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Helmut Lachenmann

January 01, 1970

Helmut Friedrich Lachenmann (born 27 November 1935) is a German composer of contemporary classical music. His work has been associated with "instrumental musique concrète".

Helmut Lachenmann
Lachenmann in 2017
Born (1935-11-27) 27 November 1935 (age 88)
Stuttgart, Germany
EducationMusikhochschule Stuttgart
Occupation(s)Composer, academic, essayist
OrganizationsMusikhochschule Hannover
Awards

Life and works edit

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. Showing an early aptitude for music, he was already composing in his teens. He studied piano with Jürgen Uhde and composition and theory with Johann Nepomuk David at the Musikhochschule Stuttgart from 1955 to 1958[1] and was the first private student of the Italian composer Luigi Nono in Venice from 1958 to 1960. He also worked briefly at the electronic music studio at the University of Ghent in 1965, composing his only published tape piece Szenario during that period but thereafter focused almost exclusively on purely instrumental music. The brutality of his music led Francisco Estévez to compare his work to the paintings of Francis Bacon.

Lachenmann has referred to his compositions as musique concrète instrumentale, implying a musical language that embraces the entire sound-world made accessible through unconventional playing techniques. According to the composer, this is music

in which the sound events are chosen and organized so that the manner in which they are generated is at least as important as the resultant acoustic qualities themselves. Consequently those qualities, such as timbre, volume, etc., do not produce sounds for their own sake, but describe or denote the concrete situation: listening, you hear the conditions under which a sound- or noise-action is carried out, you hear what materials and energies are involved and what resistance is encountered.[2]

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 scores place enormous demands on performers, due to the plethora of techniques that he has invented for wind, brass and string instruments.

His more important works include his opera Das Mädchen mit den Schwefelhölzern [The Little Match Girl] (1990–96, after Hans Christian Andersen, Leonardo da Vinci and Gudrun Ensslin), the orchestral pieces Schwankungen am Rand (1974–75, for eight brass, two electric guitars, two pianos, four thunder sheets, and 34 strings), Accanto (1975–76, for clarinet, large orchestra and tape), and NUN (1997–99, for flute, trombone, male chorus, and large orchestra), the ensemble works Mouvement (- vor der Erstarrung) (1982–84, for three ad hoc players and 14 players), and "...zwei Gefühle...", Musik mit Leonardo (1992 [later incorporated in opera Das Mädchen mit den Schwefelhölzern], after Leonardo da Vinci, for two speakers and 22 players), and three string quartets (Gran Torso, 1971, revised 1976, 1988; Reigen seliger Geister, 1989; Grido, 2001), as well as other orchestral, ensemble and chamber works and six piano pieces.

He has regularly lectured at the Darmstadt New Music Summer School since 1978. From 1976 to 1981, he taught music theory, ear training and composition at the Musikhochschule Hannover, and from 1981 to 1999, he taught composition at the Musikhochschule Stuttgart. See: List of music students by teacher: K to M#Helmut Lachenmann.

He is also noted for his articles, essays and lectures, many of which appear in Musik als existentielle Erfahrung (Music as Existential Experience) (Breitkopf & Härtel, Wiesbaden, 1996).

Lachenmann has received many distinguished awards such as the Bach Prize of the Free and Hanseatic City of Hamburg in 1972, the Ernst von Siemens Music Prize in 1997, and the 2010 BBVA Foundation Frontiers of Knowledge Award in the Contemporary Music Category.

He is married to Japanese pianist Yukiko Sugawara.[3]

List of works edit

The list below is sourced from Breitkopf & Härtel, Lachenmann's publisher.[4]

