Consolations for choir and orchestra (1967 /78) 38 min.
  • Dance Suite with Germany song. Music for orchestra, string quartet ( 1979-80 ) 36 min.
  • A child's play. Seven Short Pieces for Piano ( 1980) 15 min.
  • Harmonica. Music for orchestra with solo tuba ( 1981-83 ) 31 min.
  • Mouvement ( - before solidification ) for ensemble ( 1982-84 ) 22 min.
  • Conclusion. Music for Piano and Orchestra ( 1984-85 ) 52 min.
  • Third voice to J. S. Bach's Invention in two voices in D minor BWV 775 for variable instrumentation (1985 ) 2 min.
  • Toccatina. Study for Solo Violin (1986 ) 5 min.
  • Dust. For orchestra ( 1985-87 ) 20 min.
  • Allegro sostenuto. Music for clarinet / bass clarinet, cello and piano ( 1986-88 ) 33 min.
  • String Quartet No. 2 " Dance of the Blessed Spirits" (1989 ) 28 min.
  • Tableau for orchestra ( 1988-89 ) 10 min.
  • " ... Two feelings ... " music with Leonardo for narrator and ensemble ( 1991-92 ) 23 min.
  • The girl with the matches. Music with pictures (music theater; 1988-96 ) 120 min.
  • Serynade for Piano ( 1997-98 ) 30 min.
  • Now, for flute, trombone and orchestra with male voices ( 1997-99/2002 ) 40 min.
  • Sakura Variations on a Japanese folk song for saxophone, percussion and piano (2000) 6 min.
  • String Quartet No. 3 " Grido " (2001 /02) 25 min.
  • Writing for orchestra ( 2003-04 ) 28 min.
  • Double ( Grido II) for string orchestra (2004; editing his third string quartet ) 23 min.
  • Concertini for ensemble (2005) 42 min.
  • Got Lost ... music for voice and piano ( 2007-08 ), Text: Friedrich Nietzsche and Fernando Pessoa, 26 min.
  • Berlin cherry blossoms. An arrangement with three Variations on a Japanese folk song for alto saxophone, piano and percussion (2008) - a continuation of the Sakura Variations on a Japanese folk song " Sakura", a secondary work.
  • Concerto for eight horns and orchestra (2012 ) Commissioned by Musica Viva, Munich

Publications

  • Music as an existential experience - Writings 1966-1995 (ed. Josef Häusler ), Breitkopf & Härtel / island, Wiesbaden 1996, 2nd edition 2004, ISBN 3-7651-0247-4.
  • Structure and Music Antique, nova giulianiad 6/85, page 92 ff
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