  • Fünf Variationen über ein Thema von Franz Schubert (German Dance in C-sharp minor, D643) for piano (1956)
  • Rondo for two pianos (1957)
  • Souvenir for 41 instruments (1959)
  • Due Giri, two studies for orchestra (1960)
  • Tripelsextett for 18 instruments (1960–61, lost)
  • Fünf Strophen for 9 instruments (1961, withdrawn)
  • Echo Andante for piano (1961–62)
  • Angelion for 16 instruments (1962–63, withdrawn)
  • Wiegenmusik for piano (1963)
  • Introversion I for 18 instruments (1963, withdrawn)
  • Introversion II for 8 instruments (1964. withdrawn)
  • Scenario for tape (1965)
  • Streichtrio I for violin, viola and cello (1965)
  • Intérieur I for one percussionist (1966)
  • Notturno for small orchestra and solo cello (1966/67)
  • Trio fluido for clarinet, viola and percussion (1966/68)
  • Consolations I for 12 voices and percussion (1967)
  • temA for flute, voice and cello (1968)
  • Consolations II for 16 voices (1968)
  • Air, music for large orchestra with percussion solo (1968–69)
  • Pression for cello (1969–70, revised 2010)
  • Dal niente (Interieur III) for clarinet (1970)
  • Guero, piano study (1970)
  • Kontrakadenz for large orchestra (1970–71)
  • Montage for clarinet, cello and piano (1971)
  • Klangschatten – mein Saitenspiel for three Konzertflügel (pianoforte) and string ensemble (1972)
  • Gran Torso, music for string quartet (1972)
  • Fassade for large orchestra (1973)
  • Schwankungen am Rand, for sheet metal and strings (1974–75)
  • Zwei Studien for violin (1974)
  • Accanto, music for solo clarinet and orchestra (1975–76)
  • Les Consolations for choir and orchestra (1976–78)
  • Salut für Caudwell, music for two guitarists (1977)
  • Tanzsuite mit Deutschlandlied, music for orchestra and string quartet (1979–80)
  • Ein Kinderspiel, seven little pieces for piano (1980)
  • Harmonica, music for large orchestra and solo tuba (1981–83)
  • Mouvement (- vor der Erstarrung) for ensemble (1982/84)
  • Ausklang for piano and orchestra (1984–85)
  • Dritte Stimme zu J. S. Bachs zweistimmiger Invention d-moll BWV 775 for three instruments (1985)
  • Staub for orchestra (1985–87)
  • Toccatina, violin study (1986)
  • Allegro sostenuto, music for clarinet, cello and piano (1986–88)
  • Tableau for orchestra (1988)
  • Reigen seliger Geister, string quartet (1989)
  • "...zwei Gefühle...", Musik mit Leonardo for speaker and ensemble (1992)
  • Das Mädchen mit den Schwefelhölzern Musik mit Bildern (Musiktheater), music with images – theatre music for very large orchestra and soloists (1988–96)
  • Serynade for piano (1998)
  • NUN for flute, trombone, male choir and orchestra (1999)
  • Sakura-Variationen for saxophone, percussion and piano (2000)
  • 3. Streichquartett "Grido", string quartet (2001)
  • Schreiben for orchestra (2003)
  • Double (Grido II) for string orchestra (2004)
  • Concertini for large ensemble (2005)
  • ...got lost..., music for soprano and piano (2008)
  • Sakura mit Berliner Luft for saxophone, piano and percussion (2008)
  • Marche fatale for piano (2016–17)
  • Berliner Kirschblüten for piano (2016–17)
  • Marche Fatale for orchestra (2017)
  • My Melodies for eight horns and orchestra (2012–18)

References edit

  1. ^ . Archived from the original on 19 December 2012.
  2. ^ Slought Foundation Online Content (7 April 2008), musique concrète instrumentale: Helmut Lachenmann, in conversation with Gene Coleman, retrieved 30 March 2009
  3. ^ "Klang als Naturereignis". arsmondo (in German). 29 August 2017. Retrieved 12 November 2023.
  4. ^ . Breitkopf & Härtel. Archived from the original on 19 December 2012. Retrieved 31 December 2014.

Further reading edit

  • An interview with Lachenmann appeared in issue 228 (February 2003) of The Wire
  • Feller, Ross (2002). "Resistant Strains of Postmodernism: The Music of Helmut Lachenmann and Brian Ferneyhough". In Lochhead, Judy; Auner, Joseph (eds.). Postmodern Music/Postmodern Thought. Studies in Contemporary Music and Culture. Vol. 4. New York and London: Routledge. pp. 249–262.
  • Hockings, Elke (1995). "Helmut Lachenmann's Concept of Rejection". Tempo. 193 (193): 4–14. doi:10.1017/S0040298200004253. S2CID 145610505.
  • Lachenmann, Helmut (1996). "Struktur und Musikantik". In Häusler, Josef (ed.). Musik als existentielle Erfahrung. Schriften 1966–1995 (in German). Wiesbaden: Breitkkopf & Härtel. pp. 155–161.
  • Lachenmann, Helmut (1970). "Klangtypen der neuen Musik". Zeitschrift für Musiktheorie (in German). I (1): 20–30.
  • Lachenmann, Helmut (1998). "Was heißt Fortschritt?". In Metzger, Heinz-Klaus; Riehn, Rainer (eds.). "Musik-Konzepte". Die Reihe über Komponisten (in German). Vol. 100. München: Text+Kritik. ISBN 978-3-88377-579-1.
  • Lachenmann, Helmut (1978). "Bedingungen des Materials. Stichworte zur Praxis der Theoriebildung". Ferienkurse '78, Darmstädter Beitr. zur Neuen Musik (in German). Vol. XVII. Mainz: Schott. pp. 93–110.
  • Lachenmann, Helmut (1994). "Dialektischer Strukturalismus". In Borio, Gianmario; Mosch, Ulrich (eds.). Ästhetik und Komposition: Zur Aktualität der Darmstädter Ferienkursarbeit (in German). Mainz: B. Schott's Söhne. pp. 23–32.
  • Nonnenmann, Rainer (2000). "Angebot durch Verweigerung: Die Ästhetik instrumentalkonkreten Klangkomponierens in Helmut Lachenmanns frühen Orchesterwerken". Kölner Schriften zur Neuen Musik (in German). Vol. 8. Mainz & New York: Schott. ISBN 978-3-7957-1897-8.
  • Shaked, Yuval (1985). "Helmut Lachenmann's Salut für Caudwell – An Analysis". Nova giulianiad / Freiburger Saitenblätter. 2 (6): 97–109.
  • Steenhuisen, Paul (2009). "Interview with Helmut Lachenmann". Sonic Mosaics: Conversations with Composers. Edmonton: University of Alberta Press. ISBN 978-0-88864-474-9.
  • Weeks, James. "Liberating Perception and Entering Lion Cages: An Interview with Helmut Lachenmann". New Notes (November 2006).

External links edit

  • . November 2006
  • Publisher Breitkopf & Härtel page
  • Living Composers Project (biography, work list, discography)
  • Recording of Lachenmann in conversation about his music, 2008
  • (in German)
  • "Helmut Lachenmann (biography, works, resources)" (in French and English). IRCAM.

January 01, 1970
helmut, lachenmann, helmut, friedrich, lachenmann, born, november, 1935, german, composer, contemporary, classical, music, work, been, associated, with, instrumental, musique, concrète, lachenmann, 2017born, 1935, november, 1935, stuttgart, germanyeducationmus. Helmut Friedrich Lachenmann born 27 November 1935 is a German composer of contemporary classical music His work has been associated with instrumental musique concrete Helmut LachenmannLachenmann in 2017Born 1935 11 27 27 November 1935 age 88 Stuttgart GermanyEducationMusikhochschule StuttgartOccupation s Composer academic essayistOrganizationsMusikhochschule HannoverAwardsBach Prize of the Free and Hanseatic City of Hamburg Ernst von Siemens Music Prize BBVA Foundation Frontiers of Knowledge Award Contents 1 Life and works 2 List of works 3 References 4 Further reading 5 External linksLife and works editLachenmann was born in Stuttgart and after the end of the Second World War when he was 11 started singing in his local church choir Showing an early aptitude for music he was already composing in his teens He studied piano with Jurgen Uhde and composition and theory with Johann Nepomuk David at the Musikhochschule Stuttgart from 1955 to 1958 1 and was the first private student of the Italian composer Luigi Nono in Venice from 1958 to 1960 He also worked briefly at the electronic music studio at the University of Ghent in 1965 composing his only published tape piece Szenario during that period but thereafter focused almost exclusively on purely instrumental music The brutality of his music led Francisco Estevez to compare his work to the paintings of Francis Bacon Lachenmann has referred to his compositions as musique concrete instrumentale implying a musical language that embraces the entire sound world made accessible through unconventional playing techniques According to the composer this is music in which the sound events are chosen and organized so that the manner in which they are generated is at least as important as the resultant acoustic qualities themselves Consequently those qualities such as timbre volume etc do not produce sounds for their own sake but describe or denote the concrete situation listening you hear the conditions under which a sound or noise action is carried out you hear what materials and energies are involved and what resistance is encountered 2 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 scores place enormous demands on performers due to the plethora of techniques that he has invented for wind brass and string instruments His more important works include his opera Das Madchen mit den Schwefelholzern The Little Match Girl 1990 96 after Hans Christian Andersen Leonardo da Vinci and Gudrun Ensslin the orchestral pieces Schwankungen am Rand 1974 75 for eight brass two electric guitars two pianos four thunder sheets and 34 strings Accanto 1975 76 for clarinet large orchestra and tape and NUN 1997 99 for flute trombone male chorus and large orchestra the ensemble works Mouvement vor der Erstarrung 1982 84 for three ad hoc players and 14 players and zwei Gefuhle Musik mit Leonardo 1992 later incorporated in opera Das Madchen mit den Schwefelholzern after Leonardo da Vinci for two speakers and 22 players and three string quartets Gran Torso 1971 revised 1976 1988 Reigen seliger Geister 1989 Grido 2001 as well as other orchestral ensemble and chamber works and six piano pieces He has regularly lectured at the Darmstadt New Music Summer School since 1978 From 1976 to 1981 he taught music theory ear training and composition at the Musikhochschule Hannover and from 1981 to 1999 he taught composition at the Musikhochschule Stuttgart See List of music students by teacher K to M Helmut Lachenmann He is also noted for his articles essays and lectures many of which appear in Musik als existentielle Erfahrung Music as Existential Experience Breitkopf amp Hartel Wiesbaden 1996 Lachenmann has received many distinguished awards such as the Bach Prize of the Free and Hanseatic City of Hamburg in 1972 the Ernst von Siemens Music Prize in 1997 and the 2010 BBVA Foundation Frontiers of Knowledge Award in the Contemporary Music Category He is married to Japanese pianist Yukiko Sugawara 3 List of works editThe list below is sourced from Breitkopf amp Hartel Lachenmann s publisher 4 Funf Variationen uber ein Thema von Franz Schubert German Dance in C sharp minor D643 for piano 1956 Rondo for two pianos 1957 Souvenir for 41 instruments 1959 Due Giri two studies for orchestra 1960 Tripelsextett for 18 instruments 1960 61 lost Funf Strophen for 9 instruments 1961 withdrawn Echo Andante for piano 1961 62 Angelion for 16 instruments 1962 63 withdrawn Wiegenmusik for piano 1963 Introversion I for 18 instruments 1963 withdrawn Introversion II for 8 instruments 1964 withdrawn Scenario for tape 1965 Streichtrio I for violin viola and cello 1965 Interieur I for one percussionist 1966 Notturno for small orchestra and solo cello 1966 67 Trio fluido for clarinet viola and percussion 1966 68 Consolations I for 12 voices and percussion 1967 temA for flute voice and cello 1968 Consolations II for 16 voices 1968 Air music for large orchestra with percussion solo 1968 69 Pression for cello 1969 70 revised 2010 Dal niente Interieur III for clarinet 1970 Guero piano study 1970 Kontrakadenz for large orchestra 1970 71 Montage for clarinet cello and piano 1971 Klangschatten mein Saitenspiel for three Konzertflugel pianoforte and string ensemble 1972 Gran Torso music for string quartet 1972 Fassade for large orchestra 1973 Schwankungen am Rand for sheet metal and strings 1974 75 Zwei Studien for violin 1974 Accanto music for solo clarinet and orchestra 1975 76 Les Consolations for choir and orchestra 1976 78 Salut fur Caudwell music for two guitarists 1977 Tanzsuite mit Deutschlandlied music for orchestra and string quartet 1979 80 Ein Kinderspiel seven little pieces for piano 1980 Harmonica music for large orchestra and solo tuba 1981 83 Mouvement vor der Erstarrung for ensemble 1982 84 Ausklang for piano and orchestra 1984 85 Dritte Stimme zu J S Bachs zweistimmiger Invention d moll BWV 775 for three instruments 1985 Staub for orchestra 1985 87 Toccatina violin study 1986 Allegro sostenuto music for clarinet cello and piano 1986 88 Tableau for orchestra 1988 Reigen seliger Geister string quartet 1989 zwei Gefuhle Musik mit Leonardo for speaker and ensemble 1992 Das Madchen mit den Schwefelholzern Musik mit Bildern Musiktheater music with images theatre music for very large orchestra and soloists 1988 96 Serynade for piano 1998 NUN for flute trombone male choir and orchestra 1999 Sakura Variationen for saxophone percussion and piano 2000 3 Streichquartett Grido string quartet 2001 Schreiben for orchestra 2003 Double Grido II for string orchestra 2004 Concertini for large ensemble 2005 got lost music for soprano and piano 2008 Sakura mit Berliner Luft for saxophone piano and percussion 2008 Marche fatale for piano 2016 17 Berliner Kirschbluten for piano 2016 17 Marche Fatale for orchestra 2017 My Melodies for eight horns and orchestra 2012 18 References edit Lachenmann Helmut Archived from the original on 19 December 2012 Slought Foundation Online Content 7 April 2008 musique concrete instrumentale Helmut Lachenmann in conversation with Gene Coleman retrieved 30 March 2009 Klang als Naturereignis arsmondo in German 29 August 2017 Retrieved 12 November 2023 Helmut Lachenmann Breitkopf amp Hartel Archived from the original on 19 December 2012 Retrieved 31 December 2014 Further reading editAn interview with Lachenmann appeared in issue 228 February 2003 of The Wire Feller Ross 2002 Resistant Strains of Postmodernism The Music of Helmut Lachenmann and Brian Ferneyhough In Lochhead Judy Auner Joseph eds Postmodern Music Postmodern Thought Studies in Contemporary Music and Culture Vol 4 New York and London Routledge pp 249 262 Hockings Elke 1995 Helmut Lachenmann s Concept of Rejection Tempo 193 193 4 14 doi 10 1017 S0040298200004253 S2CID 145610505 Lachenmann Helmut 1996 Struktur und Musikantik In Hausler Josef ed Musik als existentielle Erfahrung Schriften 1966 1995 in German Wiesbaden Breitkkopf amp Hartel pp 155 161 Lachenmann Helmut 1970 Klangtypen der neuen Musik Zeitschrift fur Musiktheorie in German I 1 20 30 Lachenmann Helmut 1998 Was heisst Fortschritt In Metzger Heinz Klaus Riehn Rainer eds Musik Konzepte Die Reihe uber Komponisten in German Vol 100 Munchen Text Kritik ISBN 978 3 88377 579 1 Lachenmann Helmut 1978 Bedingungen des Materials Stichworte zur Praxis der Theoriebildung Ferienkurse 78 Darmstadter Beitr zur Neuen Musik in German Vol XVII Mainz Schott pp 93 110 Lachenmann Helmut 1994 Dialektischer Strukturalismus In Borio Gianmario Mosch Ulrich eds Asthetik und Komposition Zur Aktualitat der Darmstadter Ferienkursarbeit in German Mainz B Schott s Sohne pp 23 32 Nonnenmann Rainer 2000 Angebot durch Verweigerung Die Asthetik instrumentalkonkreten Klangkomponierens in Helmut Lachenmanns fruhen Orchesterwerken Kolner Schriften zur Neuen Musik in German Vol 8 Mainz amp New York Schott ISBN 978 3 7957 1897 8 Shaked Yuval 1985 Helmut Lachenmann s Salut fur Caudwell An Analysis Nova giulianiad Freiburger Saitenblatter 2 6 97 109 Steenhuisen Paul 2009 Interview with Helmut Lachenmann Sonic Mosaics Conversations with Composers Edmonton University of Alberta Press ISBN 978 0 88864 474 9 Weeks James Liberating Perception and Entering Lion Cages An Interview with Helmut Lachenmann New Notes November 2006 External links editInterview in new notes magazine November 2006 Publisher Breitkopf amp Hartel page Living Composers Project biography work list discography Helmut Lachenmann s The Beautiful in Music Today Recording of Lachenmann in conversation about his music 2008 Helmut Lachenmann website in German Helmut Lachenmann biography works resources in French and English IRCAM Portals nbsp Biography nbsp Classical music Retrieved from https en wikipedia org w index php title Helmut Lachenmann amp oldid 1215681642, wikipedia, wiki, book, books, library,

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